Brazilian sound artist Henrique Vaz takes two distinct snapshots of the (un)natural world on his debut full-length, using Supercollider to generate an eerily organic algorithmic landscape, and hydrophones in a fishbowl to create an unsettling alien atmosphere.
It's hard to believe that Vaz's opening piece, 'De Silenti Natura', is made without using any samples. There are noticeable electronic elements, but the tingly squeaks and odd oscillations sound as if they're joining in with a chorus of crickets, birds and buzzing insects that fill the Brazilian musician's artificial environment with life. He composed the piece in 2021, and augments his dense biome with crystalline drones that add a somnolent layer to the track - it's like a vertiginous sci-fi take on Irv Tiebel's early 'Environments' discs, and that's high praise indeed.
And 'Hidrofonias' on the flip is even more polychromatic. This time, Vaz develops a "hydrophonic synthesizer" to create unsettling alien melodies from a bowl of water. The sound isn't as you might expect: the trace ripples of water are still there, haunting the edges of the composition, but Vaz teases out truly bizarre sonics, creating plasticky cracking movements and disarming orchestral swells from his submerged hydrophones.
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Brazilian sound artist Henrique Vaz takes two distinct snapshots of the (un)natural world on his debut full-length, using Supercollider to generate an eerily organic algorithmic landscape, and hydrophones in a fishbowl to create an unsettling alien atmosphere.
It's hard to believe that Vaz's opening piece, 'De Silenti Natura', is made without using any samples. There are noticeable electronic elements, but the tingly squeaks and odd oscillations sound as if they're joining in with a chorus of crickets, birds and buzzing insects that fill the Brazilian musician's artificial environment with life. He composed the piece in 2021, and augments his dense biome with crystalline drones that add a somnolent layer to the track - it's like a vertiginous sci-fi take on Irv Tiebel's early 'Environments' discs, and that's high praise indeed.
And 'Hidrofonias' on the flip is even more polychromatic. This time, Vaz develops a "hydrophonic synthesizer" to create unsettling alien melodies from a bowl of water. The sound isn't as you might expect: the trace ripples of water are still there, haunting the edges of the composition, but Vaz teases out truly bizarre sonics, creating plasticky cracking movements and disarming orchestral swells from his submerged hydrophones.
Brazilian sound artist Henrique Vaz takes two distinct snapshots of the (un)natural world on his debut full-length, using Supercollider to generate an eerily organic algorithmic landscape, and hydrophones in a fishbowl to create an unsettling alien atmosphere.
It's hard to believe that Vaz's opening piece, 'De Silenti Natura', is made without using any samples. There are noticeable electronic elements, but the tingly squeaks and odd oscillations sound as if they're joining in with a chorus of crickets, birds and buzzing insects that fill the Brazilian musician's artificial environment with life. He composed the piece in 2021, and augments his dense biome with crystalline drones that add a somnolent layer to the track - it's like a vertiginous sci-fi take on Irv Tiebel's early 'Environments' discs, and that's high praise indeed.
And 'Hidrofonias' on the flip is even more polychromatic. This time, Vaz develops a "hydrophonic synthesizer" to create unsettling alien melodies from a bowl of water. The sound isn't as you might expect: the trace ripples of water are still there, haunting the edges of the composition, but Vaz teases out truly bizarre sonics, creating plasticky cracking movements and disarming orchestral swells from his submerged hydrophones.
Brazilian sound artist Henrique Vaz takes two distinct snapshots of the (un)natural world on his debut full-length, using Supercollider to generate an eerily organic algorithmic landscape, and hydrophones in a fishbowl to create an unsettling alien atmosphere.
It's hard to believe that Vaz's opening piece, 'De Silenti Natura', is made without using any samples. There are noticeable electronic elements, but the tingly squeaks and odd oscillations sound as if they're joining in with a chorus of crickets, birds and buzzing insects that fill the Brazilian musician's artificial environment with life. He composed the piece in 2021, and augments his dense biome with crystalline drones that add a somnolent layer to the track - it's like a vertiginous sci-fi take on Irv Tiebel's early 'Environments' discs, and that's high praise indeed.
And 'Hidrofonias' on the flip is even more polychromatic. This time, Vaz develops a "hydrophonic synthesizer" to create unsettling alien melodies from a bowl of water. The sound isn't as you might expect: the trace ripples of water are still there, haunting the edges of the composition, but Vaz teases out truly bizarre sonics, creating plasticky cracking movements and disarming orchestral swells from his submerged hydrophones.