Description
Wada refers to What Is Not Strange? as dream music, inhabiting “emotional states that are difficult to pinpoint” and “shapeshifting from moment to moment.” The search for innate truths by way of experiential knowledge of the self was influenced by Wada’s immersion in the writings of the American Surrealist poet Philip Lamantia. In addition to titling the album after a poem by Lamantia, Wada was inspired by the visionary poet’s belief that the secrets of the world lie within us, as we are a reflection of that very same world. And yet a basic premise of the album is the underlying feeling that there is no “there” there. Even the ground under our feet is uncertain. This seeming interiority allows the ethos and music of What Is Not Strange? to defy easy categorization, unfurling like a vision of the past, present, and future.
Raised with a firsthand view of the enduring legacies of Minimalist music and the Fluxus art movement of which his father, Yoshi Wada, was a key figure, Wada moved through the academy and postaughts American underground as both an insider, due to his father’s storied contributions, and an outsider, as the son of two immigrants and as an Asian-American. On What Is Not Strange?, Wada recontextualizes this lineage, disregarding its presumed tenets and asserting a maximalist approach with larger, more complex arrangements, full of familiar and unusual details that form a mysterious whole.
A1. What Is Not Strange?
A2. Grand Trine
A3. Revealed Night
B1. Asleep to the World
B2. Flame of Perfect Form
B3. Under the Earth
C1. Subaru
C2. Time of Birds
D1. Calling
D2. Plume
D3. This World’s Beauty
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