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Wormhole Shubz (E122)

by EVOL

/
1.
1 08:57
2.
2 06:16
3.
3 04:47
4.
4 05:18
5.
5 13:09
6.
6 08:57
7.
7 16:43

about

Wormhole Shubz constitutes a new step
forward in the ongoing audio research/
frenzy that Sharp and Jiménez de
Cisneros call Rave Synthesis —
a deconstruction of rave culture icons
under radically different compositional
strategies.[1] A combination of trance
inducing exercise and hooliganistic
noise, Wormhole Shubz pulls the listener
into a maelstrom of quasi-periodic
patterns and large-scale whirling structures
that provide a renewed morphology for
custom-made hoovers, supersaws, and
other oddly familiar club culture standards.

Despite some methodological variations,
EVOL tracks and recordings have typically
been characterised by a certain kind of
minimalism: not so much in the structural
detail, but in the use of limited sound
sources. This ‘one synth at a time’ rule
holds true in Wormhole Shubz as well.
Here, tracks make use of this self-imposed
reductionism to achieve a truly abstracted
experience of acoustic matter and an
approach to metric ordering that makes
anticipation simply pointless. On the
contrary, the listener is invited to play these
pieces loud and just let them be. The change,
as Rosemary Mountain puts it, is more in the
listener’s focus than in the flow of these
sonic objects.[2]

The tracks on Wormhole Shubz are based
on the principle of topological homeo-
morphism. “A homeomorphism, also
called a continuous transformation, is an
equivalence relation and one-to-one
correspondence between points in two
geometric figures or topological spaces
that is continuous in both directions.”[3]
In other words, two geometrical objects
are homeomorphic (or equivalent) if you
can obtain one by continuously deforming
the other – and back again. The structures
of these tracks, both at a macro and
micro level, are continuously stretched
and bent, and only occasionally does
the listener find gaps in the constant
deformation of pitch streams and gliding
tones that gives rise to these seven
monoliths. Some have referred to it as
“sonic Play-Doh”; they have previously
called it “rave slime”.


1. Jiménez de Cisneros, Roc. Continuum,
expanded. London: Sound Proof 4, 2011.
2. Mountain, Rosemary. ‘The Breathing of
Time in(to) Music’ in Proceedings of the
5th Triennial ESCOM Conference,
R. Kopiez, A. C. Lehmann, I. Wolther &
C. Wolf (Eds.). Hanover: University of
Music and Drama, 2003.
3. Weisstein, Eric W. ‘Homeomorphism’.
From MathWorld: A Wolfram Web Resource

credits

released July 24, 2020

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