Von Archives – VON 023
The idea behind the Cordiox from which Ariel Guzik’s album takes its name is a machine which was conceived by the inventor of the radio, Gugliemo Marconi, in a dream just weeks before his death in 1937. He had theorised that sound never dies, but instead emanates and radiates eternally. As such, he believed that every sound ever made still existed in the ether, and that it was theoretically possible to tune into the recordings of every moment in history. The machine Marconi visualised would confirm this theory. Guzik’s Cordiox was conceived as an instrument which crosses portals of time and bridge infinite space, and this album very much encapsulates the enormity of that concept and ambition.
‘Cordiox is a machine, an instrument that communicates through time, vibrates and resonates to its surroundings, creating a response to it, communicating with it. Rather than making an unlistenable riot of noise, Guzik’s recordings here are as much concerned with the enormity of time and space, and the way everything blurs, slows and distorts, reduced to a low hum as its ends move further and further apart.
Creating a slow-motion soundscape of almost incomprehensible enormity, chimes burst like terrestrial gongs, rippling vibrations into the cosmos. The first track is an otherworldly cloud of drifting, turning sound in which time stands still.
Long, low, languorous notes are hang in space for aeons; time stalls as the notes turn imperceptibly for eternity after eternity. The second track continues in the same vein, but works from a broader sonic palette, with elongated drones rising and drifting over the interminable sonic mass. Long, low undulations ripple slowly beneath long, tapering trumpets of fluid tonality. An eerie sonic ooze which hangs in suspension between time and space, it’s the sound of all sound, singing out across infinity.