Turkish sound artist and composer Günak (also known as AH! KOSMOS) imagines a sonic response to the rewilding process on this one, using whispers, whistles, field recordings, sine waves and heaving organ tones to swell her dense, murky soundscapes.
Considering decay and foraging, as well as rewilding - a progressive form of conservation that aims to repair damaged ecosystems by letting nature take care of itself - Günak collects source materials from a variety of sources, letting the sounds speak for themselves as they fuse with one another. She pools material from her various sound installations - the omnipresent vocals provided by Aslı Bostancı, Melih Kıraç, Bahar Vidinlioğlu, Ekin Tunçeli and Günak herself were from her 2020 performance 'The Well' - cross-pollinating them with instrumental work and subtle processes that obscure the roots, blending everything into a swampy, textural hum.
Tense string vamps ring out over dissolving choral moans, crackling environmental recordings and haunted pads on opener 'Canon Bee', while the title track sounds like a decomposing folk song, led by Isak Hedtjärn's imposing bass clarinet breaths. On 'Foraging', ghostly, cavernous vocals wisp around delicate, almost inaudible percussive knocks, and 'Porous' highlights Günak's measured Buchla 100 programming, integrating woozy sine tones into her verdant landscape. But it's closing track 'Holy Swarm' that's left its mark on us, a layered mass of wheezing organ tones that coalesce into a heaving, harmonic fog.
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Turkish sound artist and composer Günak (also known as AH! KOSMOS) imagines a sonic response to the rewilding process on this one, using whispers, whistles, field recordings, sine waves and heaving organ tones to swell her dense, murky soundscapes.
Considering decay and foraging, as well as rewilding - a progressive form of conservation that aims to repair damaged ecosystems by letting nature take care of itself - Günak collects source materials from a variety of sources, letting the sounds speak for themselves as they fuse with one another. She pools material from her various sound installations - the omnipresent vocals provided by Aslı Bostancı, Melih Kıraç, Bahar Vidinlioğlu, Ekin Tunçeli and Günak herself were from her 2020 performance 'The Well' - cross-pollinating them with instrumental work and subtle processes that obscure the roots, blending everything into a swampy, textural hum.
Tense string vamps ring out over dissolving choral moans, crackling environmental recordings and haunted pads on opener 'Canon Bee', while the title track sounds like a decomposing folk song, led by Isak Hedtjärn's imposing bass clarinet breaths. On 'Foraging', ghostly, cavernous vocals wisp around delicate, almost inaudible percussive knocks, and 'Porous' highlights Günak's measured Buchla 100 programming, integrating woozy sine tones into her verdant landscape. But it's closing track 'Holy Swarm' that's left its mark on us, a layered mass of wheezing organ tones that coalesce into a heaving, harmonic fog.
Turkish sound artist and composer Günak (also known as AH! KOSMOS) imagines a sonic response to the rewilding process on this one, using whispers, whistles, field recordings, sine waves and heaving organ tones to swell her dense, murky soundscapes.
Considering decay and foraging, as well as rewilding - a progressive form of conservation that aims to repair damaged ecosystems by letting nature take care of itself - Günak collects source materials from a variety of sources, letting the sounds speak for themselves as they fuse with one another. She pools material from her various sound installations - the omnipresent vocals provided by Aslı Bostancı, Melih Kıraç, Bahar Vidinlioğlu, Ekin Tunçeli and Günak herself were from her 2020 performance 'The Well' - cross-pollinating them with instrumental work and subtle processes that obscure the roots, blending everything into a swampy, textural hum.
Tense string vamps ring out over dissolving choral moans, crackling environmental recordings and haunted pads on opener 'Canon Bee', while the title track sounds like a decomposing folk song, led by Isak Hedtjärn's imposing bass clarinet breaths. On 'Foraging', ghostly, cavernous vocals wisp around delicate, almost inaudible percussive knocks, and 'Porous' highlights Günak's measured Buchla 100 programming, integrating woozy sine tones into her verdant landscape. But it's closing track 'Holy Swarm' that's left its mark on us, a layered mass of wheezing organ tones that coalesce into a heaving, harmonic fog.
Turkish sound artist and composer Günak (also known as AH! KOSMOS) imagines a sonic response to the rewilding process on this one, using whispers, whistles, field recordings, sine waves and heaving organ tones to swell her dense, murky soundscapes.
Considering decay and foraging, as well as rewilding - a progressive form of conservation that aims to repair damaged ecosystems by letting nature take care of itself - Günak collects source materials from a variety of sources, letting the sounds speak for themselves as they fuse with one another. She pools material from her various sound installations - the omnipresent vocals provided by Aslı Bostancı, Melih Kıraç, Bahar Vidinlioğlu, Ekin Tunçeli and Günak herself were from her 2020 performance 'The Well' - cross-pollinating them with instrumental work and subtle processes that obscure the roots, blending everything into a swampy, textural hum.
Tense string vamps ring out over dissolving choral moans, crackling environmental recordings and haunted pads on opener 'Canon Bee', while the title track sounds like a decomposing folk song, led by Isak Hedtjärn's imposing bass clarinet breaths. On 'Foraging', ghostly, cavernous vocals wisp around delicate, almost inaudible percussive knocks, and 'Porous' highlights Günak's measured Buchla 100 programming, integrating woozy sine tones into her verdant landscape. But it's closing track 'Holy Swarm' that's left its mark on us, a layered mass of wheezing organ tones that coalesce into a heaving, harmonic fog.