Samuel D. Loveless' curious and implacable music arrived in our inbox late last year, and we've been spellbound since. Alone himself in a room, 'krɪstəfə [live crypt] is both an excavation of the voice and an improvised reckoning with space and temporality. The work is book-ended by a 25 minute long composed piece, 'Guardian', which turns the clock off, drifting the narrative into free-fall with slowly moving blocks of resonant piano notes.
ˈkrɪstəfə, isn’t daring, or perhaps even very interesting in its audible output. It’s not been researched nor is it refined.ˈkrɪstəfə(tracks 1-6), was recorded live at the beginning of March 2021 on a stunning day in a cold, dark, damp room on Euston Road. The room, a crypt, has not been renovated or changed much at all since its construction in 1822, barring a few lights and minimal plug sockets. It is the resting place of so many. It is beautiful, grounding, harrowing and contemplative.ˈkrɪstəfə, is a duet between myself and the space. Nor I or the space are more important than the other. During the time 'krɪstəfəwas inspired, most of us had been between the same four walls for a large majority of the previous year and had experienced the foreign with our own company, for better or worse. For myself, Lent (of which March is in) is a very spiritual and meditative time of year for many reasons that I won’t go into now.
Within my work as a creative, whether it be sound, visual, performative, whatever, everything is purposed; everything is exactly there for a specific reason. It is hugely researched, deliberate and deliberated over. It comments on something. It is what is have to say. During Lent, on my own, within the same four walls, I wanted to introspectively just ‘be’; setting my main creative tools aside (trumpet and composition) and simply saying what it is I have to say. Something, that although not daring for krɪstəfə, was and is for me. In order to simply ‘be’, it had to be done by my ’self’ alone. Not least of all because it had to encompass my whole being, but because singing, more specifically choral music, was my entry into the musical world as a chorister. Ironically,ˈkrɪstəfə goes right back to my roots in music, whilst also managing to be removed from anything I’ve done before, improvising with just my voice.
So whilst 'krɪstəfə may not be daring or perhaps even very interesting, it is nothing if not open and forth coming. Thank you.
- Samuel D. Loveless
ˈkrɪstəfə (tracks 1-6)
Improvised and recorded by Samuel D. Loveless
Space by Crypt Gallery on Euston Road
Mixed by Josh Wolfsohn
Piano by Roberto Boschelli
Composed and recorded by Samuel D. Loveless
Mixed by Edward Cross
Artwork by Robert George Sanders
Mastered by Oliver Barrett
1 - Ipsas Sonant [0:30]
2 - Kyrie [4:42]
3 - Sanctus [5:18]
4 - Benadictus [4:57]
5 - Angus Dei [1:24]
6 - Amen [1:30]
7 - Guardian [25:02]
Samuel D. Loveless is a creative, working in a plethora of mediums, predominantly located in the sonic realm as a composer-performer. His work covers a range of genres challenging the traditional approach to composition, exploring the relationships between the performer, their performance aids, physical space and audience, with accessibility and inclusivity being central to his practice.
Having graduated from Goldsmiths, University of London as a composer, trumpeter and vocalist, Samuel has progressed on to study a Masters in Composition at the Royal College of Music as a South Square Trust Award Holder and a Vaughan Williams Bursary recipient.