Aural Terrains

There are various reasons for liking this combined endeavour by Chrysakis (laptop, electronics) and Matthews (digital synthesis, field recordings). The most directly striking is the naturalness springing from certain complicated developments, not necessarily a given in these situations where, quite frequently, scholarly mouldiness tends to overpower the necessity of conveying an accessible communication. But the fact that, in the same record, one can find implausibly embroiled networks of ricocheting frequencies alternated to appearances by barking dogs and a garrulous rooster gives you a clue about the artists’ inherent humour. This type of smartness in the mind of an electroacoustic assembler is indispensable, thus guaranteeing that the resultant music will never be heavy on the ears. The dynamic opposition is dramatic but not overly convulsive, the work on the distant regions of the audible gamut is carried out with an accurate idea of what the audience should “experience” more than “hear”. For Chrysakis and Matthews, the main line seems to reside in the preservation of a continuous logic, even in the sections where the nervousness of the textural regeneration would appear to fragment common sense and coherence a bit. But it’s exactly in those moments that the couple throws us threads of light that we can easily follow to regain the eventually lost balance amidst all those amorphous signals and codes.

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