compound Kaitlyn Aurelia Smith You might not know that her name loosely translates to “mourning of pure gold,” but her music knows—and her listeners shine in it. her new album, Let’s turn it into a sound, exposes Smith’s ear to unlimited possibility. Smith is unafraid of alternate forms of emotional connection on this album, all while blasting the boundaries of music — and even the physical body.
the address, Let’s turn it into a sound, It is an invitation and an instruction at the same time. This phrase whispered to Smith like book episodes, a fitting container for Smith’s unique—and at times impractical—melting and welding feelings into the voice: “I have felt helpless in the amount of things going on in the world. And so my response to these feelings is, ‘Okay, well, I can that at least make a sound.”
while the phrase Let’s turn it into a sound Sounds like advice or a must, it’s also fun. “Sound is something that’s always been interesting to me,” Smith explains while speaking to PopMatters. “It is an area where things can be both logical and illogical at the same time. And I think of it as an exercise of freedom in the play of sound.”
Smith praises the subtle powers of sound, saying, “Let’s play with it. Let’s just Manufacture art. And so I felt back to the original intent of art – [which is that we] I don’t know how to communicate. And Let’s Make Art sounds very basic, but that’s really the primary inspiration for the album.”
Formally, her messing around with structural parameters has allowed Smith to compose in new worlds: “I’ve always liked to play with extreme versions of going from really opposite points on the harmonic circuit, like: ‘Let’s find the biggest repulsion gap and try to connect it, and that gets me excited.” On a philosophical level, this is something I have personally experienced in the past few years. There were a lot of great extremes and huge gaps.”
Smith experimented with the excesses of sound, incorporating “a lot of edges of sound. There are peek-a-boo sounds on the album, and if you listen closely, you can hear a ‘hiya’—there are a lot of little Easter egg sounds.”
Given that Smith interacts organically with her performer, pregnant Buchla, it is not surprising that the relationship is symbiotic. “Playing with Buchla started my journey in more insistent listening due to the limitations of the articulator,” she notes. “I started with one or two notes and would do it like deep amplified listening sessions. So it was a deeper practice in the chain of overtones, something I always come back to before writing a new piece because they are the original components of all sounds.”“
In turn, Buchla requires its players to position themselves in time and space, locate themselves within a machine, and act as a leader; One must be in a relationship with her. Indeed, Smith’s album focuses on location and perspective, with song titles such as “Locate”, “Let It Fall”, and “Is it Me or Is It You?” ‘, ‘Pivot Signal’, and ‘Unbraid: the Merge.’ Smith emphasizes that ‘this album to me was a lot about transition, not down-to-earth, just being in a steady transition period and how to play with that transitional time.’
Smith insists that listeners hear sounds physically with their bodies. “There are certain frequencies that I feel in the spine, and given the psychophysical experience of listening, there is a lot of research on how certain frequencies are not heard by our ears, but we Feel on our hair. like our hair is listening.” For example, when someone has “a frightening feeling—like a haunted feeling—it is actually a repetition that they feel and Not he heard.”
Smith’s music industry is so fully embodied that her artistic inclinations have full influence, from the electronic pioneers Such as Wendy Carlos and Steve Reich Dear Music Pilot Laurie Spiegel and Laurie Anderson For John Adams and recomposer Max Richter To Moondog and even vocal inspiration for Bulgarian women’s choirs. When PopMatters compared Smith to medieval composer Hildegard de Bingen, Smith cautiously agreed that there was a “parallel resonance”. They are two of the multidisciplinary twisting around definitions while concerned with the spiritual concept of the life force that inculcates the natural world (and in this case, the less natural world).
Anonymous Smith also stems from dance, fetishism, sculpture, geometry, and fashion – all forms that revolve around space and dimensions. Working with director Shun Hellfritsch, Smith donned a Rokoko motion capture suit to create a video that would also be visuals of her live performance.
Smith openly transforms colour, movement, and technology as if she were a postmodern alchemist, absorbing the elements around her to transform them. Certainly, in Let’s turn it into a soundAnd the turbidity, the winding arcades, the faltering machines, the bulbs and winders, the TV trailers, the rocky upheavals, and layers of wobbly noise brewing with each song, or what Smith refers to as vignettes, stumble into a kind of symphonic poem. Then, when we apply an inquisitive listening to it – it generates new golden music.
This ability includes the occasional knack for making “article” out of her neighbours. Through strange connections, Smith accidentally turns her physical locations into resources. On the island of Orcas, there was a Terry Riley fan who introduced Smith to Buchla’s bearer. Smith and Susan Siani discovered that they are players in Bochla And the Neighbors in Bolinas, cooperation is destined. During the pandemic, Smith met a musician who was also her neighbor, Emile Mosseri. Together they released an album, I will be your dog.
Smith admitted it Let’s turn it into a sound He has “a lot of vague feelings”. Smith sure makes shapes, as do her remixes; It’s not limited to other people’s music (like the psychological phenomena King Gizzard and Lizard Wizard), but it also turns creative stakes into real substance, bringing magic into the edges of sounds, weirdness, and surprises.