(Cajid Media)

Focusing on the “microscopic investigation of the recorder’s anatomy”, Natasha Anderson – a multimedia, improvised and classical musician out of Melbourne – extracts a multitude of flickering, wavering, gurgling and popping tones that maintain a dramatic physicality, impacting against our sense of anticipation with stirring disobedience, our confidence shattered in tatters by spluttering shards of lingual contortions sounding like venomous air bubbles in an underwater conduit, or by whirring continuums that one would imagine as generated by a motorized appliance. To give birth to her improvisations, Anderson uses a wealth of recorders (contrabass in F, middle joints of basses in C & F, tenor, Garklein) processing some of them through Max/MSP; yet the music is permeated by a thoroughly acoustic character for the large part of the album, emphasizing the byproducts of breath and saliva more than “studio difficulties” typical of certain computerized approaches. Anderson saves the best for last, ending the work with a splendid analysis of the lower regions of instrumental resonance quivering with intense undulations and subterranean buzzes, obtained via different layers of looped emissions that flow into a paralyzing silence, ultimately broken by the last few spurts of air.

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