Jn was always standing still. Frk was always hungry. Bobby was always constrained. And yet they are all currently looking at the same place, they are looking at the bus timetable. Bobby is looking over the shoulder of Jn, attempting to do so whilst simultaneously not being too close to Jn and hence making Jn feel uncomfortable. Frk is behind Bobby and Jn hoping both Bobby and Jn will not realise that he is standing there, he is also straining his eyes to read the numbered times of the buses. All eventually get on the same bus, but all are slightly worried that they won’t make their destination in one piece.
The future bus was evasive, the past bus was trodden on over and over again. The present was untouchable and unintelligible. All the concepts were a waste of time, but we do not know if that will always be the case.
Biosphere – Das Subharchord
This recording ends abruptly. It starts brash. It is an experiment, we hear, we don’t really have a true understanding of the incentives, and we don’t really understand wherefrom the enjoyment is obtained in listening. We read some words a person wrote, we accidentally end up in their heads, we hear the track, the website, we decide it’s best not to consider, merely to hear it all.
In listening, we forget about buses, we forget about heaven, that Mount Kimbie is a place where the buses arrive on time, we forget about the present, we forget about the end of the recording, we forget about the silence we had before we were listening, we forget about our ears, we just use them. And now there’s another idea, an opinion, we see they hear a hidden message, we hear it too, but we don’t know if this message was hidden or whether it was conjured out of thin air.
And, again, the accents on the synthetic sounds and the anatomy of a man’s voice in German; an escape painted in bold natural colour. Awash… another opportunity to narrate another record. Another wave that crashes into a stylish, self-assured, a poetic, rigid sea wall and then goes back, returns to its Wherefrom, to its Whereby; the keyhole shaped bay between North and South, Here and Not Here, Being and Nothing, Sound and Silence becomes faintly visible from this perch on Humble Hill, through the mist, the sea.
The Subharchord (as well described on Biosphere’s Bandcamp):
«In the late 1950′s the East German government decided that it needed to develop an ability to produce electronic music for film and TV for ‘Eastern block’ media as well as provide a platform ‘serious’ modern electronic music to compete with the likes of WDR Electronic Music Studio in west Germany. The result of this was the foundation of the first East European electronic music studio under the auspices of the East German National Radio (RFZ) in 1956 (and closed in 1970). The studio was called the “Labor für Akustisch-Musikalische Grenzprobleme” ( laboratory for problems at the border of acoustics/music ), and in 1960 the ‘Subharchord’ was created as the centrepiece of the Laboratory.»
The relation between the subharmonic synthesiser and Biosphere, a Norwegian musician, and this East German experiment initiative is explorable on The Subharchord Facebook Page