For those experimental musicians whose remit is the voice, making an explicit connection between the physical apparatus of breath making and its intangible, ethereal products is often a foundational part of the job. The growls, gargles, coos and shrieks of a Phil Minton or Meredith Monk foreground their bodily origins – lungs, throat, diaphragm, mouth – while offering routes through which the human voice can roam free from its usual sociolinguistic constraints. The tension is exacerbated when electronic processing is brought into the mix, doubling or manipulating this organic source material. Something once thought of as quintessentially human – the voice – is transformed into digitized hybridity.
The work of composer, vocalist and improviser Sharon Gal exemplifies how these opposites – organism and machine, physical and incorporeal – are held in uneasy balance. Gal’s pterodactyl screeches and rutted, throaty gasps channel the satanic chanteuse…
There are an awful lot of modular synthesizers and also releases out there at the moment, but Ch. Webster always manages explore subjects that I wish to find out more about and creates something sonically interesting with the technology….
Iceberg/The Drift is a poetic and sonic tribute to the Larsen C Ice shelf rift in Antartica which caused during the summer 2017 the complete breaking of the oversized A-68 iceberg, drifting now in the open sea for years, maybe decades.
It’s the second sound work, i composed being directly inspired from a natural catastrophy, like i did with the Fukushima Days project in 2012.
With Iceberg/The Drift, i investigate the structural ice shelf perception and the vibrant life hidden inside it from an organic and abstract perspective, working only with modular synthesis.
The seven tracks are available for preview on Soundcloud and the official release is set to the 12 january 2018 on Sublunar Society