Ganzfeld Experiment is a single 44-minute work, pitched as an audiovisual work for electric violin, video and signal processing, but it is being released as an LP and I’ve only been sent the audio, so I am reviewing it on its sonic merits only.
Finnish-born, Australia-based Veltheim is a violinist, in a word, but he describes his practice as spanning “noise, audiovisual installation, improvisation, notated music, electroacoustic
composition and multidisciplinary performance”- and it’s the latter rather than the former we get here. Violin tones are barely recognisable as the source, especially at the beginning of the work, as they have been bathed and deconstructed by processing, pulsing and transformation into something decidedly more electronic in texture.
Instead the result is more akin to a crisp, lo-fi proto techno, with gradual speed and amplitude changes applied to gated and harsh metallic tones for something that’s a little sandpapery and a little dark sci-fi. Tone shifts draw out a form of melody that has the appearance, superficially at least, of randomness. Around fifteen minutes in arpeggios begin to form, followed by more distinct melodic pattern loops, offering a more overt compositional structure without really changing the sonic make-up. The natural progression for the melody is into frantic chaos, which duly follows, but by the final stretch of the listen, steadiness and flatter drones have been reestablished, giving a sense of coming full circle.
A couple of times, the pulsing fades away so thoroughly that it becomes inaudible, leaving behind nothing but crisp flavoured noise with echoes of rhythm in it- and it’s this level of variation that keeps enough listener interest to make it appealing, and the cyclical structure adds to that somewhat. Harsh for certain tastes, and perhaps lacking in variety for others, I’d still regard this as a strong bit of work in the rare field of violin-meets-noise.