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Maria BC : Spike Field
I speak with the vocalist, songwriter and artist magician Rian Bobbitt-Chertock, who makes music under the name Maria BC. This was a particularly exciting conversation for me because I was not expecting to have the intensity of response to this new record as I did. It’s called Spike Field, and it comes out on 20th October via Sacred Bones. Along with probably one other record, it is tied for my album of the year so far. I love how surprising and unusual
and emotionally evocative it is. I love the concept and the depth to which it explores its themes. These are all things I had a chance to discuss with Rian, who was very generous throughout the interview.
Spike Field's Bandcamp description:
In the early 1990s, a team of linguists, engineers, anthropologists, and archaeologists were tasked with constructing a type of communication that could transcend time. How might we converse with future civilizations when language may evolve or dissolve entirely? The result yielded the design of spike fields; a strange construction of granite thorns bursting from the earth to alert its viewers to the deadly uninhabitability of nuclear waste disposal sites. For Maria BC (they/them), this state of temporal focus molds the wanderings on their second full length album Spike Field. How do we connect with the weathered shadow of our experience, while envisioning the self a few steps ahead of us? While their debut album Hyaline (2022, Father/Daughter) explored grief and anxiety through a series of character-led accounts, Spike Field recognizes that the past will continue to lurk below the surface until we decide to break through the soil.
Spike Field was recorded in the home of a family friend. The home
featured an out-of-tune baby Steinway piano, complete with squeaky hammers and strange, sporadic sounds. The piano is sprinkled throughout the album, and features extensively on opener “Amber,” showcasing Maria BC’s looser, more extensive arrangements. The song flickers with electronic wonder, like a wave seeking out its station, before crashing into the angelic choral introduction of “Watcher”. Strings, plucked guitar and buzzing swells accompany their classically-trained mezzosoprano voice on “Return to Sender,” a song that focuses on the frustrations and turmoil of being unable to reach a loved one––both physically and emotionally. Spike Field reminds us that despite our best efforts to bury certain aspects of ourselves, they will always lurk beneath the surface. Instead of ignoring the seeds striving to break through, we can point to these places with a curious grace, concocting a language that transcends words to converse with our previous selves. Maria BC pieces together juxtaposing sonic landscapes and oscillating vocals to represent the thread of miscommunication, or the failure of words, that weaves throughout the album, transforming it into a distinct and ever-evolving sonic tongue. If we listen, we might find something new within ourselves.
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By BedroomdiscoI speak with the vocalist, songwriter and artist magician Rian Bobbitt-Chertock, who makes music under the name Maria BC. This was a particularly exciting conversation for me because I was not expecting to have the intensity of response to this new record as I did. It’s called Spike Field, and it comes out on 20th October via Sacred Bones. Along with probably one other record, it is tied for my album of the year so far. I love how surprising and unusual
and emotionally evocative it is. I love the concept and the depth to which it explores its themes. These are all things I had a chance to discuss with Rian, who was very generous throughout the interview.
Spike Field's Bandcamp description:
In the early 1990s, a team of linguists, engineers, anthropologists, and archaeologists were tasked with constructing a type of communication that could transcend time. How might we converse with future civilizations when language may evolve or dissolve entirely? The result yielded the design of spike fields; a strange construction of granite thorns bursting from the earth to alert its viewers to the deadly uninhabitability of nuclear waste disposal sites. For Maria BC (they/them), this state of temporal focus molds the wanderings on their second full length album Spike Field. How do we connect with the weathered shadow of our experience, while envisioning the self a few steps ahead of us? While their debut album Hyaline (2022, Father/Daughter) explored grief and anxiety through a series of character-led accounts, Spike Field recognizes that the past will continue to lurk below the surface until we decide to break through the soil.
Spike Field was recorded in the home of a family friend. The home
featured an out-of-tune baby Steinway piano, complete with squeaky hammers and strange, sporadic sounds. The piano is sprinkled throughout the album, and features extensively on opener “Amber,” showcasing Maria BC’s looser, more extensive arrangements. The song flickers with electronic wonder, like a wave seeking out its station, before crashing into the angelic choral introduction of “Watcher”. Strings, plucked guitar and buzzing swells accompany their classically-trained mezzosoprano voice on “Return to Sender,” a song that focuses on the frustrations and turmoil of being unable to reach a loved one––both physically and emotionally. Spike Field reminds us that despite our best efforts to bury certain aspects of ourselves, they will always lurk beneath the surface. Instead of ignoring the seeds striving to break through, we can point to these places with a curious grace, concocting a language that transcends words to converse with our previous selves. Maria BC pieces together juxtaposing sonic landscapes and oscillating vocals to represent the thread of miscommunication, or the failure of words, that weaves throughout the album, transforming it into a distinct and ever-evolving sonic tongue. If we listen, we might find something new within ourselves.