Last month Emptyset premiered a commissioned installation and performance at David Roberts Arts Foundation in London. The site-specific performance was entirely acoustic, using compositional aspects of micro-tonality, percussion and voice.
In their RA feature, the duo explained the importance of acoustic music and how challenging it can be: the idea of using voice as an instrument. We want to play with how that most direct human experience of music-making or sound-making can relate to what we’re doing. It’s both the continuation and a departure, and it’s exciting to us that there’s still actually a lot to explore, a lot to be fascinated by.
Besides finding new paths for the project to explore, the duo, in this latest feature, analyze the concept behind Emptyset stating that they’ve developed a composite of various strategies of architecture, design, history, music, materialist theory. It’s a form of collage we’ve formulated internally, within ten years of internal conversations. That’s created a kind of foundation by which we know the rule set. The process is employed within that, as a means, but to us, it never feels like it’s the actual output. It’s a tool that’s required to give voice to space, material, form, structure.”
The concept of space is further analyzed from the duo in this FACT interview, saying that: “The idea of space, for us, is more exciting in thinking about context and the physical structure and its sonic potential, as well as the kind of connotations and narratives invested in certain spaces, and playing with those kinds of boundaries.”
The duo has also created a mix for The Wire with the aim of connecting all the previous mentioned points, stating that “The mix brings together work from artists and musicians whose work have been an inspiration and have informed ideas around the recent album Borders, reflecting upon the interwoven histories of electronic and acoustic music, as well as the inherent ritual qualities of sound and performance.”
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