These two almost-exactly-twenty-minute works are the sound elements from audiovisual installations, initiated in 2013, where both the picture and the sound are driven by an interest in stretching time to such an extent that any change is so gradual as to be barely perceptible. Everything appears static at first glance, and only by returning to it minutes later do you see that anything has shifted. Though it’s not made expressly clear in the notes I’ve got, it appears that the video is a supremely slow change in colour tone and gradient- hence the names “yellow, blue, yellow” and “orange, blue, orange”, which also appear to have titles where the colours are expressed hexidecimally. It appears to be a very digital and technical exercise.
And so it is with this detached sound. Supremely soft and mellow synthetic pads of sound, afforded no sense of origin either in the concept notes or the sound itself, where different elements of windy, hollow and hum tones meander forwards and backwards with a resolute slowness. Twenty minutes ends up feeling like an arbitrary extraction of sonic landscapes that could theoretically last hours or days, with no beginning or end, loops that never actually repeat, and so on.
There’s not a lot to distinguish the two pieces either, with the second piece “orange, blue, orange” perhaps marginally deeper and yet also slightly warmer, but the abstraction is so absolute that it becomes hard to differentiate between genuine sonic variation and the reflections of your own thoughts and moods occurring alongside.
Uneventful by design, this is a comforting and soporific sonic wallpaper of a kind of which I’m very fond.