Post-classical ambient minimalism for crepuscular airports

Junto Project 0355: Sonic Vivisection [repost]

Someone suggested that Suss Müsik repost our contributions to the weekly Disquiet Junto projects, because they enjoy reading the explanations of the tracks. While you’re reading the original post, make sure you check out the other contributors’ works as well.

Galway Kinnell’s poem “The Bear” explores the conflict between humans and their natural environment, signifying the metaphorical paradox that occurs when hunter and prey become one. The poem’s seven section takes us through a grisly dream sequence in which the central theme (a bear’s animalistic search for food) represents one’s instinctual need for survival, married with the subconscious hunger to understand how and why we exist.

At the poem’s crucial moment, the narrator’s comes upon the “scraggled,/ steamy hulk” of an eviscerated bear. He splits, devours and enters the rotting carcass before assuming the bear’s identity:

I hack
a ravine in his thigh, and eat and drink,
and tear him down his whole length
and open him and climb in
and close him up after me, against the wind,
and sleep.

And dream
of lumbering flatfooted
over the tundra,
stabbed twice from within,
splattering a trail behind me,
splattering it out no matter which way I lurch …

The poem’s final line is the narrator asking himself, “what, anyway,/ was that sticky infusion, that rank flavor of blood, that poetry, by which I lived?” Suss Müsik often ponders similar questions.

For this piece, a ravine was hacked into a sound field and worn like a fur-covered shell. Organ chords were played through two MoogerFooger processors, then spliced, sampled & distorted in real time using the Infinite Jets “swell” setting. An additional noise filter compressed the signal, its melodies lumbering flatfooted over a wintry tundra splattered with sonic debris.

Although the piece lacks any sort of “surgical” precision, such is often the case when cuts are made with bone rather than medical instruments. The final result was performed live and recorded quickly to 8-track.

The piece is titled Poincheval, named after the French artist who lived a week inside a fake bear.

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