Between 2012 and 2015, Crampton moved to Virginia, to the 2,500-inhabitant town of Weyers Cave. It was here, in 2015, that she had the chance to craft her EP masterpiece American Drift for Blueberry Recordings. The album, is an exploration of what she has defined as her experience of brownness “beyond culture, as geology,” as an Andean two-spirit woman in the context of Virginia’s own colonial history. Identifying as a body “dwelling between colonized and colonizer” (Rodriguez, 2016) has helped Crampton navigate land/soil on a geological level. The resulting four tracks are warm-hearted soundscapes built on layers of cumbia and caporal percussions, looped with atmospheric recordings. As Nishnaabeg academic Leanne Betasamosake Simpson says in her book As We Have Always Done: Indigenous Freedom through Radical Resistance (2014), indigenous people don’t relate to the land by possession or control over it, but through connection; “a generative, affirmative, complex, overlapping, and nonlinear relationship” with the land (Simpson, 2019) is exactly what Crampton has been investigating in American Drift. As she remarked in an interview in 032c last year, “The notion of stone is something that is prevalent in our daily lives because of geography and praxis, becoming part of the languages we signal — chemical, tactile, textual, textilic, iconographic, oral, etc. That affiliation with stone, with all of its becoming, all of its generativity — all of these things come into play and that’s a long history that also created me. The stones are my family and my ancestors, a shared becoming, a shared story.”