Rabit is the spearhead of a new international collective of artists that use their label Halcyon Veil to create a fresh, free and revolutionary perspective for the future of electronic music, one of the most influential projects of the last years.
This producer from Houston comes to L.E.V. to show his new audiovisual experiment, a new take on Baudelaire’s Les Fleurs Du Mal, with French-Canadian artist Cecilia, and collaborations from Elysia Crampton and Chino Amobi under the sharp production of Drew Macdowall (from legendary Coil) and Cecilia herself.
A descent into hell hosted by one of the creative minds behind Bjork’s new sound.
Rabit is Houston producer, composer, DJ, and record label owner Eric Burton. Chiseling out a bold vision of sound since 2012 Burton has slowly worked his way to the forefront of an international group of artists seeking to create a fresh and uncompromising perspective on future dance music and the very fabric of the club landscape.
Much like his contemporaries, Arca, Lotic and Toxe, Burton combines industrial, hip hop, noise, and sound collage to foster sonic spaces for the exploration of sexuality, gender, race, embodiment, and injustice. Starting his career in 2012 with several EP’s, splits and singles, it was his 2015 debut album, Communion, released on NYC’s Tri Angle Records, which garnered him broad attention by international audiences and the music media. Inspired by the talent emerging around him, 2015 also saw the launch of Burton`s own label Halcyon Veil, a collaborative release with NON’s Chino Amobi as well as a official remix for Björk’s VulnicuraLP.
In 2016 Rabit was featured heavily as a producer on Elysia Crampton‘s Break World album, Elysia Crampton Presents: Demon City (with Chino Amobi, Why Be, Rabit & Lexxi). Additional time was invested in Halcyon Veil releases of artists such as Why Be, Angel Ho and Abyss X.
In 2017 Burton reconnected with Björk for production work on her upcoming release Utopia.
Additionally Rabit is set to release his sophomore album Les Fleurs Du Mal via his own Halcyon Veil imprint on November 3rd 2017.
Succeeding 2015’s groundbreaking album Communion, Les Fleurs Du Mal is the work of an artist attempting to navigate the boundaries of self and world in an increasingly chaotic environment. It is a declaration of position, and also intent. A personal milestone, the canvas turned wholly inward- a psychedelic tapestry of dreams and inner worlds, defiantly expressed through texture, color, melody and rhythm.
Les Fleurs Du Mal can be best understood as an arena, a place for the artist to explore confluent ideas without the harms of judgement. A spielraum, described by the author Frances S. Connelly, -“The grotesque Spielraum functions as a vehicle for mediating the ever-collapsing boundaries of the known…. it is an action, not a thing – more like a verb than a noun. The grotesque is best understood as something that creates meaning by prying open a gap, pulling us into unfamiliar, contested terrain.”
A tribute to the Rococo style, the carnivalesque, sidereal sound, acousmatic processing, modular synthesis, drone, new age, folk, and noise, the album can potentially be seen as a statement triangulating itself with Elysia Crampton’s Demon City and Chino Amobi’s Paradiso, both of which feature the artist himself. Both projects suggested new, independent worlds, and Les Fleurs Du Mal can be seen in the same light, a product of intentional sequestering, in the hopes of creating something pure, singular, and human.
The album’s twelve movements are also defined by their search for new and interesting ways to create an audio experience. Think of it as an aural version of handwriting, composed using a combination of cut-ups, randomization, spectral processing, and poetry. Rabit is joined by special guest vocalists Cecilia and Chino Amobi, with album co-production courtesy of Cecilia, and famed Coil member, Drew McDowall.
” It’s a lot of God and a lot of sex. Some rebirth, stagnation and death and some hope.” -Courtney Love
“….to seek the face I had before the world was made.” -Joel-Peter Witkin