Jason Kahn is one of those artists perennially needing to challenge limitations of human sound perception; the results he obtains in “Miramar” are in that sense truly astounding. Using an analogue synth as a basic source plus a floor tom (as a resonator) and small cymbals, the New York/Zurich-based sound carver achieves that kind of phenomenon where the vibrating propagations turn ears into resonance instruments themselves, something varying through placing our stance in different listening perspective while in our room (preferably large). The sound quality ranges from tidy oscillations to semi-distorted beating of frequencies, both cases yielding membranes’ movement and strange responses from the brain. Looks like you’re undergoing a transformation of the way you accept an acoustic code, it takes a while before your body reacts correctly – and I’m still trying to define what “correctly” means in this case. Fact is, this is a radical approach to a delicate argument but Jason demonstrates much more about physics with such a few means than hundreds of theories could ever explain with hollow words and formulas.