Infinite options and endless possibilities. These are what we face when we set out to create. It can be paralysing (who can forget the terror of a blank page at the start of an exam?) and it can be liberating. For Sydney-based super producer Lavurn Lee, recording as Guerre, this idea of something out of nothing was an inspiration for his latest release Ex-Nihilo. Writing constantly over the course of a year in his garage, and with help from friend Marcus Whale of Collarbones, the project took form. Previous releases revealed Lee's great skill for experimental R&B, and Ex-Nihilo is a striking evolution. Using a restrained palette of tones and textures, Guerre has crafted a compelling collection of neo-soul songs, deeply personal and eerily detached. Lee's haunting vocals and melodies are combined with an array of fascinating beat structures, and there are traces of disquiet and the feel of silent cityscapes in the atmospheric arrangements. THUMP is pleased to bring you the premiere of the stunning album in full via Guerre's label Yes Please, and an interview below.THUMP: Ex-Nihilo represents your first full-length album. Was the process very different from how you've approached making music before?
Guerre: Yes, I think so. As it's the first time I've written an album, I guess I didn't really know how to go about doing it. In one sense it's putting together a bunch of songs that I'd written during this time period that I guess had a similar kind of aesthetic flow. But that's why I called it Ex-Nihilo. It means, in Latin, coming "out of nothing". In some ways that's where the album came from. I mean it came from late nights staring a computer screen. Not much planning or focus I guess.It can be pretty scary, staring into the void and looking at nothingness. In a broader sense, is your album looking at these concepts of creation and annihilation?
Definitely. I find this happens with artists, a general tendency or idea that they don't understand what they're doing. And I very much relate to that. I'm just feeling my way through things, kind of figuring out everything as it goes. Initially, I guess, the act of creation, making a song, feels very much like it arises from nothing. I don't want it to sound like a cop-out, there's definitely a source to everything, but that idea of the blank slate, it can be an extremely liberating way to make music I think because there's no boundaries.Were there any other themes or stories that emerged as the writing of Ex-Nihilo progressed?
Yeah I think some themes emerged, but probably in an unintentional way, on my part. A lot of the lyrics were written kind of on the fly as I went. It wasn't hugely considered, it was more instinctual. I mean I was feeling my way through, sort of like strumming out ideas on a guitar, but using a laptop. A lot of the lyrics feel like mantras to myself, or advice to myself that makes me feel empowered. I guess that's a theme.And then it's up to other people how they engage with that, and what they take from the songs? I guess that's part of the beauty of music in general?
Yeah, and that's the most exciting bit for me is to have that exchange with the audience. It's really integral to who you are as an artist to have that feedback, and response from the audience. That's what I'm most excited about. I haven't really done anything as Guerre for ages, and I'm super curious to see how people relate to it.Given that you were writing a lot of material during the last year, and probably more than you needed for the album, what criteria did you use to decide which songs made the cut?
I think it was trying to see which songs fit together but also complement each other. And I think vocals were a big consideration, seeing which tracks had the strongest vocals. Because I guess with the whole Guerre project, as opposed to Cassius Select, one difference is that I have my own vocals on the songs. I mean that's one of the main technical differences. In Cassius Select there's none of my own vocals. But for the album I guess emotional force was a big thing with the songs. I was attracted to the more emotionally powerful songs.On that subject, electronic music can sometimes leave a sense of technical achievement over emotional connection. Almost like there's an arms race for the most technologically advanced material at the cost of everything else. What are your thoughts on balancing technique with songcraft?
I agree electronic music can be quite competitive, and almost sports-like in the way you can gain success or whatever. I think it's really important as a listener, also as a producer, to filter or hone in on what you like. As you hear more sounds you get to understand what you like more and more. Then when you're making music you just draw yourself to that. I feel especially in Australia, because there's no huge club infrastructure like there is in Europe for example, you can kind of see electronic and dance music in this sort of supermediated and appropriated way. You can be outside of it, when your making it, without the same pressures. It feels like you can really take what you want, and make it your own, at your own pace, which is exciting.What are your intentions for the rest of the year?
With Guerre there's this album, and a tour. Then maybe one or two more videos for songs from the record, and some remixes. And then with Cassius Select there's an EP coming out this year, and maybe some singles. And with Black Vanilla there's also a single and some videos. Quite a lot of releases planned!Ex Nihilo is released Friday July 4 on Yes Please / Remote Control
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Guerre: Yes, I think so. As it's the first time I've written an album, I guess I didn't really know how to go about doing it. In one sense it's putting together a bunch of songs that I'd written during this time period that I guess had a similar kind of aesthetic flow. But that's why I called it Ex-Nihilo. It means, in Latin, coming "out of nothing". In some ways that's where the album came from. I mean it came from late nights staring a computer screen. Not much planning or focus I guess.It can be pretty scary, staring into the void and looking at nothingness. In a broader sense, is your album looking at these concepts of creation and annihilation?
Definitely. I find this happens with artists, a general tendency or idea that they don't understand what they're doing. And I very much relate to that. I'm just feeling my way through things, kind of figuring out everything as it goes. Initially, I guess, the act of creation, making a song, feels very much like it arises from nothing. I don't want it to sound like a cop-out, there's definitely a source to everything, but that idea of the blank slate, it can be an extremely liberating way to make music I think because there's no boundaries.Were there any other themes or stories that emerged as the writing of Ex-Nihilo progressed?
Yeah I think some themes emerged, but probably in an unintentional way, on my part. A lot of the lyrics were written kind of on the fly as I went. It wasn't hugely considered, it was more instinctual. I mean I was feeling my way through, sort of like strumming out ideas on a guitar, but using a laptop. A lot of the lyrics feel like mantras to myself, or advice to myself that makes me feel empowered. I guess that's a theme.
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Yeah, and that's the most exciting bit for me is to have that exchange with the audience. It's really integral to who you are as an artist to have that feedback, and response from the audience. That's what I'm most excited about. I haven't really done anything as Guerre for ages, and I'm super curious to see how people relate to it.Given that you were writing a lot of material during the last year, and probably more than you needed for the album, what criteria did you use to decide which songs made the cut?
I think it was trying to see which songs fit together but also complement each other. And I think vocals were a big consideration, seeing which tracks had the strongest vocals. Because I guess with the whole Guerre project, as opposed to Cassius Select, one difference is that I have my own vocals on the songs. I mean that's one of the main technical differences. In Cassius Select there's none of my own vocals. But for the album I guess emotional force was a big thing with the songs. I was attracted to the more emotionally powerful songs.On that subject, electronic music can sometimes leave a sense of technical achievement over emotional connection. Almost like there's an arms race for the most technologically advanced material at the cost of everything else. What are your thoughts on balancing technique with songcraft?
I agree electronic music can be quite competitive, and almost sports-like in the way you can gain success or whatever. I think it's really important as a listener, also as a producer, to filter or hone in on what you like. As you hear more sounds you get to understand what you like more and more. Then when you're making music you just draw yourself to that. I feel especially in Australia, because there's no huge club infrastructure like there is in Europe for example, you can kind of see electronic and dance music in this sort of supermediated and appropriated way. You can be outside of it, when your making it, without the same pressures. It feels like you can really take what you want, and make it your own, at your own pace, which is exciting.What are your intentions for the rest of the year?
With Guerre there's this album, and a tour. Then maybe one or two more videos for songs from the record, and some remixes. And then with Cassius Select there's an EP coming out this year, and maybe some singles. And with Black Vanilla there's also a single and some videos. Quite a lot of releases planned!Ex Nihilo is released Friday July 4 on Yes Please / Remote Control