In gorgeous ETHER, a handmade micro lens brings cymatics closer

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Sound is physical, but we don’t often get to see that physicality. In this gorgeous video for Thomas Vaquié, directed by Nico Neefs, those worlds of vibrations explode across your screen. It’s the latest release from ANTIVJ, and it’s spellbinding.

The sounds really do generate the visuals here, from generating terrain from an analysis from the waveform to revealing footage of metal powder animated by sonic vibrations. A self-made micro lens provides the optics.

https://www.youtube.com/watch?v=aK0BXH7zu-M

Everything in this video was made using the sound waves of the track Ether.
Equipped with a home-made micro lens, a camera travels inside physical representations of the musical composition, from a concrete mountain built from the spectrogram of the music, to eruptions of metal powder caused by rhythmic impulsions.

(Impulsion is a word; look it up! I had to do so.)

Still from the video.

Nico Neefs is the director, working with images he created with Corentin Kopp. It’s set to music from Belgian producer Thomas Vaquié’s new album Ecume, on Antivj Recordings. That imprint has for over a decade been a label for audiovisual creations across media – release, installation, performance. Simon Geilfus developed the tool for visualization.

They’ve employed the same techniques to make a very attractive physical release. The image you see in the artwork is cast from a concrete mold. For a limited edition box set, they’re producing 33cm x 33cm plates cast from that mold in dark resin. And it’s ready to mount to a wall if you choose; hardware included. Or if you feel instead like you own enough things, there’s a digital edition.

Ultra-limited handmade physical release.

Concrete mold.

Concrete mold; detail.

The whole album is beautiful; I’m especially fond of the bell-like resonances in the opening piece. It’s a sumptuous, sonic environment, full of evocative sound designs that rustle and ring in easy, organic assemblies, part synthetic, part string. Those then break into broken, warped grooves that push forward. (Hey, more impulsion – like a horse.)

The music was repurposed from installations and art contexts:

These are all derivations of compositions for site-specific and installation projects, the original pieces having been created as a response to place and space, to light and architecture, to code and motion. Now separated and transformed from their original context, the music takes on an independent existence in these new realisations.

That does lend the whole release an environmental quality – spaces you can step in and out of – but is nonetheless present emotionally. There’s impact, listening top to bottom, enough so that you might not immediately assume the earlier context. And the release is fully consistent and coherent as a whole. (It is very possible you heard an installation here or there. Vaquié has produced compositions for Centre Pompidou Metz the Old Port of Montreal’s metallic conveyor tower, in Songdo South Korea, at Oaxaca’s ethnobotanical gardens, and at Hala Stulecia, Poland’s huge concrete dome.)

And there’s thoroughly fine string writing throughout – with a sense that strings and electronic media are always attuned to one another.

Cover artwork.

Thomas Vaquié.

Poetic explanation accompanies the album:

Ether embodies the world that exists above the skies.
It is the air that the gods breathe.
It is that feeling of dizziness,
that asphyxiation that we feel when faced with immensity.

Full video credits:

Music by Thomas Vaquié
Video directed by Nico Neefs
Images by Nico Neefs & Corentin Kopp
Edit & Post-production by Nico Neefs
Video produced by Charles Kinoo for Less Is More Studio and Thomas Vaquié
Filmed at BFC Studio, Brussels 2018.

More, including downloads / physical purchases:

https://thomasvaquie.bandcamp.com/

Plus:
www.thomasvaquie.com
www.antivj.com

from Create Digital Music http://bit.ly/2DBURKX
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