“And the ocean was heavily troubled on this day, it beat against the continents of the planet, with its entire unshiftable weight rocking the terrestrial globe on its orbit..“ (T. Aitmatov, Cassandra’s Brand)
How can we can grasp both ends of our 21st-century existence with the endless beauty of our planet but also the seemingly unavoidable drive towards extinction of nature and ultimately of ourselves?
FLOOD is an experimental electronic composition and audiovisual quadraphonic live performance that oscillates between beauty and destruction, loosely inspired by Chingiz Aitmatov’s dystopian novel The Mark of Cassandra, a futuristic fable about the consequences of self-destruction of humans and their environment.
In three converging parts, a metaphoric world evolves from billowing harmonic clouds, gently crackling sounds and abstracted field recordings. All parts are marked by perpetual subtle shifts, memory turning into an imperfect compass: You can walk through the music in all directions without ever passing the same point twice. Inside this world of concrete sounds and pure abstractions, of organic timbres and alien noises, all sense of perspective is lost: What is far can seem close, tiny sounds suddenly appear enormous. In a sense, FLOOD is about the desire for change, a sensation that fills us both with anticipation and anxiety.
The multi-layered soundscapes evolve from heavily processed field recordings, vocal textures, sampled instrumental sounds and analog and digital synthesizer sounds. The starting point for the composition is the sound itself, with no meaning and no belonging, no matter its source. Do we here a recording of a stormy sea or white noise modulated by a synthesizer?
The quadraphonic live performance of FLOOD takes advantage of the urge to sink into the sounds: they move around the listeners, dissolving the the rule of frontal direction.
Swedish visual artist and filmmaker Freja Andersson created the visuals, bringing forth another aspect of the work: the three parts move from inner to outer to outerterrestrial landscapes, each time creating slightly different audiovisual coincidents with the composition.