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Boomkat Product Review:
Marja Ahti and Judith Hamann's second collaborative release is a lived-in but isolated universe of sound, blending field recordings, complex synthesizer passages and haunting justly intoned instrumentation. Lovely material - for fans of crys cole, Lucy Railton or Jasmine Guffond.
It took Swedish-Finnish sound-artist Marja Ahti and Berlin-based Aussie composer Judith Hamann two years to come up with their measured sophomore album. The title was snipped from a poem by Fanny Howe, and the sentiment matches the duo's artistic motivation as well as the practice itself - the record was put assembled from "multiple interlocking parts" almost like a DJ mix, and coincidence plays a significant role in its evolution. Ahti and Hamann wanted to explore the notion of openness to sound, and do so by blending seemingly incongruous elements from their discrete areas of expertise and particular interests. Cautious, evocative field recordings of buzzing machinery or factories might float to the surface after a passage of disorienting cello, and birdsong might transform imperceptibly into buzzing modular oscillations.
By trying to find harmony in their interactions - sometimes in the most unexpected places - Ahti and Hamann have developed a way of working together that revels in glorious serendipity. "A coincidence is perfect, intimate attunement" doesn't sound quite like either of their solo projects, it's a place where both artists are able to challenge themselves and each other to reflect on their listening skills as well as their separate creative impulses. It's an approach that feels far from the often dry electro-acoustic world, and the one they build around themselves for just over half and hour is so warm and well realized that you can almost feel the heat from the hearth.