La boutique électroacoustique

Artistes Natasha Barrett

Natasha Barrett s’intéresse surtout à la composition et aux utilisations créatives du son. Sa production englobe la composition pour concert, l’art sonore, les grandes installations sonores à composante architecturale, la collaboration avec des designers expérimentaux et des scientifiques, l’interprétation d’œuvres acousmatiques et, plus récemment, l’improvisation électroacoustique en direct. Qu’elles soient écrites pour des interprètes en chair et en os ou pour des forces électroacoustiques, ses œuvres résultent d’une approche acousmatique du son, des images auditives que peut susciter le son et d’un intérêt dans les techniques qui permettent de dévoiler des détails que l’oreille normale raterait. Son travail fait une large place au potentiel spatiomusical de son acousmatique.

Natasha Barrett a étudié avec Jonty Harrison (University of Birmingham, Angleterre, RU) et Denis Smalley (City University, Londres, Angleterre, RU) pour ses diplômes de maîtrise et de doctorat en composition. Ces études ont été financées par la section des sciences humaines de la British Academy.

Depuis 1999, la Norvège lui sert de plateforme internationale de recherche et de composition.

On joue les œuvres de Natasha Barrett et on lui en commande partout dans le monde. Elle a présenté ses installations en Norvège, en Suède, au Danemark, en Finlande et en Australie. En tant qu’interprète d’œuvres acousmatiques, elle parcourt le monde pour collaborer avec des orchestres de haut-parleurs, diverses solutions plus petites et des projets d’art sonore.

Son travail de compositrice lui a valu de nombreuses distinctions, notamment le Giga-Hertz-Preis (Karlsruhe, Allemagne, 2008), le Nordic Council Music Prize (Scandinavie, 2006), des prix du Concours international de musique électroacoustique de Bourges (France, 1995, 98, 2001, 06), le prix Edvard (Norvège, 2004), le prix Noroit-Léonce Petitot (Arras, France, 1998, 2002), le 9e IREM (2002), Musica Nova (Prague, République tchèque, 2001), le Concurso Internacional de Música Eletroacústica de São Paulo (IV CIMESP, Brésil, 2001), le Concours SCRIME (France, 2000), le Festival Internacional de Nuevas Tecnologías, Arte y Comunicación Ciber@RT (Festival international des nouvelles technologies, des arts et des communications Ciber@RT) (Espagne, 2000), le prix Ars Electronica (Linz, Autriche, 1998) et le Concours Luigi Russolo (Italie, 1995, 98).

Ses œuvres sont publiées sous plusieurs maisons de disques, dont Albedo, Aurora, Centaur, Elektron, empreintes DIGITALes, Euridice, Mnémosyne Musique Média et +3dB.

[traduction française: François Couture, xii-09]

Natasha Barrett

Norwich (Angleterre, RU), 1972

Résidence: Hvalstad (Norvège)

  • Compositrice

Ensembles associés

Sur le web

Natasha Barrett, photo: Jan Erik Breimo, Hvalstad (Norvège), dimanche 4 septembre 2016
  • Electric Audio Unit présente un concert électroacoustique immersif le 3 juillet 2015 au Riksscenen à Oslo (Norvège) mettant en vedette des œuvres de Robert Normandeau. Ce concert présentera aussi des œuvres et des créations des compositeurs…

    dimanche 21 juin 2015 / En concert

Œuvres choisies

Parutions principales

empreintes DIGITALes / IMED 10104/105 / 2010
Elektron / EM 1012 / 2009
Aurora / ACD 5056 / 2007
Aurora / ACD 5037 / 2005
empreintes DIGITALes / IMED 0262 / 2002
productions indépendantes / NB 970101M / 1997

Apparitions

Artistes divers
Elektron / EM 1013 / 2009
empreintes DIGITALes / IMED 0898 / 2008
Artistes divers
Aurora / ACD 5018 / 2002
Artistes divers
empreintes DIGITALes / IMED 9837 / 1998
Artistes divers

Compléments

+3DB / 3DB 021 / 2014
  • Hors-catalogue
Artistes divers
+3DB / 3DB 006 / 2009
  • Hors-catalogue
C74 Records / C74 013 / 2008
  • Hors-catalogue
Artistes divers
Centaur Records / CRC 2672 / 2004
  • Hors-catalogue
Artistes divers
Centaur Records / CRC 2552 / 2001
  • Hors-catalogue
Artistes divers
Mnémosyne musique média / LDC 278074-75 / 2001
  • Hors-catalogue
Artistes divers
empreintes DIGITALes / IMED 0050 / 2000
  • Épuisé
Artistes divers
Mnémosyne musique média / LDC 2781119-20 / 2000
  • Hors-catalogue
productions indépendantes / NB 980101M / 1998
  • Hors-catalogue
Artistes divers
Mnémosyne musique média / LDC 278065-66 /
  • Hors-catalogue

La presse en parle

Surround Sound? You Ain’t Heard Nothing Yet

Seth Colter Walls, The New York Times, vendredi 14 juillet 2017

Troy, NY — If you’ve spent any time at children’s birthday parties, you probably know what an inflated balloon sounds like when rubbed: harsh, squeaky, not particularly resonant.

“Rubbed-balloon sound” [used in Topology Chamber 2] might not seem like a sonic texture you’d place much stock in if you were creating a musical work. But how would that change if you were listening from inside the balloon? The composer Natasha Barrett decided to answer the question. She put a 3-D microphone in a balloon, pressed the record button and got down to some serious rubbing.

On Monday morning, at a “spatial audio” lecture at EMPAC — the experimental media and performing arts center that is part of the Rensselaer Polytechnic Institute here — Ms Barrett’s interior-balloon 3-D recording was played in an acoustical marvel of a concert hall, outfitted with one of the world’s most advanced ambisonic systems.

As Ms Barrett’s 3-D audio file was piped into the loudspeakers — there are 64, positioned both around and over listeners — the sound of her balloon manipulations was enveloping. Smeared textures whipped around listeners’ heads along a wild variety of trajectories. Variations of pressure and phrase-length registered as legitimately musical. Discrete lines of vibration converged, with a triumphant air, before splitting apart again.

But there wasn’t much time to linger over Ms Barrett’s startling spatialized recording. Presenters and participants at EMPAC’s Spatial Audio Summer Workshop had a lot of ground to cover, and only five days to get hands-on experience with tools that are rarely available under one roof.

One goal of the workshop, the first of its kind at EMPAC, was to provide the nearly two dozen participants — including engineers, acoustic consultants and composers — with a rare chance to learn about working with what specialists call high-density loudspeaker arrays, like the one needed to play Ms Barrett’s recordings. Another goal was to present a pair of public concerts as part of EMPAC’s impressive, general slate of experimental music programming.

On Monday evening, the first concert was led, as was that morning’s lecture, by Markus Noisternig, an artist in residence at EMPAC who is a researcher from the Institut de recherche et coordination acoustique/musique (or IRCAM) in Paris. His lecture and concert highlighted both the ambisonic surround-sound speaker system and one of EMPAC’s new, and most highly prized, objects: a Wave Field Synthesis system. (These two discrete systems, which can also be blended, were temporarily installed at EMPAC’s concert hall.)

The wave system, a modular array of more than 500 speakers, uses acoustical trickery to reproduce organic sounds with unusually high fidelity. It can also “place” (and seem to move, quickly) those eerily lifelike tones at specific coordinates. Any but the most superficial kind of explanation of how this is possible tends to involve high math (like Bessel functions). But if you had to describe the effect, you might go for trippy and exciting.

Toying with spatially separated sounds is not a new fascination for composers. The conductor Alan Gilbert charted a lineage of such explorations in a 2012 New York Philharmonic concert, from a portion of Mozart’s Don Giovanni to works by Karlheinz Stockhausen and Pierre Boulez. (Boulez being, not at all coincidentally, the founder of IRCAM.) But as computing power has increased, digital systems have become more precise and more portable, if still expensive to design and install.

Systems like Wave Field Synthesis can also change approaches to pieces conceived using earlier technologies. A highlight on Monday night was Mr Noisternig’s presentation of Ricercare una melodia, by the composer Jonathan Harvey. This 1984 work was originally scored for a live trombone player and tape delay (with speakers bordering the audience on two sides). In what he called a new interpretation, Mr Noisternig looped the live playing of the trombonist Benny Sluchin using a 248-speaker section of EMPAC’s 500-speaker array, which was positioned behind Mr Sluchin.

Using IRCAM-designed software, Mr Noisternig placed eerily live-sounding reproductions of Mr Sluchin’s playing at various points along the array. In most tape-loop performances, novice listeners can tell the difference between what is being played live and what is being reproduced electronically. But this “Ricercare” performance had a suaveness of blended tone that seemed both organic and otherworldly.

So, do you need a fancy hall with spatial-audio bells and whistles to appreciate these sounds? In an interview, Mr Noisternig said that the true nature of such pieces could not be appreciated in traditional stereo mixes. There are headphones capable of simulating 3-D audio — made more accessible by the boom in virtual reality technology — but they, too, provide only approximations of the concert hall experience.

He Slowly Fell and Transformed into the Terrain, a 2016 piece by Ms Barrett, received its American premiere on Monday night, courtesy of 49 speakers in EMPAC’s ambisonic system. It seemed like the most carefully designed entry in the program’s purely electronic portion — her whirligig 3-D designs rarely seeming to be in motion merely because the technology permits it.

Ms Barrett has posted an excerpt from a stereo mix-down to her SoundCloud account. You can listen and get an idea of her skills with dramatic build and textural variation. But as she notes on the site, about the stereo reduction (from 49 channels to two), “Mastering really tricky for this.”

During daytime studio sessions, the workshop’s participants developed their own approaches to the surround-sound systems installed in EMPAC’s studio and performance spaces. Carl Testa, a bassist and composer who works closely with the composer-saxophonist Anthony Braxton, had brought along a vast collection of Mr Braxton’s recordings. On Tuesday afternoon, he was eager to test out the live-collage capabilities of Wave Field Synthesis setup.

Near the speaker array, it sounded as if different versions of Mr Braxton were zooming through space at superhuman speed, as a grinning Mr Testa dragged and dropped the “point sources” of the virtual Braxtons with the click of a mouse. After the session, Mr Testa noted that those effects had dovetailed nicely with some of Mr Braxton’s ideas, like the immersive sound environment of his Echo Echo Mirror House system, in which musicians sample vintage Braxton recordings while also navigating new scores, creating a vertiginous blur of past and present playing.

Mr Testa’s early experiments in the EMPAC studio sounded very little like the spatialized music of Ms Barrett. But it was an arresting miasma — one that raises the question of how much new insight into spatial audio may yet come from composers who are also virtuoso improvisers.

Like the ingenious musicality of Ms Barrett’s balloon experiments, insights about spatial sound may seem intuitive after the fact. But as organizers at EMPAC seem to understand, access to raw studio time and expert instruction has to come first.

Concierto electroacústico en 5.1

Josep Lluís Galiana, Levante-EMV, samedi 10 mai 2008

El ciclo de conciertos Primavera Electroacústica a València 2008 continuó su programación el pasado jueves en la Galería del Palau. Organizada por la Asociación de Música Electroacústica de España (AMEE), la selección de composiciones que, bajo el título genérico Obres de Llarg Hàlit, se pudieron escuchar tenían como mayor aliciente su presentación en el sistema de grabación y por tanto de difusión Surround 5.1 Dolby Digital. Este sistema proporciona sonido digital mediante seis canales independientes: tres canales frontales (izquierda/centro/derecha) que posibilita claridad y nitidez y una ubicación precisa de los sonidos, mientras que los canales envolventes gemelos (trasero izquierda/trasero derecha) rodean al público sumergiéndolo en un verdadero océano de materia sonora.

Este placer se hizo tangible durante la escucha de las tres obras seleccionadas para la ocasión. Tres importantes compositores del actual panorama internacional en este género y procedentes de diversos países. La compositora belga Annette Vande Gorne (Charleroi, 1946) mostró su vertiente más expresiva y detallista con su obra Figures d’espace (2004). Espacializada por el compositor valenciano y miembro de la directiva de la AMEE Vicent Gómez, la pieza conjuga con transparente y eficaz contrapunto los sonidos de la Naturaleza con los producidos mecánicamente en una suerte de Rondeau. De auténticas dimensiones épicas se podría catalogar la obra aportada por el histórico compositor canadiense Gilles Gobeil (Québec, 1954). Ombres, espaces, silences… (2005), inspirada en la polifonía más temprana (Ars Antiqua, Ars Nova), revisita el universo sonoro de los primeros siglos de la Era Cristiana. La resultante es una música de texturas brutales como si se tratase de grandes placas tectónicas de ricas y ancestrales sonoridades a la deriva. Finalmente, la joven compositora británica Natasha Barrett (1972) presentó su Prince Prospero’s Party (2002), basada en el relato corto de Edgar Allan Poe, The Mask of the Red Death. Se trata claramente de una música programática. Narra con gran fidelidad la acción del relato, dividiendo el discurso sonoro en siete secciones y pasando de las risas al grito más aterrador de los personajes de esta insólita composición electroacústica.

Este placer se hizo tangible durante la escucha de las tres obras seleccionadas para la ocasión.

The Duality of the Dramatic and the Abstract

Julian Cowley, Musicworks, no 99, samedi 1 décembre 2007

[Article Summary] The music of Natasha Barrett is both abstract and suggestive, sonic and visual. Her acousmatic compositions explore the theatrical potential of this frequently narrative-free music. Barrett’s initial exposure to the Birmingham ElectroAcoustic Sound Theatre profoundly influenced her understanding of the vocabulary and intentions of acousmatic music. Her technique is playful, exploring the potential of sounds as isolated and valuable sonic elements, and equally as extremely suggestive tools for guiding the narrative of a piece. Her process is disciplined, frequently training herself in new tools and technologies, and not adopting any method or technique until her research has exhausted all possibilities. Barrett’s experiments in combining electroacoustic music with theatre have led to a focus on the spatialization of sound as an extremely effective narrative and dramatic tool.

Her technique is playful, exploring the potential of sounds as isolated and valuable sonic elements…

Creating Sonic Spaces: An Interview with Natasha Barrett

Felipe Otondo, Computer Music Journal, no 31:2, vendredi 1 juin 2007

Espaces de sons: les sons environnementaux dans l’électroacoustique

David Turgeon, electrocd.com, dimanche 1 juin 2003

Les sons environnementaux (field recordings) ont toujours fasciné les compositeurs électroacoustiques, ceci depuis les Cinq études de bruits (1948) de Pierre Schaeffer et ses enregistrements de trains modifiés. Avec le Vancouver Soundscape 1973 (1972-73) de R Murray Schafer, ces sons du quotidien s’articulent autour d’un discours qu’on nommera «écologie sonore», où les sons gardent leur signification originale, et ne servent plus comme contenu anecdotique à la merci du compositeur. Le lecteur curieux notera que Jonty Harrison fait une intéressante synthèse de ces deux approches dans son texte {cnotice:imed_0052-0001/À propos d'Évidence matérielle/cnotice}.

En fait, chaque compositeur semble privilégier une approche différente par rapport aux sons environnementaux. Alors que l’écologie sonore voit fleurir des artistes du microphone tels que Claude Schryer et bien sûr Hildegard Westerkamp et sa fameuse Kits Beach Soundwalk (1989), des préoccupations autrement plus documentaires alimentent un disque tel que Corazón Road (1993), carnet de voyage sonore du duo français Kristoff K Roll. Entretemps, le compositeur new-yorkais Jon Hudak part d’une palette extrêmement minimaliste afin de trouver l’«essence» des sons utilisés, ce qui donne à l’auditeur de doux «soundscapes» planants. Élève du ci-haut mentionné Harrison, Natasha Barrett se rapproche davantage de la tradition acousmatique tout en concevant des paysages sonores de toute beauté à partir de sons environnementaux très discrets.

De jeunes compositeurs s’ajoutent constamment au paysage (sonore…) et il serait malvenu de les confiner au silence tant leur travail nous semble digne d’intérêt. Mentionnons d’abord le californien V. V. (de son vrai nom Ven Voisey), qui intègre ses sons trouvés dans une architecture rappelant la musique concrète «vieille école» — ce faisant, il montre combien Schaeffer n’est peut-être pas si éloigné esthétiquement de Merzbow… Avec Relisten, l’autrichien Bernhard Gal nous fait découvrir ses épisodes, soigneusement choisis, de «musique trouvée» (c’est-à-dire de structures musicales existant déjà dans le matériel environnemmental.) Enfin, de par son foissonnement d’idées et son rythme toujours soutenu, le surprenant flume ridge.halifax.lisbon (2001) du montréalais Cal Crawford réjouira sans doute les auditeurs à l’affût de nouvelle acousmatique.

Deux petites friandises pour terminer. D’abord, le joli mini-CDR Aenviron: one présente cinq instantanés sonores (et ce, sans aucun traitement!). Après tout, s’il existe du cinéma pour l’oreille, alors pourquoi pas un album photo pour l’oreille! Question de boucler la boucle, nous proposons également de s’arrêter au récent mini-CD de Lionel Marchetti au titre évocateur de Train de nuit (Noord 3-683) (1998-99). Cette œuvre pour un seul haut-parleur, dédiée (on s’en douterait!) à Pierre Schaeffer, nous rappelle, une fois de plus, l’importance toujours renouvelée des sources environnementales dans l’océan électroacoustique.

Review

Ingvar Loco Nordin, Sonoloco Record Reviews, vendredi 25 octobre 2002

Natasha Barrett (1972) has studied with some of my personal all-time favorites in the dominion of electroacoustics and sound art; Jonty Harrison and Denis Smalley. She has worked at BEAST (Birmingham ElectroAcoustic Sound Theatre), which had a great impact on her aesthetics. A grant from The Research Council of Norway brought her across the North Sea to her current base in Oslo, Norway, where she teaches and composes.

She is fully at ease with works for instruments and live electronics, sound installations, dance, theatre and animation projects, but her heart and soul dwell in the acousmatic tape composition.

Track 1 – Three Fictions (Northern Mix) – is, as the title indicates, a revision of a work, revised in Barrett’s own studio. Each of the three sections glimpses a sight / sound / sensation. Each part also carries a short, haiku-like text.

A soft tuning in, fading in, to the fire of brush – or, as the poem suggests; the mind – pries open a meadow of elves’ bells and quirky birds of electricity, but deep murmurs of overgrown layers of clay reveal some geological unrest… until a myriad of grains fill the air to polish your face like a battalion of blast-lampas… Maybe the ringing of little bells disclose a silently treading group of goblins through the grass… but nothing is threatening…

Strong vibrations, frictional grindings, bubbling simmerings, shimmerings – a sudden laughter out of unreality, swallowed by silence like matter sucked into a black hole… rolling, shifting motions; deep murmurs onto which fragments of audio are sprayed… A woman’s vocal expressions rise softly, sparsely, like rare flowers in the forest, and a reminiscence of midday cloister bells of southern France glide by like a summer fragrance… Towards the conclusion the voice utters fully graspable sentences, evidently out of a poem, and the intensity of the rushing sounds increase.

A downward glissando, like a distant dive bomber at the end of WWII, and some inconspicuous closeness populated with screws and bolts of the age of industrial paraphernalia… caressed by solitary gamelan gongs along the curvature of the planet, the horizon shivering with bent light through the gravitational field, upheld by the virtual particles of quantum mechanics… and the World Cat meows and purrs, extremely closely miked behind interstellar clouds of Creation!

Natasha Barrett has inserted shorter interludes into the progression of works marching on like crouched shadows on a lithograph by Rune Lindblad through the sonic landscape on this CD. She calls these insertions Displaced:Replaced, and there are three of them: Fog, light wind - Wet and gustyGathering wind. As a further explanation she reveals that these brief works stem from a sound and visual installation that she set up with photographer Trym Ivar Bergsmo, who is also responsible for the CD cover and the photo of Natasha Barrett that I submitted with this review. The installation was designed to capture realtime meteorological circumstances and their effect on nature; hence the titles, which simply describe those circumstances.

Evidently, the move to Norway, but also an inherent affinity for, or intuitive understanding of, the interplay of human and natural forces, spirit and matter, has a decisive effect on the composer’s work. She has roots in the soil and the clay and the rock, and a soaring mind among the stars. She rides a slingshot through curved space!

Fog, Light Wind has a prickly notion hopping or sort of vibrating across the wet rocks of the shore, as an imagined sound of mist paints grayish colors across your ears… and I do believe I can sense Moomin Papa’s boat adrift between hidden islands in a combination of homeliness and bohemia – an impression you’d normally get in the October of the Finnish archipelago…

Red Snow is a spiritual, musical, account of Barrett’s impressions on moving to the land of Norway from Great Britain in boreal times. She says:

I moved to Norway in the winter. Leaving behind everything I knew, I felt increasingly aware of the environment: the variety of snow spiraling in the wind; intricate details of vegetation enhanced by crystal formations; the soft sun and bright landscape; footprints suggesting their own scenario… and the potential color lying dormant.

A moment – the sensual feeling of a moment – flashes by, then recedes… only to return with its catch of time residue, which then displays on the inside of your eyelids as the moment widens to encompass the holy NOW of FOREVER, the mighty HERE of all directions.

The spatiality of Red Snow is amazing, sweeping past and by, back and forth, hither and thither, up, down, front, back – and gathering a rare force of timbral colors; tempting, persuasive, instigating a let-go of every-day paraphernalia, to enter a shaman’s spiritual aloofness, as layer upon layer of existence are superimposed in an ever-changing kaleidoscope of sound dreams upon dark skies…

The beauty of this forceful music is grand; stretched bells, elongated through space-time, focuses the attention on minuscule motions-emotions, which in this spinning-top behavior are subject to intense study, their smallest properties taking on unknown, otherworldly appearances…

The music changes character, winds down into a slow breath of metallic specs riding murmuring infras in a thoughtful, spiraling circumspection, the open, saliva-running jaws of Bardo fantasies nearby – and concrete soundscapes open their little shutters onto peaceful still lives of crows and farmhands deep inside the music, and in the final shrill moments the work winds down into a winding bead of brilliant sonic pearls, rattling in shimmering reflections down the line.

In earphones this piece is a shattering, mind-blowing ride. Over heavy loudspeakers it moves your mind sky-high and your furniture around the room!

Wet and Gusty, the second brief meteorological sonic insertion, sounds like its title; like gusts of wind grabbing your coat or the makeshift sails of the raft of a childhood adventurer inside your forlorn memories – and there is a definite presence of some fluid that might well be water, in many sonic nuances; streaming, gushing – or just condensing on your window…

Viva la Selva! comes, says Barrett, in four continuous sections: Morning introduction (claiming territory), Midday heat (mad insects, mellow birds and lazy day dreams), Dancing at night (a frenzied bizarre), Dawn and rain (long live the forest!). This is the longest piece on the CD. It opens in a cicadish panning, in a subatomic jitter, elongated into a spacious bird expanse, meditative, pure… shining, rippling around its axes. Barrett fits well into the respected role as a true artisan of the audios in this extended work, which she displays in transparent visions, suspended like spider webs in the forest; that secretive, protecting forest into which you can run as civilization becomes too hostile for you; Natasha Barrett’s spidery, dewy sound webs sticking to your forehead amongst the spruce trees, the tiny kinglets squeaking up around the trunks, small balls of feathery life bopping inside the branchery. Almost human vocal sounds bring forth ideas of goblins and fleshy, meaty creatures rising like mushrooms out of the forest floor, raising their heads with those curious eyes above the fern…

Some sections are so deeply pastoral that they bring me into a forgotten orchard behind an old castle ruin on an island in Lake Båven in Sweden, which I came upon once when canoeing by myself across misty waters. Giant bumble bees, the size of sheep, murmur around you in this music, and the residue of evil intentions flutter around you in swarms of half-uttered morphemes… acrid, bitter…

The conclusion is even more mystic, like precipitation on the fern of a forest meadow, where the force fields of good spirits fondle the moment…

The third meteorological insertion is Gathering Wind. The initial sweeping, circling, spiraling gust is chilly, having you wrap your coat tighter around your anatomy, hat in face, bending towards the might that bears down on you… Like in the earlier cases, Barrett sketches these brief moments from out in the open with expertise and an uncanny feel for the character of each sound.

The Utility of Space is, says the composer, an exploration of spatial musical structure. This is also, like Viva la Selva! A rather long work, more than 13 minutes. It is, however, very different from that work, introducing itself in crumply, prickly, dry crackles and an absentminded, inward female voice, under the desolate drone of a distant airplane on high, far above the dark clouds, gleaming up there in the moonlight like a silvery fish across the reefs… The voice gets cut up and multiplied, sometimes lifting off the surface of the planet in clouds of sound dust… I get the impression of a chaotic, lonely mind, traveling the existence with big eyes and empty hands, timorous and bashful like an outcast fairy, like a bleak butterfly with wounded wings, dragging herself across these barren lands, searching for her death amongst the rocks and ravines of the pure arbitrariness of geology – and can anything be lonelier…

The sensation of a kind of Bardo walk increases along the duration of the piece, drifting over in a dreamscape, into the interior of a dream that blows through the inner expanses of a life not asked for but graciously given and humbly received…

Industrial Revelations is the concluding work on this precious CD of exemplary sound art; an art so subtle, so… compassionate and emphatic, towards all that has lived and will live, and towards the elusive NOW that is so infinitely short that it can only be described as the hypothetical interface of past and future, stretching and bending in the uncertainty of quantum mechanics… leaving us helpless… and the final words on this last piece, uttered by Natasha Barrett, go: “… the landscape will sing with machines…”. A bubbling, forceful but simmering mud flow sound overwhelms the listener, and inside the mighty, brown wall of sound sledge hammers and heavy machinery can be distinguished… as dirty brick walls rise out of the poisoned planet like sores of sorrow out of the mourner… and a flickering light of rare innocence, forlorn in this desolate place, is put out by dark sounds that well in from the karma of those that didn’t have the power to give up power…

She has roots in the soil and the clay and the rock, and a soaring mind among the stars. She rides a slingshot through curved space!