|On June of this year I started to work with a series of objects that I found on a junkyard. I did a series of montages with them creating 'situations' in ways where I could explore their resonating potential.
The objects included a large bell-shaped stainless steel recipient, a heavy rusty chain, a large zinc sheet, oil pipes and many other pieces of metallic junk. For a few weeks my home temporarily
became a collapsible recording studio where I could do all sort of explorations and installments; my apartment ceiling is relatively tall and this became very useful in terms of the overall reverberation. I also worked with a small powerful loudspeaker and a powerful sub-woofer, placing them inside different objects creating unusual and interesting reverberations and resonances.
During the creative process I worked with water as a recurring element to create different situations with it; water gave a soothing liquid-like sonority to many of these installments and to the whole listening experience through that period.
This process was a very introspective and isolating one. At one point I noticed that the continuous repetition of certain sounds in certain conditions for long periods of time briefly transported me to a timeless and spaceless ephemeral moment that was gone as unexpectedly as it arrived. This experience reminded me of the movie 'Altered states' directed by Ken Russell and based on a book by Paddy Chayefsky that is also remembered for being the source of the cover image used on the Godflesh album 'Streetcleaner'. On "Altered states' the leading character, Doctor Eddie Jessup, spends long periods of time on an Isolating tank as part of a Psychiatric experiment. At some point he experiences a genetic regression after an extended period inside the tank; this led me to wonder about how certain conditions could provide keys to access information that is encoded in our memory and seems impossible to decode otherwise.
I recorded all the installations on my home with the help of handy recorders, pre-amps, air microphones, contact microphones and hydrophones, capturing sound traveling across liquids, solids and air.
When my project went into the editing, layering and processing phase I was still wondering about these brief disconnections with the notion of time and space that occurred under the conditions I mentioned before. I felt that when I temporarily ignored where I was or when I was, I was forgetting the process that drove me here in the first place; in a way I emotionally returned to the moment of my existence when I perceived a world for the first time and that is what I guess this work is all about.
||Complete package (Artwork + Mp3 Sound files)
||Complete package (Artwork + FLAC Sound files)
©2013 David Vélez
©2013 David Vélez
©2013 Impulsive Habitat
This work is licensed under a BY-NC-SA 3.0
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