li10digi

li_series 10

li is the random but recognisable patterning found in many aspects of nature – the grain in wood or the fibre in muscle. While it is easy to recognise, it is impossible to define. li_series elaborates on this ‘thematic overlapping’ by combining sonic works alongside new commissioned texts.

This series of 10 collaborative assemblies are released as a printed A5 text, audio download and high quality 7×5” photo print.

li_series 10

Audio: Capacities by Spatial Golding
Text: TBC by Sally Golding

The tenth and final entry in the series is Spatial Golding’s Capacities accompanied by a text from Sally Golding.

Spatial Golding is a collaboration between Sally Golding (AU/UK) and Spatial (Matt Spendlove, UK), as they put it “drawing upon their respective practices using sonified lighting and emergent software in a sensory and hypnotic opto-sonic live set.”

Capacities is the pair’s first audio release, comprised of two pieces. Onkalo spans a host of moods and textures in its 17 minutes, building from brittle and intricate flutters to strident, full-blooded bass pulses while maintaining a degree of minimalism throughout. Much like Spatial’s audiovisual feast ‘Primitives'(Broken20 12″, DVD, data CD, 2015), it’s a masterclass in dynamic sound design.

While both tracks on Capacities may differ from the majority of Spatial’s back catalogue on the likes of Infrasonics, Well Rounded and Ultramajic, Organic Singularity is closer to that sound. Identifiable rhythmic elements contribute to a lugubrious, hyperkenetic sense of funk, like Spendlove’s earlier material crushed through a DSP sieve. Possessing enough low end pressure and skippy percussion to tap a toe to, it would likely still bemuse all but the most forgiving of dancefloors.

In a live context, Spatial Golding use camera flash units, a laboratory strobe and torch light to tease begrudging sounds from small handmade light sensitive audio devices, alongside home coded audio software and modular synthesis. The recordings in Capacities can only hint at their intended “enquiries into phenomenological optics and acoustics”, but as a standalone body of work, these audio works show that even disembodied, they contain the power to overwhelm the senses and feed the imagination.

Golding’s accompanying text can, in a sense, fill that gap, though it’s perhaps fairer to say that it merely adds another layer to our understanding of the audio. Inspired by, but not wedded to, the sound, it provides a deeper understanding of the pair’s motivations and inner dialogue for the Spatial Golding project.

li10printBuy the physical/digital direct here.