Mechanics. The sound flickers here and there, it creates psychogeograpies with condensed, multilayered and dispersed sounds originating in any sound-source I came across in the past eight years since I’ve started to explore do-it-yourself electronics. Tracks are constructed like composite spatial-temporal topology entering different mental spaces, marking areas of contractions and expansions of physical substances attracted by dispersed gravitational poles. The album is a series of short compositions creating allusions of string theory with vibrations of space in field recordings (audio, electromagnetic, ultrasonic), analogue electronics, modular synthesis, digital instruments and computer manipulations. The use of means to reach a certain sound is intentional and selective but non-exclusive.
The instruments are not really “played” but rather “played-with” to produce unexpected patterns of strange harmonies and off-beat rhythms. Various failed repetitions are inviting anomalies creating small acoustic or analogue mistakes that release the tension of mechanically produced symmetries. Playing with the idea of string vibrations, I grew an interest in wires howling in the wind, singing bridges, forgotten instruments like the old family zither passed down through generations… the dispersed sound particles in Graviton exist in the spaces between sounds like a graviton, an unobtainium; they were made by drawing the unstrung bow over after-bridge of a double bass. I play with strange use of familiar sounds.
Science. So physicists, to solve one of the most pressing puzzles of quantum gravity, are looking for a graviton, a massless particle, moving at an incredibly fast speed, with no electrical charge, and a quantum spin of 2. Nature, it seems, is not without a sense of humour… The titles of the tracks are taken from string theory not to mathematically follow the complex calculations – that even the most advanced researchers are striving to prove and escape the dreaded infinite result – but rather to think of it as a method of being in the world of familiarities. For the whole universe is built of a given set of particles – no meter if that number is 18 or 32 or higher – and the difference between a rock and I is much smaller than we were led to believe. The complexity and familiarity from which the entire universe is built is a meditation of the album. In this sense, sonic compositions are used as means to audibly experience the understanding of the consequences of natural phenomena that are studied by science. What connects creatures are fundamental objects of the whole universe – the strings and branes. Thus, the quantum particles precede all forms of mutual exchange between non-human and human creatures and cultures.
Storytelling. Another variation of this same tale says that all things in the world have kami [神]. Here and there, I wake up some little creatures and give them voices (Interactions). Some are mechanic and sound quite similar to those who are organic but it doesn’t matter so much… Some sounds reveal whole landscapes or big spacious halls in their language. Some stories are told by the use of a resonating theme and many times I’m not completely aware of where the composition is heading. Yet, in some cases, I want to express a very concrete story like in Dark Energy. It tells a tale of a dark stallion in a harsh windswept land all bruised from years of beating by the hands of humans. His front hooves are tight together with a short iron chain severely crippling his mobility and making it impossible for him to gallop or mate. He is not alone. Thousands like him suffer to their bitter ends to be served on the Western European plates and no one asks where he is coming from or how he lived as it is the case with self-consumed consumerism. The sound of chains is like the sound of money, cold and harsh and difficult to record. The recorder was clipping. A large portion of the sound of chains is above hearing range (25kHz). It must drive the horse mad.
Trouble. The weight of an apocalyptic doom lays heavy on Terra and some of the tracks (Hedrons, Dark Energy) reflect this more than others. But it is far too easy to be pessimistic and give up on the world because “nothing is going to make it better” like it is easy to make disharmonies by the use of analogue electronics. Pessimism leads to even more destruction out of resignation or ignorance or sheer obscenity like with some accelerationists. Making harmonies in any scale by the use of analogue and acoustic equipment is somewhat more difficult like it is difficult to be optimistic and produce persistent small solutions without projecting them to some ultimate utopia in the future. Donna Harraway advises, that staying with the trouble does not require […] the future [but] learning to be truly present, not as a vanishing pivot between awful or edenic pasts and apocalyptic or salvic futures, but as mortal critters entwined in myriad unfinished configurations of places, times, matters, meanings. Through these compositions, I’d like to remember the good things and important historical events like a cockchafer landing on a recorder.
Magic. These events are remembered to create unpredictable and unprescribed harmonies, full of playfulness and a need to dance (Heterotic String). I’m deeply moved by the scales and sounds of African string instruments and the bwilli ritual music. No sound is more beautiful than the music that helps to heal with all the convulsions the healing process might bring. Their composition is persistent, repetitive yet unpredictable and it brings transformation in the listening subject. I hope I remembered some of these ritualistic chanting…
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