Alert: Our website does not support Internet Explorer 9. Please update your browser or choose a different one to continue.

Lawrence English

Happiness Will Befall

November 20, 2020

Happiness Will Befall is a record created in transit. A record made in transitory spaces within which I existed, but which were never truly mine. It sits so starkly in contrast to the lived experience of this year that to revisit it was simultaneously assuring and unsettling.

During the year and a half during which this record was made, I was travelling a great deal. I spent some time in Southern India working on a UNESCO communications project (both Adrift and Relocated were completed during that time), in New Zealand making field recordings and performing, in Singapore curating an exhibition for MAAP and in Adelaide on an artist residency. The record was composed in these unsteady and often blurry moments. I have some vivid memories from this time, finishing Relocated (UTC) at the United Theological Collage in Bangalore is one such example. That memory is so vivid, I can even recall the texture of the light on the walls in my dormitory., revisiting the piece transported me directly back to that time.

Happiness Will Befall bares a lot of the marks of my preoccupations with music making from 2000 up to its creation. I was actively working on extended techniques for turntables (something documented on early Room40 editions including Midnight, Midweek and also One Plus One with Philip Samartzis), and also other less ‘conventional’ approaches to guitar and electronics. A great deal of these approaches were born out of my experiences improvising in Australia and also in Japan where I had been touring regularly since 2002. It may not be instantly apparent, but I can hear the roots of ideas that went on to filter into records such as For Varying Degrees Of Winter and A Colour For Autumn. Happiness Will Befall remains, for me, a crucial part in a divergent trajectory through sound that I am seemingly still unpacking to this day.