Stellar OM Source's new album, Joy One Mile, marks a certain and spirited departure
into worlds unknown. A faithful leap into the infinite beat, Joy One Mile is the most
forward-reaching effort by Stellar OM Source yet.
Stellar OM Source originated from Christelle Gualdi's desire to unhinge from her
academic musical upbringing. A double bassist in the Konigin Katharina Stift
Schulorchester and a student of music theory at UniversitÉ Paris VIII, Gualdi
completed her studies in electro-acoustic composition at the Conservatoire de Paris
after earning an architecture degree.
The process of Gualdi's "unlearning" began in experimental ensemble settings,
and it became more recognizable as she moved toward solo performance.
Stellar OM Source's name is fittingly inspired in part by the pathway to higher
consciousness and cosmos via one's own voice.
Gualdi was also inspired by-and also an integral member of-the late aughts
DIY synthesizer community. Alongside Oneohtrix Point Never, Emeralds and James Ferraro,
Stellar OM Source's stream of self-released CDRs defined a zeitgeist of artists
trending away from their noisy roots via polyphonic escapism.
Based many miles away from her US counterparts in The Hague, South Holland,
Gualdi received a prophetic sign in 2010 when a regional eBay seller offered her
a mint Roland TB-303 for a mere €25-or $33. The instantly identifiable sounds of
the analog bass synthesizer began appearing in Gualdi's studio and live practices.
By virtue of her many aspirations and the array of hardware that Gualdi brought
to the table, Joy One Mile took shape in chaos. Where this disorder might cripple
others, Gualdi's response was energetically and emotionally charged.
The freedom from form that Gualdi sought with Joy One Mile was ultimately
obtained, but the severe surge of the finished recordings left her over stimulated.
Striking a dialogue with Gunnar Wendel (aka Kassem Mosse), Gualdi realized an
objective opinion and arrangement know how would allow clarity and an even
greater freedom-that from her own music.
The singularity of Gualdi's compositions, when pulled back and recalibrated even
slightly, resemble early era Warp Records, and, by that admission, the wayward
electro of early-90s Detroit. The abstractions in Gualdi's programming and mutant
melodies is what keeps Joy One Mile perfectly relegated to outsider status, akin to
the primitive techno of Esplendor Geometrico and Chris & Cosey