Distorted Worlds by Kajsa Lindgren

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Kajsa Lindgren | Distorted Worlds | Hyperdelia (DL)
w/Felicia Atkinson, David Granström, Stefan Helmreich/Eva Hayward, Teresa Winter

Stockholm’s avant composer and field recordist lets out something of an extension of her recent ‘aquasonic’ Womb release which we covered here. This quasi remix EP includes four tracks, each taking off from this vantage point, and deriving their own conclusions. We start in the rainy, wet flicker of Stefan Helmreich & Eva Hayward‘s The Disrupted World. It’s dotted with fiery explosions and warped drone opposing the natural ambient sounds of water. The short opener lasts only two minutes or less with a female narrator speaking poetically about the nature and the senses. Next is Cocoon (Cotton) from Felicia Atkinson, and it takes directly from Lindgren’s original, comes off softer somehow, in its whispery, illusionistic setting. There’s something about the microtonalities here that speak of finite ecologies that thrive beyond the daily human gaze. The gentle strumming melody in the background brings forth a static-like, tingling sensation to the surface. A lovely electrostatic lapping, subtle jangles and minor percussion all lend to the meditative atmosphere.

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On Lindren’s original of The Garden you could hear a pin drop in within the vortex-like drone. Here on Teresa Winter‘s the garden (Womb Remix) she’s created a reductive mix that has its own buzz, a burrowing cadence that rides an invisible wave. Winter seems focused on looping a low range synth wave, extending its vibratory nature, with random piano key treatments spaced pretty far out from one another – in a long-range Cage-ian stare of sorts. The shallow played keys finally are left in a void, which is then filled up with layers of corroded electronic effects that change shape rather quickly. In the final minute watery effects are added, quietly lapping from shore. David Granström‘s Stratus takes us out, way out as its title might imply. The daring anthemic style work fills every inch of sound space and has classical, electronic and industrial pinnings. It’s a bold piece that’s revved up unlike the other pieces here, leaving you in a new arena not unlike a conceptual post-rock opera. It’s an ending that will surely keep you guessing.

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This review is part of Womens Work Week – a celebration of international women working in experimental and electronic music genres. If you enjoy this review you may also be interested in one of these additional releases that we are covering this week on Toneshift.net:

 

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