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A kind of fallout miracle. I fell in love immediately with this voice, the low key despair, and the hope lying just out of sight. An incredible collaboration. — Ben Pester
Andrew Mears is a singular creative voice and it’s bracing & fresh to hear that voice in tandem with the equally extraordinary Claire Carroll. Together they form an electric synergy, full of fresh cadences & angles. A beautiful piece. — Yannis Philippakis, Foals
The new pamphlet from Claire Carroll and Andrew Hykel Mears is TREATMENT, a wry take on late capitalism full of wit, humour and pathos. We can't wait for you to read it!
Beginning with an introduction to a meeting, the opening verses introduce a proposal for an advertisement film; a Treatment. From here, the narrative digresses into vignettes - a couple attending a house-viewing, a swimmer in a marine lake, a comedian on stage, artists making a performance piece - returning periodically to the ‘room’. The text is disrupted by imagery, footnotes and other distractions, but returns again and again to the assertion that there is ‘no sense of an end’.
A kind of fallout miracle. I fell in love immediately with this voice, the low key despair, and the hope lying just out of sight. An incredible collaboration. — Ben Pester
Andrew Mears is a singular creative voice and it’s bracing & fresh to hear that voice in tandem with the equally extraordinary Claire Carroll. Together they form an electric synergy, full of fresh cadences & angles. A beautiful piece. — Yannis Philippakis, Foals
The new pamphlet from Claire Carroll and Andrew Hykel Mears is TREATMENT, a wry take on late capitalism full of wit, humour and pathos. We can't wait for you to read it!
Beginning with an introduction to a meeting, the opening verses introduce a proposal for an advertisement film; a Treatment. From here, the narrative digresses into vignettes - a couple attending a house-viewing, a swimmer in a marine lake, a comedian on stage, artists making a performance piece - returning periodically to the ‘room’. The text is disrupted by imagery, footnotes and other distractions, but returns again and again to the assertion that there is ‘no sense of an end’.