Unburying, from Liminals, Emerging

It’s a kind of cathartic unburying of the subconscious.

It absorbs particular mytho-spiritual features of South Indian Classical
and Balinese Gamelan music and perhaps bridges sonic territories between post-jazz, experimental, and ambient music.

It reflects on travels to places like Chennai, (studying oral traditions of South Indian classical music) Delphi, (exploring the myths of ancient Greece) and the Dordogne valley (delving into palaeolithic cave art of southern France).

With the additional help of a dream diary I arrived at a new tuning system The tuning originated on a microtonal prepared piano that I was working with for my artistic research at RMC. The tuning system might offer some reconciliation between western and eastern ideas in the sense of combining embodied aspects of Balinese microtonality with Just Intonation – Nature’s “pure sounds”.

Recorded sounds were captured in various architectures and materialities. The saxophones, for instance, were re-played and re-recorded in different spaces, out of specific objects (like old oil barrels and cymbals) and thereby exist in varied states of matter of an extended time-collage.

One of these spaces is the unique architecture of TunnelFabrikken. This is the historic site where the Øresunds bridge (linking Denmark and Sweden) was constructed. The recordings and finished mixes capture Tunnelfabrikken before the start of major renovations and gentrification and therefore sonically preserves a piece of danish history.