Is “micro-noise” a genre? If it’s not, how would you name a crossover between noise and microsound? Can noise music be quiet and full of detail? How is that not ambient music? These and many other questions come to mind when asked about “A deafening silence”, my first release with a proper record label, chemical imbalance.
Two tracks and roughly fifteen minutes of hums and buzzes, crackles and drones. Both tracks pretend to be a soundtrack for mundane scenes. Track one, “overtime”, tries to put down in audio the feeling of being alone in a corporate building, working hard to meet deadlines imposed by somebody else, earning money for somebody else. This I know too well, having been a clerk for hire for more than a decade now.
Track two, “screenlight”, aims to be the normal continuation to side A. This time, having dinner at the wrong hours due to coming back from work insanely late. The empty living room, the cold supper, the feeling of dread, the TV that is on that you are not watching, the passing out in the couch.
Available on cassette and digital.
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[…] Silence fades over the sound like a blanket of sleep, allowing the final number to clear its throat. As the airwaves become ever more still in between the art, reflecting on the music allows a non-judgemental appreciation of the uniqueness and novel element from which it grows. Although many artists work in abstract and experimental sound, it takes a lot of courage to strip it down to bones such as these. […]
[…] Subespai offers silence to own the space without disappearing / appearing, combining the small variations on floating drones to become hypnotic. A transversal EP linking oblique experimentation and sonic meditation. Very strongly recommended.