For my second offering, I’d like to share a recording of a performance we did at Garage Noord in Amsterdam, curated by Alek Kurniawan, also known as Mangruv. In this performance we work with a self-made instrument, something I’ve been developing more actively over the past months.
This performance was created together with Rachwill Breidel, also known as KOIRI. We’ve been collaborating for five years now, connecting through our fascination with activating sound installations, noise and futurism.
The instrument is based on the spring reverb: an audio effect that uses a physical spring to create a resonant sound. Normally, an audio signal is sent into a transducer, which vibrates the spring, and a piezo picks up the movement that returns through it.
In our setup, I take on the role of the transducer by feeding the spring directly with my own input. As vibrations move through the spring, the piezo picks them up, and Rachwill processes that signal through audio triggers, shaping it into an industrial soundscape.
By moving the spring through the space, we bring the soundscape into a physical landscape, where the conversation with the instrument becomes a conversation with the audience and the space.
“The hypersensual cyborg experiences herself as a galaxy of audiotactile sensations . You are not censors but sensors, not aesthetes but kinaesthetes. You are sensationalists. You are the newest mutants incubated in womb- speakers. Your mother, your first sound. The bedroom, the party, the dancefloor, the rave: these are the labs where the 21st C nervous systems assemble themselves, the matrices of the Futurhythmachinic Discontinuum. The future is a much better guide to the present than the past. Be prepared, be ready to trade everything you know about the history of music for a single glimpse of its future.”
Kodwo Eshun, More Brilliant Than the Sun: Adventures in Sonic Fiction.
