Sound performance based on introspective, deep, bare tones that are a translation of the sound captured by contact microphones incorporated to sculptural modules. These modules will act as instruments activated by the interaction with self-designed “claws” – inspired by the metal subculture. The sound process of the piece is defined by multiple intertwined feedback loops forming a network of emerging chaos. These feedback networks are violently interrupted by the sculptural sound objects which are being struck with metal nails by the performer. The resulting vibrations are picked up by contact microphones. The sound process is implemented as a patch on a modular synthesizer system. The patch consists of three main elements: distortion, reverberation and delay. These are configured in such a way that they feed into each other and feed back into themselves.
One of the more unique ways in which sound is treated in this work is the frequent translation from the electronic into the physical realm and back. Sound is not only fed from the physical sound objects on stage into the electronic synthesizer but also inside the synthesizer the signals are fed through multiple physical springs. In this way, the sound takes on an organic and unpredictable quality.
The artists use the elements and symbols from subgroups of the subcultural metal scene as instruments on stage. Some of these objects are transformations from already existing gadgets like the armour claws in the gothic scene, that as part of an aesthetic have lost their original “purpose”, in order to feed a new symbolic reason to be.
In their work together, the artists have always been interested in the translation between the spatial, haptics, resonance and sound fields. In this work, they image the introspective, bare, deep sounds coming from the tasting, punching, tipping act of the claws, designed by them and 3D-printed with metal. The aim to rethink these objects not only as aesthetic containers, but also as actors/instruments.