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Album of the year 1996 Aqua Syndrome suffice it to say is created from the sounds of water, pouring water. It's one of the rare "quiet" releases of this author, that can be characterised with an English word 'Subtle': the most important place there is taken by the silence, but not an ordinary one, by Aube silence. But in deed there are hidden, scarcely audible frequencies and echoes that you can just feel with your body or probably that's your brain that build up, I don't know. And as I have already mentioned, all the albums can be collected under the title "absolute abstraction", i.e. (especially at the beginning) you can't define these strange and alien to your ear sounds, a totally unusual feeling, you get into another reality, that lives and develops confidently, paying on attention to the listener, that is guided by its own logic and laws, something from the worlds where the parallel lines meet.
In the first and the longest track Refloatation the absolute silence is growing gradually into a real symphony, all the layers comprise the one and very beautiful structured picture, you can almost follow the "thinking over" of its creator about the nature of this or that sound, each of them or all together. All the whole unbelievable construction, as it often happens, suddenly dies out at the 17th minute leaving place for philosophical silence. The second track Aqua Syndrome I develops gradually as well, only approach is different, the listener is confused and disorientated by little stereophonic sound disorder - a drop falls in one ear and your hear it with the other, the echo sings in the third one, but you feel no discomfort because of it! Dilution starts with monotonous pulsation from the far in the middle spectrum, there's a short interruption after a while that divides everything into several parts and creates a kind of rhythm. From nowhere arises a small echo and the sound of bubbling water (i can't stop thinking that water can't bubble like that) and, here you go, it creates its own rhythmic pattern that goes together with the pulsation; then again in the lowest frequencies you have another independent world, do you see it? It's the 3rd, the 5th rhythmic layer! The 6th! The sound grows, receives some kind of aggressive character, in the 5th layer you hear a new echo, several seconds later, finally we have 7 strata that transform constantly, that constantly change their frequency and form of the waves, an absolutely sodding state at the physical level.. it's all over. Aqua Syndrome II. The sound of bubbling water is more or less laid aside; some kind of oscillations at the background that you can't really define, but it's also water, I know; oh! It's the beginning of the track when this drone buzzing starts to grow, now it has almost suppressed all the other sounds, it vibrates, doubles, gives place for another lines, the noises play together, then it's still, a complete disfocusing of the listener, crystal clear sound of the water, 5 minutes to the end of the track.
All in all, it seems to me that the main idea and the way to listen to the industrial
symphony 'Aqua Syndrome' brilliantly performed by an orchestra-man Aube is now more or less understandable.
It's like to sit in a cosy armchair and to watch for 53 minutes and 44 seconds through a magic ball (in this
case it's a bright sphere) the surface of another planet where specially for you let's say 40 highly
perceptible stereo-microphones are set. And this process involves the listener to the degree that he stops
realising at which side he is actually getting in touch with it.
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riiia |
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