Bleep

Press Release

An endling is the final member of a species. When an endling dies, the species is extinct.

Pakistani-American composer Qasim Naqvi returns with Endling, his newest album for Erased Tapes Records, set for release 30th May. Written as a modular synth prequel to his 2023 BBC Concert Orchestral work, God Docks at Death Harbor, Endling takes the listener on a 43-minute odyssey through an intense and beautiful landscape, set hundreds of years into the future.

“One morning my wife woke up from a dream with a phrase in her mind — “God Docks at Death Harbor, explains Naqvi. I was just starting to write a new work for the BBC Concert Orchestra, and when she told me about this dream of words, it very quickly seeped into the fabric of the music. Her words were a poem to me, evoking very specific imagery. I imagined our planet hundreds of years into the future, where the human race no longer exists. I imagined a world peacefully restoring itself in the absence of us, because we’re no longer around to destroy it and ourselves. This became the tenet of the work. It was like a scenic mural that I could look at for inspiration, as I was writing this tone poem. After God Docks at Death Harbor premiered in the spring of 2023 in London, the feeling stayed with me, and when it came time to think about a new record I felt compelled to continue this narrative. I imagined a prequel, about the last human on the planet — an endling, traversing a world centuries into the future. A world decayed and mutated into a strange amalgam of the natural and artificial. I envisioned the music as chapters, following this human through the crumbling landscape of the future, that was now being overtaken and absorbed by the natural world. In keeping with the tone poem tradition of God Docks, I created the track titles first, and their meanings became more defined as the music began to take shape

On the album’s centrepiece “Power Down the Heart,” featuring Moor Mother, our character stumbles upon an A.I. being that is in the final moments of its life. As a kind of last rites, this ancient artificial consciousness describes the beauty, sadness and horror it has observed for hundreds of years. I wanted the music to feel like the inside of this being’s mind. I shared the music and this narrative with Camae and asked if she would be the voice of this A.I., and she came back with the perfect contribution.

All of the music on Endling was made with an ARP Odyssey, Minimoog and modular synthesizer. For me, one of the many challenging and satisfying aspects of modular synthesizers involves the development of complex timbrel ideas from the ground up, which can rarely ever be repeated perfectly. The device can be organically unstable and fallible. It can feel like an organism and as the performer, you’re in control of the flow of its energy, or voltage. This machine approach to Endling was the perfect compliment to its orchestral predecessor, it felt like a different kind of orchestra from this album’s future – with the organic consuming and transmuting the artificial.

Qasim Naqvi is a percussionist, composer and synthesist. Along with being the drummer of lauded cult minimalist trio, Dawn of Midi, Naqvi is an accomplished solo artist and his passion for multidisciplinary work has brought him into the world of film, dance, installation art, and the stage of orchestral and chamber music. His concert music has been commissioned and performed by The London Contemporary Orchestra, The BBC Concert Orchestra, Crash Ensemble, Bang on a Can All Stars, Jennifer Koh, Stargaze, The Cello Octet of Amsterdam, The Helsinki Chamber Choir and others.