|A change draws closer. The air pulsates under the weight of what is to come.
||Complete package (Artwork + Mp3 Sound files)
||Complete package (Artwork + FLAC Sound files)
|Translation to English -by Sismophone-
This album by australian artist Jay-Dea Lopez, released on Impulsive Habitat, is made of a twenty minutes piece composed of field recordings gathered on the australian west coast around Nimbin and Byron Bay. Places of resistance in the 70′s, where hippies communities fought against industrial deforestation.
Something here takes place, related to confrontation as this deafening battle royal never ends. Small or big insects, all go to the war, but how long can they resist this unequal clash?
In this new opus, Jay-Dea Lopez decides to draw up a state of affairs filled with worries and anxiety. A gaze as turned to the chasm, a forest into a swoon, a struggle no one dares to state already lost between insects mandibles and the mechanics of machines going forward in an inflexible destruction march.
The night is very dark, there is an eagerness to disappear, to unite with insects, or even of this useless body do an offering to them, a desperate gesture that would never redeem the programmed extinction of their natural space, although it could allow some form of redemption, the one of the defeated in a catastrophist vision, destruction and breakdown, mechanical progress being here the new totalitarianism.
Jay-Dea Lopez acts as an historian, disciple of Walter Benjamin, capturing this deep blow of air devastating everything on it’s way, the forest moves back, relentlessly, insect stridencies are already abolished, inexorably vanishing, in this unfair struggle the vanquished disappear, and listening resurrects nothing, soothes nothing, but one realizes when silence is back how essential this work is.
-Flavien Gillié (from The Field Reporter)
|The air is thick, and there’s something wondrous about that. The sound of crickets clots the sky – an invisible choir that amasses to a shrill, aggressive cloud of sound without definable origin – while the buzz of electricity (perhaps from a nearby power generator) veils the soundscape with a similarly imposing, buzzing opacity. Without any clear indicator as to where these recordings are made and how they have been used (the accompanying notes only inform me that the field recordings appear unprepared and are sourced from various spots around Australia), I’m left stranded in the outback, staggering through the night in an attempt to establish my sense of location, all the while aware that this “place” may in fact be a phantom construction of two or more soundscapes overlain.
There is a terrific degree of disturbance and tension at work here; the sense of a rattled equilibrium, perhaps caused by the entrance of an unfamiliar presence or an unexpected change in the weather. The crickets appear to gather closer inward at some points, often when the electricity buzz is at its most serrated and unstable, and “Systemic Collapse” feels like a landscape prophesising the imminence of something disastrous; a panic and instability shivers throughout this 20-minute recording, as though the sonic environment is responding noisily to some pre-emptive tremors mumbling way below the threshold of human hearing. It’s got a mysterious narrative to it, which makes for some thoroughly immersive listening.
-Jack Shuter (from ATTN Magazine)
©2012 Travis Paterson
©2012 David Vélez
©2012 Jay-Dea Lopez
©2012 Impulsive Habitat
This work is licensed under a BY-NC-SA 3.0
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