New Voices 2019 - Lisa Busby Q&A

Lisa Busby

“What are some of your important musical influences?”

When The Quietus asked Drew Daniel of Matmos to pick his favourite records he instead wrote an essay entitled, A Rant Against The Quantification Of Aesthetics.

The essay, Tangled Cartography: The Mapping of Her Noise by Anne Hilde Neset describes the process and physical map as “incomplete, sprawling, non hierarchical and with a spread energy … there is no nucleus … a messy, intuitive and inaccurate guideline.”

Telling you that my musical influences are multiple, sometimes I don’t know where they come from, mostly I listen to music that doesn’t sound like my music, and the exercise of naming them provides a problematically incomplete picture – these are all cliches but that doesn’t make them less true.

“What are you working on at the moment?”

Recently I developed a new performance work, Like a groupie incognito posing as a real singer, for Anneke Kampman’s Pumphouse Gallery show in Battersea, Labour's Own Sounding Ideal. This work was then incorporated into a larger performance lecture called The same song for a long time, for the Social Acoustics project at the University of Bergen. These works were a way for me to think about temporal and bodily presence and disconnection.

“What are you looking forward to about New Voices?”

In my creative practice but not limited to it, acts of generosity from people around me have been powerful and impactful. By generosity I mean active support and kindness, but also generosity with their time and ideas, for example conversations we’ve had. The thing I am most looking forward to about New Voices is being part of a cohort or network, to be able to talk, share and develop together, to make new friendships, to support and be supported, to learn about, with, and from other people.

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