When utilising devices not designed for Ã¢â‚¬Ëœconventional sound generationÃ¢â‚¬â„¢, interesting results can, and quite often do, emerge. Antimatter aka Xopher Davidson offers up 11 studies in what could be described as Ã¢â‚¬Ëœnon-linear sound compositionÃ¢â‚¬â„¢, using signal generators, test equipment and an analogue computer (whatever that is) as a modular synthesizer of sorts, creating washes, fades and blasts of white noise in a symphony of electronic pulses, rumbling tones and dense oscillations.
Ã¢â‚¬ËœCloud of PossibilityÃ¢â‚¬â„¢ blooms and rolls like itÃ¢â‚¬â„¢s namesake, all manners of sound generators whirring and humming together forming a density of mechanised synthesis. Merging seamlessly with plate reverb tones into Ã¢â‚¬ËœWaveguideÃ¢â‚¬â„¢, things turn decidedly low frequency as differing wavetables phase and slide back and forth, popping in and out of existence, sawtooths and sinetones alike bustling for space. Ã¢â‚¬ËœBistable Trip ModuleÃ¢â‚¬â„¢ sounds as it is called (as do most all pieces here); a twofold generative device designed to take you on a journey. With itÃ¢â‚¬â„¢s crashing waves of white noise and digital undertones, it feels almost like being dumped by an enormous wave, and indeed as Ã¢â‚¬ËœSea of TranquilityÃ¢â‚¬â„¢ begins with gentle synth chords (!), the theme continues, like youÃ¢â‚¬â„¢re caught in slow motion under the watersÃ¢â‚¬â„¢ surface, as the waves roll and buck above. Slowly we sink into the dark, the first respite so far. As the piece stirs again, tones sounding like the wings of a giant mechanical moth fluttering in the dark move ever so slowly towards the light. Ã¢â‚¬â„¢Sverdlovsk-45Ã¢â‚¬â„¢ commences the second half of the album with sharp blasts of white static, as rapid fire frequency squiggles zip around underneath. Ã¢â‚¬ËœReference BridgeÃ¢â‚¬â„¢ drops into a dark abyss of ominous tones and chaotic buzzes, gradually rising in tone as the piece proceeds, while Ã¢â‚¬ËœBand Limiter Impulse TrainÃ¢â‚¬â„¢ pushes itself to escape velocity, oscillating faster and faster until it transforms in tonality completely. Ã¢â‚¬ËœTime Projection ChamberÃ¢â‚¬â„¢ closes the track set with almost reflective restraint, before crescendo-ing and falling away into tonal oblivion.
Advised as being recommended for fans of Varese, Throbbing Gristle and Klaus Schultze, this release will most likely delight synthesis enthusiasts, with itÃ¢â‚¬â„¢s complex study of signal generation and wavetable differentiation. This isnÃ¢â‚¬â„¢t to say that anyone not versed in such practices will not understand this work, but like many sound-art pieces, a certain modicum of understanding can be a distinct advantage when attempting to decipher the material in question. An intriguing, if challenging work.