SVS Records is a label based in London, Munich and Lisbon that has been putting out material since 2013. It’s a platform for the musical output of Selbstversorgersound. That’s the title of the Munich born collective which translates to Self-Supporting Sound. They have a creative festival that aims for freedom and has been taking place once a year at different locations.
Lukas Rehm is a German visual artist and musician centered around digital music production, who met the Selbstversorgersound at their 2016 residency at the 4D Spatial Sound Institute in Budapest. After that encounter, the next step was releasing his first LP as Lybes Dimem, his project presented in formats ranging from spatial sound experiences to synesthetic shows complementing the auditive layers with visualizations of real-time data, computer graphics and moving images.
The ‘Syncleft Chronem’ title is explained by the following formula: ‘sync’= variability in the processing of auditive and visual signals, ‘syncleft’= the synaptic cleft, which is a crucial empty space in biological neural networks, and ‘chronem’ as the chroneme, a theoretical unit that measures the time of an articulated sound.
The album consists of 8 tracks that create a rushed sequence of experiences. Sometimes as a degraded glitch that turns into intense drones together with reverberant machinery, like on ‘Tachy’, its opening theme. And occasionally as structured rythmic patterns that give place to sound creatures to emerge and drown, dragged by epic rages of noise, as it happens on ‘Horizon2020’.
With what seems to be digitally processed furious guitars on ‘Saas’ and ‘Dà-Jiang Innovations’ collapsing against brief lapses of calm, one can feel the cognitive approach that the visual artwork expresses. It can be the road from the amygdala to the neo-cortex, or from somewhere still unnamed to our own perception that seems to shift as we go through the record. ‘Auto Alternative’ is our pick of the experience, it has synths coming through broken sequences of metallic and shimmering effects, and forms the pattern of a melody that is being segregated by an intrincate background of percussions. It makes you feel that you might need bigger speakers, like a slowed-down autechrian jam.
Hypnotic backgrounds and complex collages of layers seem to melt over tribal rythms, focusing on the contrast between dissociative tempos that struggle to coexist. Chinks of light, robotic seagulls shrieking, digital horns, and a recurrent nature that approaches trap and breaks, without staying there for too long. Everything happens rapidly.
Going through the 8 works that form ‘Syncleft Chronem’ seems like a longer journey than it actually is. An overloaded juxtaposition of sounds that makes a standpoint in highlighting the strong connection between textures and feelings. It looks like something very promising to witness in its full mode, perhaps joined by live visuals that could either clarify some concepts or just focus on the aspect of the infinite connections that we have in our brain.