From the objet trouvé of an old record to the recorded inherent resonance of spaces, from natural sounds to instrumental recordings: “Environmental Sound Matter” gathers together different positions of current electronic music. But the focus is not on the closeness of the material to reality but rather the particular relationship of the musician to the acoustic material as a starting-point for composition.
Lionel Marchetti, for example, develops a set-up of microphones, loudspeakers, prepared CDs, motors and radios that he refers to as an electro acoustic device, for his multi-channel real-time transformers. Francisco López, on the other hand, above all emphasises an attitude of hearing that he calls acousmatic: He places the reality of perception above the reality of what is perceived and its production.

Philip Jeck with his small, old, remote-controlled record players and an assortment of historical records brings reality directly and up close to the listeners: By means of live manipulation of the records, he condenses the surface noise into a composition. The series ends with Jacob Kirkegaard: By repeatedly recording the room, the sound layers condense to produce an audible resonating space that would normally not be perceptible.

Lionel Marchetti (F) Concert de musique concrète - L‘incandescence de l‘étoile


Francisco López (E) untitled, environmental sound matter“
Philip Jeck (GB)

Jacob Kirkegaard (DK/D) 4 Rooms