The Fairchild OST and Border Land EP are works that Chicago-based Jordan Reyes conceived as two distinct projects, however, as they were written and conceived it was clear they were cut from the same kind of spiritual cloth. Faichild OST - a soundtrack commissioned for the short film by Kali Kahn - and Borderland are filled with the same kind of patient, unfolding modular synthesizer work that Reyes debuted on his 2019 album Close. According to Reyes: "Spacelessness is the central theme on Border Land, three pieces I recorded while in motel rooms on my January 2019 jaunt out to the East Coast. Motel rooms and highways are sacred spaces for me - touring alone is exhausting and transcendental. Hurtling down highways, you watch the landscape change, but are removed from it. Your environs is a purchased ecosystem. Motel rooms blend together. Even in new cities, you've inhabited that room. When you exist in these intermediary, interchangeable spaces, it can be disorienting and psychedelic, especially after long days of driving and playing shows - at the precipice, things slip, reality shifts, the unseen is more easily felt. I tried to channel that feeling while recording Border Land, feeling outside, and considering how it feels to step out or step in, deciding whether something has just finished ("All Things End") or something is about to begin ("Touching Down").
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The Fairchild OST and Border Land EP are works that Chicago-based Jordan Reyes conceived as two distinct projects, however, as they were written and conceived it was clear they were cut from the same kind of spiritual cloth. Faichild OST - a soundtrack commissioned for the short film by Kali Kahn - and Borderland are filled with the same kind of patient, unfolding modular synthesizer work that Reyes debuted on his 2019 album Close. According to Reyes: "Spacelessness is the central theme on Border Land, three pieces I recorded while in motel rooms on my January 2019 jaunt out to the East Coast. Motel rooms and highways are sacred spaces for me - touring alone is exhausting and transcendental. Hurtling down highways, you watch the landscape change, but are removed from it. Your environs is a purchased ecosystem. Motel rooms blend together. Even in new cities, you've inhabited that room. When you exist in these intermediary, interchangeable spaces, it can be disorienting and psychedelic, especially after long days of driving and playing shows - at the precipice, things slip, reality shifts, the unseen is more easily felt. I tried to channel that feeling while recording Border Land, feeling outside, and considering how it feels to step out or step in, deciding whether something has just finished ("All Things End") or something is about to begin ("Touching Down").
