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KIRKEGAARD, JACOB - Black Metal Square

Format: LP Label & Cat.Number: Important Records IMPREC475LP Release Year: 2019 Note: "Et sic in infinitum, Robert Fludd, 1617" - the philosophic sister release to "Phonurgia Metallis", based on the same basic concept (capturing the resonances and drones from three freely hanging metal plates), but with three different sized BLACK METAL plates (50 x 50 , 75 x 75 and 100 x 100 cm) - originally this was an installation refering to MALEVICHs famous painting "Black Square" - comes in a black sleeve with glittering silver print, hand-numbered ed 100 copies Price (incl. 19% VAT): €39.00 More Info Limited edition of 100. Hand numbered. Packaged in a black sleeve with a screen printed sheet affixed to the cover. Three freely hanging black metal plates: 50x50x005cm, 75x75x005cm & 100x100x005cm Piezo sensor and contact speaker attached on rear side of plate, amplifying and mirroring its subtle and naturally occurring vibrations, evoking its characteristic resonant frequencies . Jacob Kirkegaard © 2015 - 2019 Et sic in infinitum, Robert Fludd, 1617 https://soundcloud.com/importantrecords/kirkegaard-blackmetalsquare-imprec-90sec "Based on the sculptural installation, Black Metal Square (2015), these three pieces are the latest work by field recordist and sound ‘alchemist’ Jacob Kirkegaard. This is a limited edition of one hundred copies. “The installation refers to Kazimir Malevich’s famous painting Black Square (made one hundred years prior in 1915) and his quote ‘It is from zero, in zero, that the true movement of being begins’. The astronomer Robert Fludd’s drawing of the black square from 1617 inscribed with the phrase ‘et sic in infinitum’ (and so on to infinity) is also an inspirational source for Kirkegaard, who asks the question: ’but how does the black square sound?” The whole work runs for less than a half hour, but is imbued with a rich bass low rumble from the metal plates. After a while the sound that initially sounds like a timpani for gong begins to resemble a jumbo jet flying overhead. It’s presence defies gravity and has this pulsing atmospheric feel. Besides the plates Kirkegaard has incorporated the use of sensors, contact speakers, amplifiers, and steel wire to conduct this lingering drone din. On Black Square 75 (referring to the scale of the plate) the scale shifts slightly higher in register, but after the first two minutes its vaguely noticeable. This would lull most deep listeners, perhaps to slumber, and could potentially irritate hyperacusis sufferers. It’s deep, yet airy, low hum with a bold grounding. Finally on Black Square 100, the tone has dropped into a smouldering cauldron of boiling drone. This sounds like a field recording of a thunderous tornado on the far horizon, built with pressure and density this shakes the floorboards some, especially with any volume increase. It’s amazing to imagine this was composed by one man and a piece of steel, my guess is Nakajima Akifumi (1959-2013) would have felt a kinship to this piece. Peaceful and weary, Kirkegaard has brought forth a work of intense introspection, turning the void inside out, yet still remaining a complete mystery." [Toneshift]