“Siberia” and “Sirens” are two long works that Swedish sonic soundscaper Susanne Skog has built from extensive field recordings. At times the overlapping and transitioning is so subtle that it blurs the line between conscious composition and simply found sound, whereas at others there’s a more overt artificial layering and post-production at play.
“Siberia” is an abridged sonic account of a 205 hour train journey from Moscow to Vladivostok, as heard in a dampened interior. The rumbling wheel noise, initially distant and calm, is gradually replaced with tenser mechanical drones that become gradually less and less comfortable, as the sense of claustrophobia and human freight increases. Yet despite this, the disempowering sense of passive travel is still present, and it becomes possible to relax and bathe in the noise.
“Sirens” is a collection of different siren recording sounds, which on paper sounds like a potentially agonising twenty-minute listen. But in fact it’s far, far mellower than that, and instead offers up a series of rumbling steady mechanical sounds that, were it labelled differently, you could easily believe was a journey akin to “Siberia” but on a subtly different train. Occasional high pitched tones squeak through, gently, and there are cameo appearances from some electronic pulses and warning sounds- most notably in the final quarter of the piece- but this is a long, long way from the sound you would associate with sirens.
It’s a pair of lengthy and immersive soundscapes that aren’t nearly as different as you might first assume. They’re soporific and detailed, filled with a curiosity, and a strong result of many hours of dedicated field recording work.