Nine tracks of modular synth exploration come together to create ‘Fairchild + Borderland EP’, the latest release from Jordan Reyes on Whited Sepulchre Records. To begin with, the album was conceived as two separate projects (hence the name), but as the production developed, Reyes states that ‘it was clear that they were cut from the same spiritual cloth), resulting in a beautifully considered piece of work.
‘Spacelessness’ is what Reyes cites as the main influence in Border Land (three of the nine tracks within the LP), a feeling that regularly greeted him whilst on the road touring alone. Motel rooms and cities blend into each other and the idea behind ‘temporary existence’ is really quite something. An artist spends their life devoted to their craft, and some (especially musicians) work towards sharing their art in tangible form or live in front of a room full of people. Achieving this, whilst also having days interspersed with hours of drifting really is an interesting perspective.
‘Border Land’ is a short film recently created by close friend Kali Khan, and the accompanying six tracks make up Reyes’ first soundtrack output. As Border Land focuses very much on solitary thoughts and processes, the soundtrack moves in an opposite direction, in collaboration. I always find such a body of work extremely interesting – two (or more) artists with a very distinct vision of what emotions they want to portray across sight and sound and ultimately, how they both come together successfully. Note to self – must watch film.
The album itself is really well composed, with Reyes clearly able to manipulate / control a modular synth impressively. It drifts from an often optimistic, cosmic feel (Touching Down), to somewhat melancholic (notably the final two tracks – ‘Broken Crown’ and ‘All Things End’). Perhaps equally as impressive however, is the story behind the two bodies of work and how they come together to complement each other as one.