Marley Starskey Butler
Opposites
CD (E112)




“Opposites was completed throughout 2009 and serves as a
snapshot of that time. Whilst making this record I was think-
ing a lot about the notion of opposites and how they need
each other to exist. I was seeing it as a way of understanding
life’s pain, making me extremely grateful for every bad thing
that’s happened to me and for my mistakes. I wanted to put
together opposing sounds to create new feelings — like a
blanket of nails...”

Marley Starskey Butler is an artist
from Wolverhampton, England.

naplewproductions.co.uk

Edition of 200 copies
Mastered by Jacques Beloeil






Boddinstraße (2016) by Marley Butler





Review

Like all Entr’acte releases, Opposites arrives in a hermetically
perfect, vacuum sealed package, simple metallic grey plastic
with one colour printing in the exact same typeface and lay-
out as the rest of their catalogue. There is something disturb-
ing about its severity and its integrity; I have never been so
reluctant to open an album sent to me for review, and had I
been able to download the tracks I probably wouldn’t have.
In the end I took a scalpel to it, and attempted to open it as
subtly as possible, from the back, but ended up scoring a very
visible line across the front as well. This moment of rupture
inevitably contributes to the readings of the work, but it
seems mostly representative of the irruption of the distributor’s
agenda into the music, given that Marley Starskey Butler did
not design the packaging, and probably didn’t have a relation-
ship with Entr’acte when he recorded it (in 2009). To restore
some expressive urgency to the physical presentation, the
album is distributed with a colour postcard [see image above]:
it appears to show a very young Butler on the front step of
a modest house, probably in the early to mid 90s, smiling,
but slightly slumped, slightly exasperated, as if to say ‘surely
you’re not taking another photo?’ This certainly seems to
relate directly to the musical contents of the package, which
sample (at length) what sounds like the author’s childhood.
Memory and nostalgia figure prominently in the most readily
available interpretations of the album, with very specific field
recordings of informal, demotic speech, rendered distant by
processing, their relationship to the other sounds in the tracks,
the reverberant spaces they are positioned in, and presumably
by their own character as audio snapshots.
More...

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