Yann Novak: all sounds
Conceived for a 6-hour installation, the music of Snowfall reinforces Novak’s standing as one of the principal figures in the place where various consequences of receptiveness integrate in a single unfathomable entity. The intrinsic hypothesis – the flavor of inaction and confinement accompanying a snowstorm – had been experienced first hand by yours truly about three winters ago: the area hit by ten days of endless flakes, all the roads impracticable, a coerced sojourn inside the house. At that time, such a reposeful piece of environmental wisdom would have helped. Novak developed the sonic flow over the course of 60 minutes, starting from hardly discernible particles – classifiable in the “microsound” sector – then exploiting assorted sources, including field recordings, to render a constantly evolving auditory system where each component contributes to a prevailing illusion of motionless harmoniousness. Enormously distant from sheer ambient companionship (read “wallpaper”), the movements within this mesmerizing unfolding help in increasing one’s sense of belonging (or less?) to a given milieu. Basically, a lesson in the interpretation of phenomena caused by the union of a deep reticence with the concealed animation that inevitably surrounds individuals willing to put themselves into an optimal listening-from-the-self condition. In there, we can think without being overwhelmed and breathe in absence of mental states hindering the processes of efficacious beingness. As in every similarly grounded work, consecutive spinning is required for best results.