Nicolas Bernier: all sounds
Canadian Bernier devised a system of assorted tuning forks put in action by a concatenation of solenoids instructed by a computer. Their untarnished rebounds were paired to a range of sine waves and varyingly elaborated in 33 precious minutes whose decontaminating attributes appeared unequivocable from the outset.
The initial part exploits the chiming traits of the sources, jingling pings and diminutive bell tones punctuating a surface of neighboring periodicities inducing an exemplary palpitation of clashing partials. The fluidity is then briefly altered through relatively tactile pops and rhythmic glitches, in turn supplanted by frequencies so sharp that the birds outside my window began chirping louder (this happens every time I nourish them with this kind of food). When the subsonic matter becomes sturdier, the physical area of self-perception is entered: in the suppositional triangle formed by a standing listener and two speakers, the effect of the bottom ripples pervades the chest (besides setting the auricular membranes in undulation mode) while the brain is wholly delivered from any eventual residue of weariness. This section subsequently turns into a rather constant diffusion enhanced by the luminance of the basic materials; we loved staying there in a state of semi-alertness, absorbing the restorative properties of acoustic innocence.
As one navigates the last portion, a minor increment of tension is noticed: interferences and little noises change state almost visibly as the tiniest subcomponents disappear, replaced by isolated incisive pitches shielded with impressive hums. The finale of this veritable composition sounds like a one-note piano amidst electronic words of farewell: the horizon comprises indefinite figures and hints to unborn melodies before everything dematerializes in the wind. An impeccable record, defined by disparate kinds of intrinsic motility fortifying its natural constitution. The first who utters the word “ambient” gets punched on the nose.