Plasticité n° 8 and Trio pour retombée radioactive employ three different sonic elements: pulses, heard in several of the artist's works; the slowed-down voice of poet Jean Daive, revealing sounds like granular friction and resonant pulses in the low-frequency spectrum; and what are most probably modified sounds issuing from a Geiger counter.

Lars Fredrikson employs a varied vibratory palette, ranging from the human voice to the transduction of electromagnetic radiation phenomena, as well as electronic signals used in sound synthesis, exploring their plastic potential. This stereo work features numerous movements between its two sources, generating a sense of resonant space and organic elasticity. The contrast between the low and high frequencies engages the listener’s entire body in an exploration of the limits of audibility.

Plasticité n° 8 and Trio pour retombée radioactive are the fruit of the same research. They are based on the same track but played at two different speeds: 19 cm/s for Plasticité n° 8 and 38 cm/s for Trio pour retombée radioactive. Consequently, Plasticité n° 8 lasts twice as long and occupies more of the low-frequency spectrum, affecting the thoracic and abdominal areas. In contrast, Trio pour retombée radioactive has a higher frequency distribution, with certain elements—such as the Geiger counter sound—operating at the edge of audibility, stimulating specific cranial zones.

Léa Dreyer, April 2021

Translated by Timothy Stroud