Reflective selections by Sydney DJ and producer Merph.
Merph is Sarita Carol Herse, one of Sydney’s most innovative and exploratory DJ-producers. Since first emerging on the Australian scene over a year ago, her mixes, music and Apparent Motion show have become synonymous with the high-intensity sounds of drum & bass, jungle and dubstep, but Herse’s musical palette extends well beyond the constraints of the dancefloor.
Her Theory Therapy mix is proof of that. It retains the DJ’s deft ear for emotionally moving, immersive soundscapes but eschews the sounds of the club entirely. Compiled in the warm, inviting atmosphere of her best friend’s home in Canberra, her selections comprise of ambient, improvisational jazz, ethereal vocals and spoken word pieces.
As hinted at by the more introspective sounds she’s gravitated towards, Merph’s mix is a highly personal one. The DJ and producer has said that it follows her own experiences lately, from coping with isolation to having important but emotionally exhausting conversations about race and racism. “I’ve been processing a lot of rage and sadness about this, as well as confusion and shame about feeling the need to justify myself to people” she told us. Over 14 tracks, her selections masterfully convey these emotions. From the pensive sadness of ‘(Something)’ by Planning For Burial to the calming tones of Beverly Glenn-Copeland’s ‘Sunset Village’ to the inspiring and sublime ‘Scarlett’ by Frederik Valentin & Loke Rahbek, Theory Therapy 11 is a powerful, emotionally complex story we all ought to listen to. It can be soothing, dissonant, hopeful, restorative and inspiring, often all at once.
Firstly, how are you doing today?
Generally, I’m in the process of rebuilding myself from a place of mental and emotional exhaustion. Today is crisp and bright. I was woken in the early hours of the morning by a storm; each burst of lightning felt restorative.
Can you tell us a little bit about the mix? What were you feeling when you made it?
The mix follows my experience through solitude, detachment, and the processing of mental ill-health. The last few weeks have included varied conversations about race and intersectionality for many people, including myself. These conversations are our lived experiences - we don’t get to switch off or walk away because we are tired or fatigued. I’ve been processing a lot of rage and sadness about this, as well as confusion and shame about feeling the need to justify myself to people. Over the last two days I have been able to reflect on this inner conflict alongside people I love. Their genuine support and optimism for the future has left me at ease and facing forward.
Where did you record the mix?
I recorded this mix in Canberra, in my best friend’s bedroom. There was warm carpet underfoot and a framed print of Escher’s Bond Of Union behind me. Everything in her room is considered and intentional in the most gentle way. I’m honestly so lucky to have her in my life.
What would be the ideal setting to listen to the mix?
Wherever offers you the space to feel sublime. For me, it is walking step-for-step with trees in the sunshine.
Are there any tracks you’ve used in the mix that are special or significant to you?
There are three in particular: ‘(Something)’ by Planning For Burial is reflective of deep sadness, ‘First Interlude’ by Million Square is the welcomed sound of introspection, and ‘Sunset Village’ by Beverly Glenn-Copeland offers the experience of hope.
What’s planned for the second half of the year?
In the midst of uncertainty, all I have planned is to finish my PhD and to leave space open for opportunity.