Fragments is the debut album from LA’s Body/Negative, the pseudonym of nonbinary multi-instrumentalist and producer Andy Schiaffino, and follows their Epoche EP from 2019. Beginning with an instrumental cover of Elliott Smith’s ‘Figure 8’ that sounds like it’s being heard through the gauzy vestiges of sleep, Schiaffino has produced an ambient album full of unique personality and highly personal, almost diaristic reference points.
Further. spoke to Schiaffino about the thoughts, feelings and inspirations that went into the creation of this beautiful micro-masterpiece of an album.
Listening to classical music as a child definitely influenced the way that I write. I primarily use sitting at my piano as my main source of inspiration – music always seems to come out of me easier on the piano if that makes sense. I grew up listening to a lot of classical composers and opera – things like Yanni and Andre Rieu – and groups like Thievery Corporation thanks to my oldest brother’s exceptionally good taste. I feel like all of those early sources informed the melodies that I create now and maybe even appears in my vocal style and often lack of lyrics.
The making of Fragments began probably in the summer of 2019. I had a lot of demos I was fleshing out with Dylan Gardner of the psych project Communicant, who ended up co-producing half of the record. I didn’t really intend to make an LP at first, I was just working on ideas, but all of those tracks just sort of found their way into being on this album. I put it down around the early spring of this year when I was in a really depressed state which eventually led to a major break up in my life, and I couldn’t bear to listen to any of the songs until maybe June or so when we were deep in quarantine.
I think I took a lot of inspiration not only from the electronic music, IDM and ambient music that I listen to, but also a whole lot of pop music. My co-producer has his roots in pop and produces a lot of pop artists. He showed me a lot of really, really awesome pop artists who have some pretty incredibly experimental production. I really tried to harness those textual elements that I found and put it in my music in a way that felt appropriate. Pop music really was a huge influence throughout the making of the first and second half of the record, in addition to things like shoegaze and dreampop.
Inspiration, productivity and creative impulses are pretty sporadic for me. I can’t really just sit down and force myself to write something. I really envy the people that do have that ability! I can pretty much only write when I want to and when I have an idea; whether a melody pops into my head while I’m driving, or I hear something in a song that I want to replicate. My demos always have to have some kind of clear purpose behind why I’m sitting down to make it, otherwise I just kind of make garbage.
A lot of my music is made while sitting on the floor of my living room surrounded by gear and tangled cables. I don’t know why but that kind of weird chaotic space makes the most sense for me and helps me get all my ideas out. Pretty much all of the album was recorded in my home, aside from ‘Figure 8’, which was recorded in my co-producer Dylan’s studio and engineered entirely by him. The final track ‘The Big Sleep’ was a remote co-write with my friend Nick Ventura. He did about half of the things you hear on that track, and I believe recorded his parts in his own home.
My co-producer Dylan used to always play Elliott Smith’s ‘Figure 8’ for me on his beautiful teachers’ model Wurlitzer piano which I am so envious of and want one of my own. He used to always play me that song before I had ever really dived deep into Elliott‘s catalogue – Dylan was already a massive superfan and eventually showed me all of my now-favourite Elliott tracks. Dylan played it so beautifully that I always just assumed that it was one of Dylan‘s original songs; I never knew it was a cover of something! I found that melody to be so beautiful and so strange, and eventually one day I woke up with such a strong urge to cover it and make it my own, so Dylan and I recorded our version of it in one night.
I absolutely love Elliott Smith. I was kind of a late fan even though I’ve been seeing murals of him everywhere ever since I moved to LA in 2017. I hope I don’t lose too many cool points for admitting that! His music has such a fragile quality to it, and it’s got this just really beautiful element to it which I think isn’t found in a lot of modern singer-songwriters’ catalogues. I think he was a really special person and I relate a lot to his story… In addition to that he’s just an incredible guitarist and undeniable melody magician and I think that he is totally underrated.
The first half of Fragments was recorded in chronological order. I was feeling really down and there were a lot of tough things happening in my life. The second half of the record was kind of just reflecting on the idea of saving yourself, and helping yourself stay afloat.
The very last track ‘The Big Sleep’ is a euphemism for suicide (and also a cheeky reference to David Lynch). My decision to make that the final track on the record was not only because it is sonically lighter than the first half of the record, but it’s also a song that’s about wondering what lies beyond life. I never really felt existential in that sort of way. Rather than fearing the endless unknown of the afterlife, I always welcomed death with open arms, and there’s been a lot of death in my life, so it always felt very normal for me strangely.
That track was me grappling with the idea of, “What actually happens after I die?” for the first time in probably my entire life, so I thought it would be an excellent album closer, to leave things on a light note, right? I think the latter half of Fragments was both intentionally and unintentionally lighter, and definitely draws more from shoegaze and dreampop (mainly bands like Alcest, Slowdive, Hatchie, Tamaryn), much more so than the first half of the record.
Fragments by Body/Negative was released October 23 2020 by Track Number Records.
Interview: Mat Smith. With thanks to George.
(c) 2020 Further.