""Killing the bass, flattening the mood and his muses / Making dad blow his fuses and beat me," Antrobus recites, pausing for impact. "But it wasn't my fault / The things he made could be undone so easily / And we would keep losing connection, but praise Dad's mechanical hands / Even though he couldn't fix my deafness I still channel him.""
"Antrobus and Glennie are two of today's most accomplished Deaf artists at the flashpoint of music and poetry. The Scottish Glennie - the only Deaf artist to win a Grammy - honed an otherworldly approach to her instruments on symphonic and solo work and collaborations with Bjork and director Danny Boyle at the London Olympics. Her sounds careen and resonate in avant-garde ways that feel primal, even tectonic."
Raymond Antrobus recalls childhood fear after knocking over his father's stereo, linking mechanical failure to familial tension and personal identity. Antrobus's lines describe broken connections, praised mechanical hands, and the persistence of channeling his father despite unresolved deafness. Evelyn Glennie, the only Deaf Grammy winner, developed an otherworldly instrumental approach through symphonic, solo, and high-profile collaborations; her sounds are described as avant-garde, primal, and tectonic. Antrobus achieved recognition with The Perseverance and a memoir, The Quiet Ear, exploring deafness within his Jamaican-British upbringing and d/Deaf artistic traditions. Their album Aloud, produced by Ian Brennan, was recorded in single takes without rehearsal, highlighting improvisational interplay. Deafness informs new understandings of music and reveals how society can support or fail artists with different abilities.
Read at Los Angeles Times
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