#329. Independent sound art, radiophonic projects and other audio non-visual misunderstandings and findings.
1. RO – ON. (43’).
“Maybe this is the meter, the tight loop turning in thickened air, a see-sawing conversation between, say, the laburnum and an upright oscilloscope. Each track accrues illegibility and searing detail like a mechanical keyboard accumulating alluvium in The Delta. I mean, for all its semantic obscuring, the entwinement of the mechanical and the biotic seeds a gorgeous physicality on Ro’s album, tender and keen, and it buds these astonishing baroque flairs from the thicket: an ornament, a flower, virtuosity, loveliness.”
Ed Atkins, March 2020.
2. Lovozero – Descend.
As any definition of art drifts into the mergers and deviations of form and fiction, Klammklang does it either. Under the number of XXIII goes a release of astonishing flutter, which is simultaneously addressing the very notion of existence of matter.
‘Descend’, the new work of modificatory project Lovozero, encapsulates Anastasia Tolchneva’s sound setting of cross-disciplinary performance of the same name, passed during the first TKANI session in Mutabor, Moscow’s most spectacular underground music venue. By the guidance of Anastasia, Maria Kharitonova and Anna Kravchenko performers tried to reverberate the processes of genesis, growth and dissolution of various structures in human body during the event. The capture of inevitable fluidity was the main aim of the whole act; the reaching of urgent kinæsthetic freedom that creates a proper possibility for reversing of linkage between impulse and motion.
And apart from industrial multileveled interior of Mutabor and various objects of complex nature (silicon, concrete, aluminum) within it and the dancers’ bodies floating in their presence, it was Lovozero’s sound had been calibrating the sentiment right and righteously. (A)synchronous and (a)symmetric pulses, muted… more