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: : : A B O U T : : :
LAUDS is the solo project of multi-instrumentalist, Genevieve Kammel Morris,
occasionally / interchangeably known as Thursday Fernworthy.
She plays exclusively on recordings often with orchestrations numbering 15+ instruments; and her ability to compose in an array of genres allows her to achieve a sound that is markedly different album by album.
She writes, records, & edits from her living room in NYC, and self-releases through Hidden House Press.
 



: : : B I O : : :
Raised amongst the tidal estuaries & moss-draped oaks of the lowcountry of Charleston, South Carolina, Genevieve Kammel Morris first became interested in music from the eclectic taste of her parents and their expansive vinyl & cassette collection. Neither her mother nor father were musicians, so when she asked for a piano at age 5, they rushed to rent a spinet from a local music store and encouraged her to play often. 
 
Four years later (and quite by accident: "it was the only string instrument on the list [that] I didn't know what it was" [sic]) she picked up the viola-- an event that would later prove to be life-changing, and the single most important moment in her musical career. Ten years later she'd taught herself bass guitar, guitar, violin, cello, flute, mandolin & banjo. Genevieve wrote irreverent folk songs about poverty and bad love, but could often be found on the rooftops of parking garages and amidst the planks of abandoned piers scoring avant-garde pieces and minimalist compositions.She left home at 15 for the South Carolina Governor's School for the Arts & Humanities-- a newly created, residential boarding school for gifted & talented students.
In 2001, she graduated as 1 of 150 members of the Inaugural class.
 
Overprepared for (and underwhelmed with) College, Genevieve dropped out and moved to Brighton, England in 2005. By day, she waited tables in a soul food restaurant, often taking a break to meander the stony shoreline. On many nights & weekends she'd travel solo to London, going on pub crawls, taking notes, surveying & making maps of the city, and then come home late to throw herself into the writings of Kierkegaard & Baudrillard-- both of whom she credits as having had the greatest influence on her own lyrical work. She eventually returned to the states to complete her studies in Philosophy & Religion. In 2007 she earned her BA from Virginia Commonwealth University in Richmond, VA., She packed up her car with books, instruments, a suitcase of clothes, and an old 4-tk recorder, gave away anything that couldn't fit, and moved to Brooklyn, NY.




: : : M U S I C : : :
Her process relies on employing psychogeographical exercises, and it's not uncommon to hear in her music abrasive samples & other background noise which was captured from field recordings. Her music comments upon and challenges the ways in which loving is personified & abstracted, objectified & commodified; and within all of her work can be found recurring themes of love & despair, repetition & reflection.
 
Genevieve is deeply inspired by the Apophatic tradition and tries to create works that edify her own positions, that acknowledge her own limitations in both thought and performance. On stage she plays all the instruments herself, supported by loopstations which she uses to overlap her vocals, creating harmonic lines that fill out to form a backing chorus.
 
Although the tone and focus of each EP are vastly different, her songs are mostly characterized by heavy instrumentation & dense vocal layers that usually offer pseudonymous introspections.
They are lonely, misguided, and too ill-equipped to be properly reflective.
By adopting several narratives, she places the listener on the 'wrong track' in an effort to illicit a response.
 



 
: : :  P R E S S  : : :


“Classically trained in viola with an interest in Deleuze, Situationism, and loop-based improvisational music, the…tracks are densely layered lo-fidelity psychedelic minimalism done as only we of the starving Brooklyn set can do. That is, properly beautiful… the handmade xerox art is 'legit as fuck' as you might say, and the liner notes are sweetly touched to boot. Cannot possibly recommend this highly enough, both as up-to-the-minute proof that people around north Brooklyn are still doing interesting things lo these many years and as simply excellent work by some of the most creative and interesting artists I've had the privilege to meet.”
- Jack Blake, Space Runaway Odeon






"Live the cycle as a freedom from freedom.  Invest your gut in the act you repeat (literally and figuratively).  Inhabit.  This is the point of implosion.  Nullity codified.

This album is happier than this but not by much thank God.  One could even for a death dance feel (albeit one not everyone’s invited to).

The sirens:  A chorus composed of a single voice of several tones and timbre.  The illusion of unison, and some struggle.   In the end, there is only a voice left to welcome you.  Your voice.  That’s what’s sinister.  Your voice repeated and repeatable and yet inaccessible until the end of (personal) time.

The depth of personality is what makes this album interesting.  A personality that hovers. Impossible to manufacture but capable of context manipulation, like atmospheric pressure. There is a past to this voice that may have included hibernation.  Personality in a snowglobe.  Self-replication of snow.  The homunculus is the hypothesis.  The experiment is all you build around you; to enclose the loop, to tell it’s story.

- Valerie Kuehne, thesupercoda



 


 












at Silent Barn for experiMENTAL festival 6, hosted by Pas Musique












  at Trans Pecos for allthetimeintheworld, hosted by Perfect Wave   



at The Three Jewels, hosted by Ab Uno Pluribus