"The mini-Moog was described in one of their brochures from ‘71: ‘Brutal, caustic, volcanic. Evocative, flirting, caressing. Crisp, powerful, biting. Entrancing, embracing, exhilarating!’ It’s exactly this, although I used a different modular, is a hidden and mathematical instrument that has almost endless possibilities and always surprises. As William Blake addresses the senses: ‘If the doors of perception were cleansed every thing would appear to man as it is: infinite’.
The primary focus was searching for the musicality in harmonic echoing timbres, frequency oscillation, and modulation, and playing with sequencing ambivalent tones, and granularity, aiming for an intrinsic repetition with variation. I can say that a big inspiration was the obsessive amazing opera ‘Einstein On The Beach’ by Philip Glass and directed by theatrical director Robert Wilson. It is mostly worked with a modular synth and guitar loops inside a sonic Imaginarium trying to solve a very dark and isolated time in a cement-grey Berlin after moving from Bucharest. And going a bit into the synthesis baroque of Wendy Carlos. Now the cover photo is made with DALL-E Ai generated, when I wrote “a dark Bauhaus inspired house”, which is what I felt my soul is converting, the house standing for the analogy of course.
The basis was on examining the movement of the sound, space, depths, circular, and spherical, paying attention to my perception when I went outside and psychoacoustic effects. For example, the dizziness of a ‘cocktail party effect’, or the illusions of the Gestalt effect, (and I say Gestalt because sometimes I got psychoacoustic-tricked when I was working, not knowing if it was a bad noise or a noise that was intrinsic, also remaining with a particular echoing tone in my tympani, like an ear-worm) Therefore, it is a search for a ‘geometry of rhythm’ so this is a journey in finding that condition." - Simina Oprescu
Composed, mixed & mastered by Simina Oprescu
Berlin, 2022
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