“Native peoples have another conception of time, of land, in relation to the vitality of the place where they live. An organic and sacred relationship that is not understood overnight. To understand them, you have to dedicate time, listen, and desire to know the unknown.”
Last year, I began a correspondence with Brazilian sound artist Priscilla Ermel (via John Gomez, who helpfully translated). When I first encountered her music in early 2017 on the Outro Tempo compilation, I wrote:
The most stunning compositions come from Priscilla Ermel, represented by the two longest cuts on the compilation. During the ’80s, Ermel traveled into the rainforest to immerse herself in study of these vanishing indigenous forms, seeking to fuse it with her own sensibilities as a musician and composer. But rather than just conduct a simple integration of ancient and modern, she also reaches outside of her country for other timbres, suggesting a “world music” more holistic than such a tag implies.Pitchfork review
This piece originally ran in Maggot Brain, but the heads at In Sheeps Clothing were so kind as to publish the digital version of the interview.
Music is a portal: Priscilla Ermel’s verdant world of sound for Maggot Brain/ ISC