Everything Was Forever, Until it Was No More
KONRAD SMOLENSKI
Everything Was Forever, Until it Was No More
Boomkat Product Review:
In which Michal Kupicz and Mats Gustafsson transmute, augment and improvise about Konrad Smolenski's 'Everything Was Forever, Until It Was No More' - a sculptural instrument that reproduces, at regular intervals, a music piece written for bronze bells, wide range loudspeakers, and other resonating objects. First presented in the Polish Pavilion at the 55th International Art Exhibition – la Biennale di Venezia, the sound object is primarily based on the manipulation of the sound of toiling bells. Michal Kupicz bases his remix on recordings of the installation, yielding a pitched descent of sickly, slowly drowning drones making the bells sound as though they're heard underwater or in a heightened psychedelic state, keening across the stereo field in a viscous, time-stretching motion reminding of Russell Haswell's processing on Kevin Drumm's 'Repetitive Algae'. Mats Gustafsson's remix takes the form of a duet improvisation between the installation and him on baritone sax, squirting and blurting around its plangent peal until the piece is subsumed in billowing bass drones.
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Boomkat Product Review:
In which Michal Kupicz and Mats Gustafsson transmute, augment and improvise about Konrad Smolenski's 'Everything Was Forever, Until It Was No More' - a sculptural instrument that reproduces, at regular intervals, a music piece written for bronze bells, wide range loudspeakers, and other resonating objects. First presented in the Polish Pavilion at the 55th International Art Exhibition – la Biennale di Venezia, the sound object is primarily based on the manipulation of the sound of toiling bells. Michal Kupicz bases his remix on recordings of the installation, yielding a pitched descent of sickly, slowly drowning drones making the bells sound as though they're heard underwater or in a heightened psychedelic state, keening across the stereo field in a viscous, time-stretching motion reminding of Russell Haswell's processing on Kevin Drumm's 'Repetitive Algae'. Mats Gustafsson's remix takes the form of a duet improvisation between the installation and him on baritone sax, squirting and blurting around its plangent peal until the piece is subsumed in billowing bass drones.
Boomkat Product Review:
In which Michal Kupicz and Mats Gustafsson transmute, augment and improvise about Konrad Smolenski's 'Everything Was Forever, Until It Was No More' - a sculptural instrument that reproduces, at regular intervals, a music piece written for bronze bells, wide range loudspeakers, and other resonating objects. First presented in the Polish Pavilion at the 55th International Art Exhibition – la Biennale di Venezia, the sound object is primarily based on the manipulation of the sound of toiling bells. Michal Kupicz bases his remix on recordings of the installation, yielding a pitched descent of sickly, slowly drowning drones making the bells sound as though they're heard underwater or in a heightened psychedelic state, keening across the stereo field in a viscous, time-stretching motion reminding of Russell Haswell's processing on Kevin Drumm's 'Repetitive Algae'. Mats Gustafsson's remix takes the form of a duet improvisation between the installation and him on baritone sax, squirting and blurting around its plangent peal until the piece is subsumed in billowing bass drones.
Boomkat Product Review:
In which Michal Kupicz and Mats Gustafsson transmute, augment and improvise about Konrad Smolenski's 'Everything Was Forever, Until It Was No More' - a sculptural instrument that reproduces, at regular intervals, a music piece written for bronze bells, wide range loudspeakers, and other resonating objects. First presented in the Polish Pavilion at the 55th International Art Exhibition – la Biennale di Venezia, the sound object is primarily based on the manipulation of the sound of toiling bells. Michal Kupicz bases his remix on recordings of the installation, yielding a pitched descent of sickly, slowly drowning drones making the bells sound as though they're heard underwater or in a heightened psychedelic state, keening across the stereo field in a viscous, time-stretching motion reminding of Russell Haswell's processing on Kevin Drumm's 'Repetitive Algae'. Mats Gustafsson's remix takes the form of a duet improvisation between the installation and him on baritone sax, squirting and blurting around its plangent peal until the piece is subsumed in billowing bass drones.
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Boomkat Product Review:
In which Michal Kupicz and Mats Gustafsson transmute, augment and improvise about Konrad Smolenski's 'Everything Was Forever, Until It Was No More' - a sculptural instrument that reproduces, at regular intervals, a music piece written for bronze bells, wide range loudspeakers, and other resonating objects. First presented in the Polish Pavilion at the 55th International Art Exhibition – la Biennale di Venezia, the sound object is primarily based on the manipulation of the sound of toiling bells. Michal Kupicz bases his remix on recordings of the installation, yielding a pitched descent of sickly, slowly drowning drones making the bells sound as though they're heard underwater or in a heightened psychedelic state, keening across the stereo field in a viscous, time-stretching motion reminding of Russell Haswell's processing on Kevin Drumm's 'Repetitive Algae'. Mats Gustafsson's remix takes the form of a duet improvisation between the installation and him on baritone sax, squirting and blurting around its plangent peal until the piece is subsumed in billowing bass drones.
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