'Decomposition – I – III' is an experience of sonic realities and aural layers that usually remain undetected by our perception. This collaboration of Peter Kutin and Florian Kindlinger has brought forth a conceptual piece that leads the listener through three territories antagonistic to human life. Following the subjects 'Absence' and 'Introspection', 'Illusion' concludes the perennial trilogy now released as a sound edition. A live implementation of light, sound and film will be combined to create a unique form of presentation, premiering this year at the Donaufestival 2015 in Krems.
The presented record holds acoustic parables that cause the listener to reflect upon himself. Starting with recordings from the Atacama, the driest desert on earth, 'Absence' presents a piece of abstract, desolate music that hauntingly extends dark and bizarre over two sides of the record. A brute inferno of noise, recorded inside a telescope during its calibration, eventually dissolves into the surge of the Pacific Ocean. In between, salt-crystals crack through the sunset, erosion gnaws at empty mining villages, nature plays with leftovers of civilization and the wind blows through neglected cemeteries. 'Absence' carries its own mood. It is the unheard music of abandoned spaces. Kutin and Kindlinger emphasise a strict documentary approach: the individual recordings are unaltered, raw and multifaceted, allowing the quality to speak for itself. The trilogy delivers a totally new experience to the genre, leaving the now moribund category of “field recordings” far behind. Radical and merciless, estranged and aggressive, yet still poetic – it is a bizarre narration.
The second part – 'Introspection' starts with a harsh walk over a snowy field, suddenly collapsing into silence. One is thrown into the deep seclusion of a glacial crevasse whose inherent resonances slowly build up – following the concept of Alvin Luciers 'I am sitting in a room'. This creates an odd acoustic maelstrom, driven by a peculiar threat that won’t let go until a helicopter blows up the silence.
'Illusion', the final part, was recorded in Las Vegas in cooperation with German sound artist Christina Kubisch. The city is used as a big synthesizer creating an opulent work in an orchestral manner, yet still following the documentary path. Kubisch recorded electromagnetic signals all over the city, which later on were arranged by Peter Kutin in his studio, using no transformation other than cutting techniques. This is a pre-electric music probably only to be found somewhere between Edgar Varese, Ben Frost and Pan Sonic. Occasionally, sound fragments from inside the casinos mix with the electromagnetic fields, proclaiming an acoustically surreal world. With 'Illusion' the record reverts back to its beginnings in the desert. A hundred years ago, Las Vegas was planted in the solitude of Nevada, bringing two primary things: electric power and light. 'They left their lives to make the desert bloom' – is a quote engraved into a monument near Hoover Dam, a hydro-electro plant providing electricity to the city. Not much is left of the deserted sounds from 'Absence'.
Kutin and Kindlinger link genres with their acoustic work. Their pieces have been presented and honored at music,film festivals and symposia for contemporary music
(NK, Berlin/ 25fps, Zagreb/ Diagonale, Graz / Schwindel der Wirklichkeit, Akademie der Künste, Berlin/ PIAS Awards 2013/ jury Nomination for the Golden Nica 2015). This record is not in search for sensation. It is the quality of the sounds mixed with a precise dramaturgy what leads to its hypnotic evolution, entrancing and entrapping the listener.