Long Distance Poison is an experimental electronics project from Brooklyn, NY. Through a developed process that uses autonomous and generative systems, pseudo randomness, improvisation, layering, spectral modulation, drone and noise, LDP creates music that constructs a temporary relation to the mystery, searching for the sacred in the sound of sound. Since 2015, they have been expanding this line of experiment into audio/visual synthesis.
Started by Nathan Cearley and Erica Bradbury in 2009, LDP began performing music as a kind of improvised anti-rite. After a number of early releases, including tapes on Thurston Moore’s Ecstatic Peace!, Digitalis Limited, and Steve Moore’s VCO recordings, the project began to shift emphasis towards a care for the spectral, practicing with the understanding that when the work exists for itself its nature is always already spiritual given the clearing it creates for the experience of thought’s exteriority.
Social shut-ins, LDP mostly performs in the Brooklyn area, having made exceptions to perform at the Voice of the Valley noise festival, the 24-Hour Drone: Experiments in Sound and Music festival at the Basilica Hudson, The Wassaic Project and to contribute, via live remote feed, to Seattle’s Next 50 World’s Fair celebrations at the Intiman/Playhouse. In New York City, LDP has performed at the MOMA PS1 NY Art Book Fair, scored multiple films for Nitehawk Cinema’s Live Sound Cinema series, performed two nights at the Whispers Sound + Art Series at the Autumn Bowl, recorded an episode for ESP TV, twice performed at the Ende Tymes Festival, and did a two month residency with the Clocktower Gallery at Pioneer Works called Sound and Time: Sacred Music after a God. Their film, It Sounds Like Time Inside, played at the Codec Festival in Mexico City. Most recently, they completed an audio/visual synthesis project called Rheomodes that is on installation at Printed Matter.