The last Friday 5th of June we assisted to an interesting event where we discovered what really means an orgy of sounds and rhythms.
This experimental exchange took place at Tiefgrund, a cozy local where, besides of taking a beer, you can also watch a film on the summer terrace or sink down into its hidden rooms where you will find so inspiring acts like this one organized by Salon Bruit.
Waiting the kick-off at the Tiefgrund’s cellar, one can feel safe, like in a wet, intimate and secluded refuge, witnessing of slippers rolled with microphones and surrounded by deep exhalations and accomplices breaths emerging from the baffles.
Several tables dimly lit were disposed at room by way of showcase.
Invited by the organizers, Michelle Yom and Johannes Bergmark opened the meeting being this time their first collaboration as a duo.
While Michelle was manipulating with her lips the sound of an amplified flute, causing tension between whistles and absorbents sounds, sucking the instrument, Johannes was creating an orchestra across the experiment with several recycled objects and toys that shape his original platform created by himself and called “Surrealist musical object theatre“, thought like an hybrid between instrument and an extended contact microphone.
The harmony that they both generate submerges the viewers and his voyeuristic ear into a watery atmosphere of shrill and crystalline tones that in some cases hits our conscience to associate it with images that could be happening at the adjacent room.
They show that are able to manipulate our perception and that any kind of object can be sensitive to be used like an instrument to create different aural impressions.
After the first act, it’s time for Bruital Orgasme, a duo composed by a marriage, Fil & Nath, from Belgium, whose main feature is their complicity using the distorted electronic sound.
The distortion is looked as a mystical state of trance where mind flows blank to move the person in a scenes recreation with the noisy generated by B.O.
The sound of the pieces remembers huge places as airports or train stations, and the image breaks suddenly for merge into the niceness of a vinyl, whose fragile symphony emerges and drowns again under the grotesque distortion.
They work from sounds that they record during their tours, generating homemade sounds with modified devices and many diverse sources like a drill or a walk-man. Combining, mixing and manipulating at will all these elements, they achieve sound saturation scenes randomly choosing, leading the viewer towards the final electronic pulse.
The silent gives way to reflection about the places and spaces visited.
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