Sound artist Joel Cahen initially designed this album to be listened to in a submerged state, ie in a body of still water like a swimming pool or large baths. Apparently, when sound travels through water it moves four times as quickly as through air and also affects our bodies more noticeably than when we are on land. This sounds intriguing from the perspective of the large-scale Wet Sounds events that Cahen organises, where groups of people have been able to enjoy this collectively, or in some kind of flotation chamber as a solitary experience.
The soundtrack that Joel has produced for this experience has been released by Adaadat for us to enjoy in an out of water scenario as well. The selection of sounds that he has found are intriguing as a standalone recording as well, and are explained to a certain extent by his operation in various multi-disciplinary events where theatre, art and sound combine.
The distant rattle of a piano on “Orange Sky” links with sound of whales or some other water-borne creatures, with dolphin calls and that kind of Geiger counter-like crackling with which they communicate. I imagine that as this is an underwater means of communication, it would travel well in the chosen environment and that the harsh, staccato sounds would interact with our bodies in a novel way. A delicate keyboard motif is introduced, but everything has been designed to sound as if heard through a filter. There is a gauzy, gently distorted feel that is unlike how we normally experience sound. Clarinet, and various drones and droplets, are utilised on “Black Rainbow” where they meander through aqueous filters with no sharp edges or severe noise at all. It is an apparently random collection of interesting sounds that are tied together with the sort of noises like morse code chatter, depth charges or even mice eating that travel with a particular velocity. “Centre Of The Cyclone” sounds less pleasant. The textures here are more sinister and the introduction of cut-up digital voices would prove disconcerting when played underwater; but this is a necessary change of mood that goes to show that not all is placid down below. This would make for an interestingly different kind of vibe if played in a group setting.On the second side and for the first time, vaguely industrial beats are deployed on “Blurs Of My Eyes”. Apparently there are saxophone and voice here too, but I couldn’t make them out from the cascade of other noises and the sound of something being dragged across the ocean floor. There is an awkward rhythm of sorts on “Canolin Tap” and some of the sounds do beg the question of whether they were they actually recorded underwater, as there is a sense of delay or remove in the way that we hear them. Final track “Fume Noir” uses more fractured beats, digitally cut-up sounds and the Doppler effect. Disembodied wordless (to me) vocals, at times choral and at times guttural, sometimes whispered and sometimes spat, feel as though they are giving the listener one more test before the album winds to a close.
It is the most intriguing proposition and one that I would love to experience in its rightful place. I will have to see if I can source some waterproof speakers, and then take to the bath and report back at some time in the future. Until then: enjoy, landlubbers.-Mr Olivetti-
