#marble dust

[killyridols]

crossing by zoe mcguire, 2024, marble dust on canvas 33 × 20 inches

[octarinespill]

Adam Baker - Sunday Rinse, 2025

[pop-up-x]

Katja Larsson - Cat©Compact (I), 2015

75 x 40 x 66 cm

[redxbacon]

a small comic ft treasure hunt! who belongs to @reisartjunk for the ones who doesn't understand the comic, Treasure hunt has a curse where she fuccs ponies unwillingly when meeting eye contact, so she roams around alone! but while resting in some old house, she meets Marble dust! Who is blind! which means she isn't effected by the curse! Well, that’s how i understand the curse! 

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[garciarobles]

HA9MDN Kary

[dustedmagazine]

Head of Wantastiquet/Marble Dust — Marble Dust (Wooden Finger)

Head of Wantastiquet is Paul LaBrecque’s long-running synth/electronics project. If you’re familiar with LaBrecque it’s likely because he plays guitar in the hoary psychedelic collective Sunburned Hand of the Man. Here he plays some guitar, too, but the predominant flavor comes from Moog, as well as various types of synth (Blofeld, dreadbox and some software synths, according to LaBrecque). Thus while his main project drones and thunders in rock-adjacent way, this one stutters and percolates with electronic elements. You could dance to a couple of these tracks (“Dabke” “Les Nuits sur la Plage de Jabalia”), though even the hedonist intervals play to the head as well as the body.

This music is almost entirely instrumental, but LaBrecque makes it express a point of view anyway. Arab themes and sounds run through these cuts; the track titles can be linked to protest against genocide in Gaza. “La Guerre Contre Les Enfants” (“the war on children”) layers shimmering textures of synthesized sound over one another, a high, silvery keyboard motif and flute-like tones carrying a mournful melody. The percussion, when it enters, is likely electronic, but it rattles and pings and echoes like hand drums in some 21st century souk. “Thawra” (or revolution in Arabic) folds a panting breath into insistent, paranoiac rhythms; a sense of panic, of chase, of desperate courage, is built in. “Dabke” builds an exuberant, syncopated beat out of cowbells, distorted guitar and synth drums, both space-age synth-dance and traditional celebration locked in dialogue.

These Middle Eastern flavors reflect a long-standing preoccupation for LaBrecque, whose first album Trees, Chants and Hollers dedicated a song to Rachel Corrie. Dead Seas from 2010 included “Mavi Marmara,” a song about a ship carrying aid to Palestine that was attacked by the Israelis. While living in Germany, LaBrecque recorded with Ghazi Barakat, a Palestinian-German who he says, “deepened my knowledge about the history.” This album further explores the nexus of Arab sounds and Arab struggle in the context of existential crisis in Gaza.

The most direct allusion to these themes comes in “Tonight, I Will Be Ressurected with the Wind,” whose precise lattice of synth sounds gives way, about halfway through the track, to the haunting sound of female singing. That’s Omayma Jehouani, artist LaBrecque found on Instagram. There and on Youtube, she has an extensive library of vocal clips but little to no identifying information. Her voice, however, is extraordinary, with a lilt and a wobble in it that suggests both joy and sadness.  

Though anchored in LaBrecque’s values and beliefs, Marble Dust is by no means polemical. These very human concerns infuse its electronic drones and rhythms with an undeniable spiritual resonance. Not all electronic music has soul, but this record does.

Jennifer Kelly

[hannahwardart]

Beach Style Pool in New York Example of a huge beach style backyard stone and rectangular natural pool house design

[naturepound]

Pool Infinity

Inspiration for a sizable modern backyard renovation featuring a rectangular infinity hot tub and concrete pavers