Boomkat Product Review:
With immersive, sonorous atmospheres, Michael Moser renders a site-specific study for his conceptual and sequential follow-up to Resonant Cuts (2010), also released by the great Edition RZ label. It's a must if you're into Harry Bertoia's sound sculpture recordings or Maja S.K. Ratkje’s Crepuscular Hour...
Using a selection of hanging or flat lying glass and metal objects animated by sound pressure transducers and placed at opposing ends of the church - in the nave and the choir areas - and later processing the results with algorithms, Moser almost “plays” the church’s architecture and sound design as a resonant cavity, allowing a broadly spacious and quietly radiant sound image to emerge.
In revealing this image, he cannily transposes the synaesthetic sensation and spatial dimensions which make up the space’s almost intangible yet ever present atmosphere, teasing our spatial and temporal perceptions into all nooks and angles of the stereo field with a gripping yet ghostly, spectral sleight of hand or presence across its 80 minute expanse.
The piece shimmers between subtly magisterial and sublime in this time, eliding the two feelings via slow, smooth gradients suspended between interstices with an ecclesiastic patience. It would be a massive understatement to say this piece is haunting, but it’s less in a horror film way, and more a sort of pensile, purgatorial transcendence that’s contemplative rather than shocking.