Two Part album by Swedish non-musician (trained visual artist) Ronnie Sundin rips apart his previous mostly silent, oft hardly apparent sound persona. Consisting of assemblages of ‘rediscovered mini-discs from 2001-2007’, it could read as treatments of noise in multitudes of guises, modes and strategies of attack. Part one has a long enter and build static and disrupted patterned noise into auditory assault culminating and frequency manipulation and variation. The latter stage of part one could be construed as the reward for the long entrance if not for the ‘intelligent noise’ manipulation method of Sundin rendering this quotient as a virtual non statement and ending with dental drill accuracy precision and sonic pleasantry.
Part 2 opens more ominously, atmosphere building, then into an intricate melange of tones statics, frequencies and variations of manipulations . It’s all ‘high end’ sound, mincing the upper spectrum to pulp, in a ‘freak-out’ attack of sonic mayhem. If it were not so controlled and determined in sonic abrasiveness it could be pulled apart with ease, but the deep sonic bleakness and convulsive experimentation can be equated to the idea that black is a combination of all apparent parts color spectrum at once. Suddenly it seems for the post quiet Sundin that everything happens at once and can be described as such (or at least documented), the signal is opened wide, tune in to Seven Years Silence at the risk of dissolving all concepts of sound previously held. Although you may want to hold on to your hat.
Innerversitysound
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