Tkać means ’to weave’ in Polish. Crossing threads of dreams and light under and over each other.
LED AND LOVE SOUNDS (2015) is Forsberg’s first sound-and-light piece. The piece is made of frozen and processed violin sounds. The drones are slowly changing, providing minimal repetitions that never stay the same.
”A slow transition from playing on my instrument, to play only my electronics. Letting the violin hang there with me on stage, listening to itself. Following how the drones slowly change, minimal repetitions that never stay the same.
And you can hear the gallery clearly, it moves sometimes in the background. Noises of moving bodies. The sound of listening bodies, trying to be still, maybe falling asleep shortly in the middle, and you hear how they drop something on the floor. How nice it is to hear the audience.”
Weave and Dream (2015), composed on a OP-1 synthesizer, was originally part of a sound-and-light installation that explored darkness, light and colour by means of LED light, fabric, sequins, and minimalistic drone-based electronic music. For this particular album version of the piece, Nikos Veliotis of the Greek drone outfit MMMΔ mixed the recordings.
”I would book the big concert hall in my old music college (this building is now destroyed, because the school got a new house), and there I hung my LED light strips and tried out different constellations. The music came after the lights, and reflects the pulsation and upwards going movement of the lights. I also remember that I wanted to create a piece that would erase my own presence on stage, so for the premiere I hung black curtains around the stage and moved behind them together with my friend Sylvain Devaux, and from there we turned the LED lights on and off using remote controls.”
released March 26, 2021
Produced by: Marta Forsberg
Mixed by: Nikos Veliotis
Mastered by: Mell Dettmer
Executive producer: Alex Zethson
I have to admit I'm a bit late to claire rousay's works (having only heard a few of her pieces prior to this), but this album is really special. While brief in runtime, its hypnotic combination of field recordings, string sections, and voice notes feels unresolved emotionally yet wholly realized as a bed of compelling sounds. Strikingly beautiful atmospheres on this one, and I look forward to going back and seeing what I've missed out on in rousay's oeuvre. Alec L. Critten
When listening to Sculpture I with a decent pair of loudspeakers be prepared for a new sound experience!
Just slight movements inside the stereofield are producing rather drastic changes in the structure of frequencies.
While when you listen with headphones you realise there is no change at all.
In the end it's your own body's movement which is shaping the music. Andreas Tassew