Underkind – Symbiosis
Symbiosis
Underkind
May 1, 2020
May 1, 2020
May 1, 2020
May 5, 2020
May 6, 2020
May 7, 2020
May 11, 2020
May 13, 2020
May 15, 2020
May 15, 2020
May 28, 2020
June 5, 2020
June 5, 2020
June 5, 2020
June 10, 2020
June 16, 2020
June 17, 2020
June 19, 2020
June 23, 2020
June 26, 2020
June 27, 2020
July 1, 2020
July 14, 2020
July 17, 2020
July 18, 2020
July 20, 2020
July 21, 2020
July 23, 2020
July 24, 2020
July 30, 2020
July 30, 2020
July 31, 2020
August 2, 2020
August 5, 2020
August 7, 2020
August 11, 2020
August 14, 2020
August 18, 2020
August 19, 2020
August 21, 2020
August 24, 2020
August 25, 2020
August 29, 2020
September 5, 2020
September 5, 2020
September 9, 2020
September 11, 2020
September 14, 2020
September 15, 2020
September 17, 2020
September 21, 2020
September 27, 2020
September 28, 2020
October 13, 2020
October 16, 2020
October 21, 2020
October 29, 2020
October 31, 2020
November 1, 2020
November 5, 2020
November 10, 2020
November 12, 2020
November 23, 2020
November 26, 2020
November 29, 2020
December 4, 2020
December 10, 2020
December 12, 2020
December 15, 2020
December 22, 2020
December 27, 2020
December 30, 2020
December 31, 2020
January 7, 2021
January 9, 2021
January 17, 2021
January 24, 2021
January 31, 2021
February 1, 2021
February 7, 2021
February 18, 2021
February 24, 2021
March 4, 2021
March 11, 2021
March 31, 2021
April 16, 2021
April 20, 2021
May 4, 2021
Jeremy Sheehy
March 15, 2022
Tracks in this feature
Tracks in this release
Experimental music has long been obsessed with the sound of the natural world; natural sounds and field recording litter some of the most popular recordings in the genre. Still, not as much attention has been given to the sound of manufactured environments. Many of us spend a large portion of our lives in these manufactured spaces, so it is refreshing when these spaces are explored in music. On BRUTALISM, SEPL+NEAR DARK MATTER manage to translate the hulking physicality of these spaces into sound, providing the listener with a chance to better relate to the areas and materials around them.
From the first moments of BRUTALISM, the listener immediately becomes aware of just how much space these sonic structures contain; every sound is drenched in a deep reverb, implying a monstrously large environment, but an oddly familiar one. Each track of this collection uses a different material to build a sonic representation of the physical space that material would help to create. This allows for a more intimate understanding of these materials; on GLASS the listener can hear a subtle ringing sound, much like tones of a glass harp, while also hearing the deeper resonance of a monolithic glass panel and the slow rain-like sounds of its shattered remains falling into a pile. The rest of the collection follows a similar formula, evoking the natural sounds of each material, allowing them to grow and evolve before reaching their end. Some materials eventually crumble under their own weight while others simply reach their logical end, signifying that nothing is forever; even these hulking structures of sound will one day crumble into dust.
At its heart, BRUTALISM shows an almost spiritual-like reverence to the massive constructed environments of the modern world. These structures are something to be both marvelled at and feared, but most of all, they are something to be understood. Through these soundscapes the listener is granted an opportunity to intimately listen to and experience the materials of the constructed world and hopefully gain a deeper understanding of the places they inhabit.