Sudan Archives aka LA-based composer, producer, performer and violinist Brittney Parks burst out of LA’s experimental electronic scene in 2017 with a distinctly visual approach to music making and a deep love of violin.
One of the things that makes Sudan Archives' sound so captivating is her revolutionary approach to this instrument. Learning by ear in church rather than through classical training, Parks developed unconventional techniques through pure experimentation. Discovering that an amplified electric violin produces percussive sounds when struck, collecting "stone age violins" that connect her to the instrument's global heritage, and playing upside down on a stripper pole – these unorthodox approaches have yielded a sound that has moved through breakout moments like Come Meh Way to the upfront party energy of her new album, The BPM.
The name Sudan Archives itself tells a fascinating story. Originally a nickname suggested by her mother during Parks' journey of cultural self-discovery, it took on deeper significance when she found striking parallels between Sudanese folk music and other global violin traditions. This cross-cultural connection resonated with her own experience seeking representation as a Black violinist. Though sometimes misunderstood, the name reflects what I really feel is a genuine passion for violin cultures worldwide and her own musical journey.
When I caught up with Brittney, she discussed her evolution from bedroom producer to innovative artist, her experience with imposter syndrome at Stones Throw Records, and how her latest work embraces a more playful, sometimes "silly" aesthetic that might surprise longtime fans. "The BPM" drops October 17th on Stones Throw – prepare for a boundary-pushing journey that honors the house and techno traditions of Detroit and Chicago while remaining unmistakably, uniquely Sudan Archives.
Pre-order and preview tracks fromSudan Archives’ The BPM here
Follow Sudan Archives on Instagram: @sudanarchives
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Want to go deeper? Grab a copy of my book Coming To Berlin, a journey through the city’s creative underground, via Velocity Press.
And if you’re curious about Cold War-era subversion, check out my BBC documentary The Man Who Smuggled Punk Rock Across The Berlin Wall on the BBC World Service.
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