LOUIS CARNELL has announced a parting of ways from his Visionist alias and shared a vocal reworking of ‘Cast’, the first material to be released under his birth name, ‘Fixed is the day We’ve cast our lot’:
Listen to / buy ‘Fixed is the day We’ve cast our lot’: https://mute.ffm.to/wcol
Over the past decade multi-disciplinary artist Louis Carnell’s Visionist alias has evolved from its early stages as an exploration of underground club culture, a reflection of Louis’ environment as a Londoner and an investigation of the post-internet world, to something more interrogative and personal in its manner. Louis’ willingness to be unguarded saw him at the forefront of tackling themes of anxiety, and the connotations of masculinity and race.
“After 10 years and three albums, now is the time to part ways from Visionist. Working as Louis Carnell presents an opportunity to reinforce an understanding and connection to my work today.”
The decision to move forward from his alias in favour of his birth name declares an exciting new pathway in which Louis has given himself the breadth to experience freedom, a space of no distraction or compromise.
He will continue to be vulnerable, explorative and resilient when confronted with barriers constructed because of his identity.
“I know there will be some people saddened by this departure, and I thank you for the times shared. I’ve always felt it’s my duty to adapt and honour a true reflection of what I understand myself to be. I hope you continue with me on this journey”
‘Fixed is the day We’ve cast our lot’ is a transitional track, the first release under his birth name and the final one associated with Visionist. It is a newly recorded vocal reworking of ‘Cast’, one of the standout tracks from the last Visionist album, A Call To Arms (Mute, 2021). The lyrics are in response to the passing of his beloved Granny last year, and unwanted experiences of isolation.
Accompanying the track is a collaboration between Louis Carnell and theoretical sculptor David Guerrero: an AI and CGI film, created with hundreds of self portraits shot by Carnell throughout lockdown. The film proposes a visual grammar in this post-Trump/Brexit moment, imagining a visual vocabulary of unity and ideological coexistence in consumer media platforms, where our ideological positions (and those of our antagonists) are widely formed.