Bride Stones / False Vacuum
by Luke Lund
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Bride Stones I: Briganti
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about
TERR116: "Bride Stones / False Vacuum" culls two new electro-acoustic works by Luke Lund.
The idea of sonifying events occurring over geological and cosmic timescales unites the longform soundscapes of this double header. From the sense of tectonic mountain-birthing forces and gentle millennia-long microscopic erosion of rock formations in "Bride Stones," to "False Vacuum's" mental imagery attempting to fathom a theoretical collapse of the universe and death of time itself, they serve as entry to an extraordinarily vivid yet alien soundsphere.
"Briganti," the first section of "Bride Stones" is a slowly evolving, poetic journey performed in Todmorden, West Yorkshire. Created live, although largely airy and ethereal, its delicate synthesizer movement is combined with a dynamic and unpredictable generative technique that completely disintegrates environmental recordings made around the craggy peak of Snowdon and rocky beaches of Llandudno. Together they create a narrative of deep naturalistic planes that penetrate each other and metamorphose into thick swells of tonal, near melodic vapor; the hush of air and rain sculpting rock over eons; vistas of isolation on desolate tectonic plates of stone grinding and crashing into sonorous metal... The later-recorded second and third sections employ the same approach but in studio.
Next to the triptych piece sits the volatile two-part "False Vacuum." Created from synth parts based off a performance at New River Studios, it is fused with abstracted urban London field recordings, dissociated spectrally to maximum extent. The dread-raising pendulum-like drone pushing and pulling sets up a menacing pulse within which fluid interweavings and manifold clusters of textural apparitions burst and dissipate. A sensory overwhelming, dense mesh of haunting crescendos of discordant howls and a vicious microscosm of screeches darting through the stereo field and the human audio range.
Two dramatic narratives — both highly dynamic and abound with precise details of psychological subtlety. Both engrossed in wayward energies and wilderness of pure sound.
The idea of sonifying events occurring over geological and cosmic timescales unites the longform soundscapes of this double header. From the sense of tectonic mountain-birthing forces and gentle millennia-long microscopic erosion of rock formations in "Bride Stones," to "False Vacuum's" mental imagery attempting to fathom a theoretical collapse of the universe and death of time itself, they serve as entry to an extraordinarily vivid yet alien soundsphere.
"Briganti," the first section of "Bride Stones" is a slowly evolving, poetic journey performed in Todmorden, West Yorkshire. Created live, although largely airy and ethereal, its delicate synthesizer movement is combined with a dynamic and unpredictable generative technique that completely disintegrates environmental recordings made around the craggy peak of Snowdon and rocky beaches of Llandudno. Together they create a narrative of deep naturalistic planes that penetrate each other and metamorphose into thick swells of tonal, near melodic vapor; the hush of air and rain sculpting rock over eons; vistas of isolation on desolate tectonic plates of stone grinding and crashing into sonorous metal... The later-recorded second and third sections employ the same approach but in studio.
Next to the triptych piece sits the volatile two-part "False Vacuum." Created from synth parts based off a performance at New River Studios, it is fused with abstracted urban London field recordings, dissociated spectrally to maximum extent. The dread-raising pendulum-like drone pushing and pulling sets up a menacing pulse within which fluid interweavings and manifold clusters of textural apparitions burst and dissipate. A sensory overwhelming, dense mesh of haunting crescendos of discordant howls and a vicious microscosm of screeches darting through the stereo field and the human audio range.
Two dramatic narratives — both highly dynamic and abound with precise details of psychological subtlety. Both engrossed in wayward energies and wilderness of pure sound.
credits
released September 2, 2022
— 1: Sounds, generative system, synth
Live performance at The Golden Lion, Todmorden UK, Aug 11th
Source recordings made in Llandudno and Llanberis
Edited at Solace
— 2-3: Sounds, generative system, synth
Live set reproduced and mixed at Solace, Aug 29th
— 4-5: Sounds, fx, synth
Synth patch written live at New River Studios, London UK, Aug 13th
Source recordings made in UK throughout Aug
Final collage and production at Solace
— Mixed and mastered Aug 29-31st
Ⓒ 2022
— 1: Sounds, generative system, synth
Live performance at The Golden Lion, Todmorden UK, Aug 11th
Source recordings made in Llandudno and Llanberis
Edited at Solace
— 2-3: Sounds, generative system, synth
Live set reproduced and mixed at Solace, Aug 29th
— 4-5: Sounds, fx, synth
Synth patch written live at New River Studios, London UK, Aug 13th
Source recordings made in UK throughout Aug
Final collage and production at Solace
— Mixed and mastered Aug 29-31st
Ⓒ 2022
license
tags
about
Terranean Recordings Finland
Non-profit digital label of Luke Lund. Est 2010, Terranean works as an output for Luke's spontaneous experiments and improvs whereas Birthdeath (est. 2015) is a melting pot for written and more thought-out work under a different project name, for physical formats. Doors are open to independent artists for help with mastering, artwork and distributing work with no cost or monetary profit! ... more
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contact / help
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