Sometimes the online world reveals unsuspected parallel dimensions. This is an unknown restyle of Neural independently (and secretly as we never knew about it) made by NY-based Motion and Graphic Designer, Clarke Blackham. Very nicely made, perhaps only a bit glossier for the magazine’s line, it testifies once more how even your most familiar outcomes can have another life somewhere else.
CD – Dragon’s Eye
Minimal digital sequences, crackling and very refined, fill the listening space. Lightly throbbing sound developments are central to this project by Lucia H. Chung and Martin J. Thompson, the former from Taiwan, the latter from London. Both are experienced investigators of rarefied environmental atmospheres and drones, making use of spatialized sounds that are conceptually organized into defined and enveloping structures. It is not easy to distinguish those elements that have originated from field recordings – they have been mixed with sine waves, acute frequencies and sonic manipulations created from scratch. Everything is mixed, forming an overlapping set of references and textures. Every moment gives rise to a new dimension for comparison, inspired purposefully by the preceding texture. The trend seems to develop into a sort of a controlled cybernetic rêverie, passing from the most infinitesimal detail to a poetic and majestic global sensibility. These sounds affect our intimate participation in an abstract universe, but force us to remain sensitive; disregarding the nature of individual sound plots and creating a new path that always looks towards successive stages – a continuous becoming in a cryptic and unreliable narration, permeated with holes and emptiness.
Here, the idea of becoming is the fundamental concept generating the whole sound process.
The process becomes a cognitive instrument that allows emotions and ideas to be understood in unique ways, building a new work (artfully) uncertain its techniques but not in its substance.