Emma Margetson‘s Elapsing, the first piece in the first concert, was a nicely soft-edged stream of consciousness, mixing field recordings with mild pitches, getting the festival up and running in a vaguely ambient manner.

Elapsing (5:4)

Emma Margetson‘s Distorted Illusions arranged what sounded like multiple strata, the behaviour of which was both individual and unique yet complementary to all the others. Though it was arguably the most elusive of all the electronic works, its slow-moving, occasionally punctuated material was no less mesmerising for its almost defiant sense of distance.

Distorted Illusions (5:4)

Emma Margetson’s ‘Cimbaal’ was an intriguing take on a staple electroacoustic sound source, namely cymbals: her sharp, dynamic tones rarely sounded like their source instruments at all, yet they had a similarly broad pitch spectrum and nice ringing bite.

Cimbaal (Fluid Radio)

The use of the micro moving gradually closer and farther from the cymbal have a strong incidence in the musical form, conditionated by this original gesture. This motive reminds the rhythm of breathe. It attributes an underlying slow tempo to the piece and also conditions the organic development of events. The whole configurates a very interesting piece, where the end, with its entropic resolution, lead as to a static meditative moment. Congratulations Emma!

Cimbaal (Univers Sonores Parallèles)

…it sounds like you are making metal breathe!

Cimbaal (Anonymous)