Entitled ‘Art’, the second edition of Frequency Response, our ongoing collaborative project with Resident Advisor, takes three world-class musicians – Daniel Avery, Forest Swords and Felicita – and subjects them to the stimulus of Carsten Höller’s perception-altering ‘Decision’ exhibition at the Hayward Gallery in London. The artists respond by writing a piece of music, creating a free-flowing, cross-pollinating, transformative exchange between media, people, aesthetics and ideas. Have a listen to the outcome and read what the artists had to say about their creative responses.
TMA-2 Modular is a continuously evolving headphone system that responds and changes as it meets with creatives, producers and sound enthusiasts.
Resonating the Modular mindset of versatility, the second edition of Frequency Response offers up three very different tracks by some of the world’s most respected electronic artists for free download. This time around, we’ve enlisted the creative help of machine-funk maestro, Daniel Avery, contemporary, electronic dub wizard, Forest Swords, and ‘post-sonic’ producer Felicita – and we dare say that the results are anything but ordinary.
Ranging from the immersive ambient of Daniel Avery’s ‘Decision Two’ to Forest Sword’s vast, dubby soundscape ‘Tunnel’ and the hyperreal, abrupt bounce of Felicita’s ‘Thanks Bye’ the creative responses to Carsten Höller’s thought-provoking work are as varied as they are distinct, proving once again that great art is open to interpretation. In this particular case, the complexity that is contemporary installation art is transposed into vibrant, arresting and absorbing sound.
Grab the free downloads below and read what the artists had to say about their encounter with Carsten Höller’s ‘Decision’ exhibition over on Resident Advisor.
‘Although I did enjoy much of the exhibition, I really responded to that metal corridor. It felt like a powerful, though slightly disconcerting, way to pallet cleanse—it got me thinking about ways to incorporate that into gigs or clubs. It drills home the fact that you’re moving from one world into another, and I’ve been thinking about the ways you could play with that. I took audio from that area and transposed rhythms and samples of footsteps and metal “clangs” I’d pulled out of the audio.’
‘On the way back from the exhibition I was thinking a lot about Isomeric Slides and Upside-Down Goggles and how my legs almost buckled when I tried to walk to the edge of the roof to see if the Coca-Cola logo on the London Eye had been turned the right way around. I also thought about “body hacking” and the possibility of an art form that is completely invisible, built and communicated and experienced entirely within the mind. I then briefly tried to equate musical experiences with Carsten Höller experiences by claiming that both are “invisible” (as opposed to the experience of a painting), or at least that visually perceiving the object is not the primary experience—you don’t stare at the slides or goggles the same way you don’t stare at your phone or speakers when they play music.’