A cause of extreme disgruntlement for this writer is the passive awareness that the bulk of a lifetime was splurged on issues and people not belonging to a sphere of intuitions and considerations even marginally correlatable with his own. If one inaugurates the process of growth by being predominantly attracted by non-vocal emissions, it is foreseeable that – quite soon – attention will not be given anymore to individuals imparting sagacity via mere words, typically instilling some kind of dismay in the potential victim. In that sense, imagine the (adult) quotidian disheartenment for not having a chance to remain within essential acoustic domains when the calls comes; silence is mandatory to do that, and silence is by now a rare commodity. Finally, try to explain all of the above to someone blathering non-stop because convinced – possibly via previous trauma – or out-and-out pretending of living outside his/her body, then get back to me for a good laugh together.
But we do get privileged whenever communicating – remotely but, by the grace of heavens, through sounds – with truly developed beings such as Christina Kubisch and Annea Lockwood, themselves linked by a long-time friendship and artistic consanguinity that never had resulted in a tangible collaboration. Until today.
Narrating yet again what these women have been doing throughout their histories of sonic researchers would be pathetic (but if you still think there is a need to, a peep to the presentation notes of this release will help explicating the kernel of the matter). This double CD encloses four handsome compositions derived from the manipulation of swapped materials; the common denominator is the attempt of turning invisible energies and inaudible frequencies into physically perceivable substances destined to increase one’s congenital acumen. Kubisch and Lockwood operate at levels of intuitive interiority unconceivable by the average gatherer of location recordings and electronics. We can literally “feel inside” the gradual effect of sources reconfigured in various types of aural concretization. They emerge as penetrating hums of radiophonic descent, or may resemble marine currents inhabited by a somewhat alien fauna attempting new forms of signal transmission. The ordinary becomes unconventional; the voice of nature and its private tumults get disfigured by deforming lenses that, rather amazingly, emphasize the gravity of each single event.
That these pieces ultimately can stand proudly amidst the finest electroacoustic musics of the last few decades is obviously a plus. However, what really counts is the implicit message: communication does happen at every stage of physical existence, including the supposedly inanimate. In times when most humans are bamboozled by things that do not exist particularized by brains that do not work, what we have to do is raising the aerials way up. Consequences – if there is sufficient emotional fuel in your personal tank – will inevitably materialize.