Sectioned and muffled reverberation opens the latest work Interaktionen by Peter Brandlmayr, a work of austere mystery, fractured space and premeditated anxiety.
Ostensibly, a work that crookedly hangs between your ears, operating on oxides and ancient gases that perfume the air with the spirit of inopportune, fearsome outcome. The wiry hiss of studio experimentation of 'Relikt R89' with its dusting metals, rubbery prepared stringed instruments recall recent work by Joseph Suchy, and the din of the inside-out effects of Though, the closer you get the farther away your imagination may take you in imagining what planet the sounds actually come from. Brandlmayr pieces this together like an abstract collage, only revealing portions to the public ear, allotting for a perspective that fills in the blanks, even when narrated by the spoken word, the piece is most literally an experiment. The pauses on 'O.T.' are void composites where breath is transposed over gesture, effectively excerpting bit components that are exclusively held in the mind of the listener - a sort of personal transference. This breath only further creates the extraction of velocity on '20 UHR 8' as the blatant metallic percussion is all a clamor until the human breath literally exhumes the air out of the piece. A solid landing on interstellar soil seems to depict the essence of atmosphere created on the mind massage of 'Dokument EK1.' Ambient work riddled with a collision of the elements, subtly bruising its foundations, tilting its bow, blowing its shutters apart. This takes a turn off a more earthy surface and takes to an amorphous body of water. Instruments click-clack as meters read warnings, the buzz of low-drum mechanics and the creak of what could be planks being tested by the axis of sea space. The navigators here whisper effectively, in the hushed tones of a lover in danger. Brandlymayr shapes original, contemporary sound like a withdrawn narrative that is downright peculiar and startlingly explorative. (Tj Norris)

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