WE’RE NEVER FULLY CONTENT
The Wanting Creature, the second offering from Brooklyn-via Seattle band Iska Dhaaf, is best described as profoundly vulnerable. It takes the complications of loss, depression, and instability from Nathan Quiroga’s & Benjamin Verdoes’ personal lives and turns them into something beautiful.
The album is an intuition or series of transmissions that surfaced slowly over the 3 years the record took to complete. It is an intricate conversation they built, deconstructed and built again. The Wanting Creature revolves around the theme of desire and how it manifests in each area of our lives, even our biology.
True to the form of their first album, the poetry and wordplay of the lyrics on The Wanting Creature is rich, nuanced and layered. Every word is carefully chosen and there is a precise subtlety that allows the lines to continually unfold new meaning and imagery. Likewise, the sounds are refreshing and distinct. The band took their early methods of composition and pushed them into a new realm of production. This was due to the band’s desire to move forward but also the spatial constraints of New York City. The arrangements are bathed in digital textures and explore entirely new sonic territory. Much like Phantogram, Liars, and other contemporary innovators, Iska Dhaaf have pushed themselves to a wider spectrum of possibilities and experimentation.
Brit Zerbo — Editor & Director
PROJECT TIMEFRAME —
January 2016 – April 2016
RECORD RELEASE —
CONCEPT & PRODUCTION
Visualizing The Wanting Creature was an incredible challenge that I eagerly welcomed. When approached with the short deadline I put a lot of trust in my instinct and my gut. During my first listen of the album I was immediately inspired by stark B&W tones and the search for the unrecognizable and abstract patterns in common surroundings. I strive for my work to feel sensorial. To make you wish you were high and in an altered state. I created a make shift studio in my unfinished basement and was found down there most nights after putting my son to bed. Each piece was filmed using a Canon Mark III and a 100mm macro lens. I explored a wide range of subjects; grade school chemical reactions, found bug carcasses, the slowness of life underwater, the colossal strength of life above water, etc. This project was the first freelance opportunity since the birth of my son. It was very emotional, extreme highs followed by motivating lows. I was pushed heavily in ways that I’ve never felt and ultimately grew to be a stronger artist.