audry – Kitsch and the Foible
Kitsch and the Foible
audry
October 7, 2024
April 3, 2024
February 25, 2024
February 18, 2024
October 10, 2023
September 3, 2023
August 6, 2023
July 30, 2023
July 5, 2023
June 25, 2023
December 10, 2023
August 24, 2023
November 26, 2023
February 4, 2024
September 11, 2023
June 11, 2023
June 1, 2023
May 15, 2023
May 7, 2023
April 27, 2023
April 23, 2023
April 16, 2023
April 5, 2023
April 11, 2023
March 26, 2023
March 19, 2023
February 26, 2023
February 9, 2023
January 26, 2023
December 11, 2022
December 3, 2022
November 21, 2022
November 14, 2022
January 29, 2023
January 22, 2023
January 15, 2023
January 8, 2023
December 30, 2022
October 19, 2022
September 17, 2022
September 8, 2022
September 4, 2022
July 3, 2022
June 25, 2022
June 23, 2022
June 1, 2022
May 22, 2022
May 28, 2022
July 17, 2022
June 28, 2022
July 8, 2022
July 13, 2022
July 22, 2022
July 21, 2022
May 6, 2022
April 27, 2022
April 18, 2022
April 4, 2022
March 15, 2022
February 27, 2022
February 24, 2022
February 13, 2022
February 8, 2022
January 31, 2022
January 20, 2022
January 25, 2022
January 10, 2022
December 23, 2021
December 16, 2021
December 6, 2021
Jeremy Sheehy
March 15, 2022
Tracks in this feature
Tracks in this release
Experimental music has long been obsessed with the sound of the natural world; natural sounds and field recording litter some of the most popular recordings in the genre. Still, not as much attention has been given to the sound of manufactured environments. Many of us spend a large portion of our lives in these manufactured spaces, so it is refreshing when these spaces are explored in music. On BRUTALISM, SEPL+NEAR DARK MATTER manage to translate the hulking physicality of these spaces into sound, providing the listener with a chance to better relate to the areas and materials around them.
From the first moments of BRUTALISM, the listener immediately becomes aware of just how much space these sonic structures contain; every sound is drenched in a deep reverb, implying a monstrously large environment, but an oddly familiar one. Each track of this collection uses a different material to build a sonic representation of the physical space that material would help to create. This allows for a more intimate understanding of these materials; on GLASS the listener can hear a subtle ringing sound, much like tones of a glass harp, while also hearing the deeper resonance of a monolithic glass panel and the slow rain-like sounds of its shattered remains falling into a pile. The rest of the collection follows a similar formula, evoking the natural sounds of each material, allowing them to grow and evolve before reaching their end. Some materials eventually crumble under their own weight while others simply reach their logical end, signifying that nothing is forever; even these hulking structures of sound will one day crumble into dust.
At its heart, BRUTALISM shows an almost spiritual-like reverence to the massive constructed environments of the modern world. These structures are something to be both marvelled at and feared, but most of all, they are something to be understood. Through these soundscapes the listener is granted an opportunity to intimately listen to and experience the materials of the constructed world and hopefully gain a deeper understanding of the places they inhabit.