CD – Kohlhaas

Even in the drone music field, lamentation is now finding unexpected and open forms. With tri-n-os, Anton Lambert and Thanos Polymeneas Liontiris propose their contemporary interpretation of this expression, conceived as a tool for internalizing mourning, pain, and nostalgia. Far beyond the simple manifestation of emotion, the project takes the form of a processual investigation: undisciplined, fragmented, and recursive, capable of generating a state of presence and a field of resonance in which every detail contributes to weaving the overall emotional fabric. Lambert and Liontiris met in Athens in the fall of 2023, inside a context of shared interests ranging from cybernetics to improvisation. Lambert intervenes primarily through live processing, generating layered textures that emerge from the signal’s behavior and progressive dissipations. Liontiris introduces a distinctive instrumental dimension, with feedback-sensitive instruments—including the halldorophone and FAAB—that question the boundaries between performer, instrument, and system. From this dialogue arises a practice in which automatic listening, field recordings, and raw acoustic sources intertwine, creating an irregular sonic lexicon made of interferences, resonances, and underlying tensions, in which each element is in constant dialogue. Nothing is definitely stable: the material returns to itself, deforms, deviates, and recomposes itself according to trajectories that defy linear interpretations. More than a narrative, tri-n-os unfolds as a dynamic in constant evolution, where sound interrogates what remains after loss, between sedimentations of memory and progressive gestures of detachment. Listening transforms into a suspended experience: what emerges is not a completed form, but a constantly redefined field of vibrations. The sonic surfaces thicken and thin out, revealing scraps, breaths, and oscillations that preserve subtle traces of past events. Exactly inside this ambiguous zone, between presence and dissolution, the lamentation finds its most authentic resonance: not as a citation of tradition, but as a listening practice capable of transforming instability into living matter, leaving an impression that persists beyond the duration of the work and continues to vibrate in the listener’s memory, inviting them to return to what can never be fully grasped. This is not the first time that experimental electronics has explored such territories: recent projects such as those by Laszlo Umbreit, Sirah Foighel Brutmann, and Eitan Efrat in the Al Naqab desert in Palestine have explored similar themes of mourning and memory, confirming how this approach remains fertile even today and continues to offer food for thought on the role of listening in contemporary music.

 

Anton Lambert & Thanos Polymeneas Liontiris – tri-n-os