the space between us
the space between us
Madala Kunene & Sibusile Xaba
"Found through the magical bin of Bandcamp. Love how this feels to listen to while driving. "
Allegra Krieger joins Weajue for a conversation about her album Art of the Unseen Infinity Machine—a record that grapples with impermanence, and the liminal spaces of existence. We talk about the Infinity Machine as a mechanism moving through us, signs, talismans and dream. She explains the strange trinity of pain and joy and compromise, the act of absolving yourself and your body, the binary of here or not-here, and what it means to sit with the pull toward “over and out” when nothing is yours to keep. Recorded outside the Opera House in Toronto on the final night of her tour with Foxwarren.
We end off the episode playing tracks from Foxwarren’s latest record, 2.
Full transcript available here
─────────────────────── ⋆⋅☆⋅⋆ ────────────────────────
If I had to sum up the past five years of my life, it would be this question: what are you doing here anyways? It’s the repeated line from “Came,” off Allegra Krieger’s Art of the Unseen Infinity Machine, and it’s been sitting with me—lodged somewhere between my chest and throat—since I first heard it. Sometimes as an accusation, but these days as an honest inquiry into the fact of existing at all. This album is one that’s been reducing me to tears for the past year. It’s a record about impermanence and displacement, about the Infinity Machine that propels us forward whether we notice or not.
The conversation begins, of course, with the Infinity Machine. Allegra discovered the phrase while working at a bookstore, flipping through some science book. She started thinking about this mechanism, potentially cyclical, moving all of the time around us and through us. How light and dark, positive and negative, all contribute to this thing that keeps propelling us forward.
The other theme that runs through this record is fire. Literal fire—Allegra’s building caught fire shortly before she recorded the album, and several songs were written in that immediacy. But also the metaphorical burning, the tactile impermanence of being here one day and gone the next.
And I think about what it means to live in that space, fully in your body, in your days. To eliminate edges with wonder. To exist in formlessness, in the dissolution of boundaries that separate you from everything else. When Allegra talks about the art of the unseen, she’s talking about looking up to the sky, praying to something, having a little hope. Or appreciating the hopelessness for what it is.
“Into Eternity” builds to this line: pain and joy and compromise. The pain and joy make sense—they’re both intense, both demand attention. But compromise is the strange third element that I still feel myself fighting against. I have often written to myself about allowing myself to succumb to whatever it is.
When the conversation ends, I realize we haven’t resolved anything. We’ve just sat with questions that don’t have answers. What are you doing here anyways? How do you continue when nothing lasts? Can you be present without mourning the present? What does it mean to exist without deserving to?
Still, the album ends in New Mexico—her voice and guitar, in transit. Allegra drove across the country in a hand-me-down car that shouldn’t have survived, pulled over in Truchas with car trouble, and played guitar before figuring out the logistics. “Nothing here is mine to keep.” We’re born, we die. Everything in between is perfect noise. This conversation was never meant resolve anything. And even if we continue without knowing if we should, I hope you continue for a long time.
Allegra Krieger joins Weajue talking about her album Art of the Unseen Infinity Machine—a record that grapples with impermanence, and the liminal spaces of existence.
Press play and enter the Infinity Machine
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