LINE. The premise is incredibly elegant: six microphones are pointed at a set of loudspeakers, while an algorithm adjusts the amplitude of the microphones over time. Hums of feedback thicken in the air, negotiate a constellation between themselves, then reform as dictated by the change in microphone sensitivity. No players
On Roden’s last work on Line, 2005’s Airforms, he used Wallace Neff’s experimental house designs as inspiration. Neff inflated balloons and then sprayed them with concrete, with the resultant shape organically formed by the pressure of air expulsion. Roden transferred this idea to his sound work, and
“Is it really necessary to create further new electronic music,” Tietchens queries, “if only one piece as a nucleus is sufficient to derive hundreds and hundreds of different distinct individual variants?” This is “recycling” – not “remixing” – and I imagine Tietchen’s insistence on this distinction stems from connotations of each.
As I expected coming into this release, it’s unusual to hear such an expressive, vibrant instrument, traditionally most effective when channelling the fluid and natural playing style of its performer, turned into an automatic performance machine. Eight Studies… flits between moments that are seemingly within a human’s technical
Transparency (Performance) feels like the most delicately crafted work. There’s a phenomenal sense of tension running through its entire one-hour duration, like the sonic equivalent of precariously assembling a sculpture from brittle glass – each note is perfectly placed and impeccably timed, as if a false move could send the
The sense of cohesion throughout this release is strong. Despite being comprised of three studio pieces, an installation documentation and a live performance (and utilizing a fresh set of sound sources in the construction of each), all of these works arrive at the same atmospheric landscape: an anxious mix of