The sound of the violin is a product of tension and release; the hair of the bow pulls back the violin’s string over and over again and, when the tension gets too great, it releases. The resulting vibration disturbs the air around it which travels in waves, exciting our ear drums and becoming sound. This confrontation of energy with air—the alternation of potential and kinetic energy—occurs over and over again in microcosm: catching, holding, tensing, and releasing. As listeners, however, we only perceive glorious sound.
If there’s an efficient way of summing up Samara Lubelski, it’s these two words: glorious and sound. But, in a deeper sense, her music also amplifies the micro-process of the sounding process of the violin: the specific joys of tension, release, and every possible gradation between the two.
The tension contained in each sound on Partial Infinite Sequence is not disturbing or stressed. That kind of sound is satisfying but too easy. Instead, it feels like that split second after you trip on the sidewalk. Your body could go in any direction, and every outcome is possible. Your pulse quickens. If you were able to freeze that moment in time and live in it the elation of the unknown would be overwhelming. - Nate Wooley
supported by 9 fans who also own “Partial Infinite Sequence”
My humanities professor showed me this piece and i cannot stop coming back to it. Something deep and alluring of this piece keeps me wanting more. Absolutely one of my favorite cuts from last year. renderedextract
supported by 8 fans who also own “Partial Infinite Sequence”
This is an unusual string quartet – with two cellists and two violinists. The lines of their instruments clash, overlap, build a quasi-resonant echo or sinusoidal forms, harmonize, but also verge upon Penderecki-style horror. Yet this is not a conceptual digression, but a complete composition that requires the listener’s attention throughout – and the result is perfect.
More: http://noweidzieodmorza.com/14428-the-best-of-astral-spirits/ Jakub Knera