Klara Lewis — Ingrid (1st May 2020)

Sweden flag                                                                   Klara Lewis — Ingrid (1st May 2020) Klara Lewis — Ingrid (1st May 2020)✹   Co pro vás znamená záznam v terénu? „Omezení a inspiraci.“ 
✹   Švédská minimalistická a elektronická umělkyně s hudbou vytvořenou z nalezených zvuků.
✹   „Terénní nahrávky jsou skvělý způsob, jak přivést do hudby vnější svět a váš vztah k světu. Přidává to k mé práci osobní prvek, o které si myslím, že bych bez něj jen opravdu těžko pracovala. Nemůžu a nechci dělat hudbu bez nějaké emoční investice. A nalezené zvuky jsou skvělou zkratkou pro umožnění této osobní, asociativní a emoční vrstvy pro práci.“
✹   Lewis také spolupracuje v řadě spoluprací s umělci jako je Rainier Lericolais, Robert Lippok (rastrový notonista a člen Rococo Rot) a Nik Void (Factory Floor & Carter Tutti Void), Lucy Railton, Graham Lewis a Peder Mannerfelt. Na zakázku vytvořila zvukovou instalaci pro permanentní sbírku muzeí Uppsala Art Museums a remixovala singly od Factory Floor a Carmen Villain. 
✹   Její hudba byla použita spolu se Stravinským a Shubertem v „En Masse“ (2018), poslední show slavné australské současné cirkusové skupiny Circa. V roce 019 Lewis uvedla premiéru nového živého audiovizuálního díla inspirovaného filmem Ingmara Bergmana „Podzimní Sonata“.
✹   Following 2018’s acclaimed collaboration with Simon Fisher Turner, “Care”, Swedish sound artist Klara Lewis returns with “Ingrid”, her third solo release for Editions Mego.
✹   “Ingrid” is a departure from Lewis’s previous solo outings, drifting from the eerie rhythmic variations of “Too” and “Ett” and moving assuredly into long~form experimentation. The piece retains those records’ pulsing core and builds on a single cello loop that is steadily enveloped by a surge of distortion. It’s almost like a voice or chant, shifting pointedly from a whisper into a scream before singing peacefully into the light.
✹   At times, “Ingrid” reminds of William Basinski’s looping melancholy or Steve Reich’s controlled and innovative phase experiments, while at others, it recalls the chaotic Scandinavian physicality of black metal. Yet the entire composition is anchored in Klara Lewis’s distinct emotional world. By dissolving familiar and beautiful strings in baths of noise, Lewis allows something violent but tender to grow in its place. In a society struck through by cynicism, “Ingrid” is a cathartic listening experience and a beacon of hope. Klara Lewis, Mutek Montreal 2018 ©Photo: Bruno, Destombes
Born: 1993 in Uppsala, Sweden
Location: Sweden
Genre: Electronic, Experimental, Field Recording
Styles: Post~Minimalism, Experimental Ambient, Club/Dance, Experimental Electronic
Album release: 1st May 2020
Record Label: Editions Mego
Duration:     20:15
Tracks:
1. Ingrid   20:15
Credits:
★  Klara Lewis   Design, Photography
★  Sarah Register   Mastering
★  Nik Void   Design
★  Cut by Andreas Kauffelt at Schnitstelle, Berlin
AllMusic Review by Paul Simpson ⌊ 24 JULY 2020, 13:47 BST ⌋  Score: ★★★★
✹   On her previous solo recordings, Klara Lewis constructed haunting, quasi~rhythmic pieces from found sounds, detached voices, and loads of effects. “Ingrid” is a 20~minute composition focusing on a single sound source, but it might be her most powerful, affecting work yet. It begins with a gently flowing passage of cello playing, which gets caught in a possibly reversed, oddly lyrical~sounding loop after about a minute. It’s one of those perfect, beautiful loops that could go on for hours and would sound soothing rather than annoying, yet it’s still melancholy and fearsome. All of these feelings are somehow amplified together as the loop progresses, becoming deeper and rounder as more effects are applied. There are more curves and more contrasts as the waves keep building higher, and as it grows more menacing, it progressively hits closer to home. By the 15~minute mark, there’s so much in~the~red distortion that the loop has the force of a steamroller, and the effect is simply devastating. The distortion gradually recedes during the final minutes of the piece, but it retains an unearthly glow around the edges, and the general effect is that things can never go back to the way they were at the beginning. Thoroughly transformative.  — AMG
✹  https://www.allmusic.com/
Also:
BY DARYL WORTHINGTON
✹  https://inverted-audio.com/review/klara-lewis-too/
INTERVIEW
Written by Josh Hall · Published on 25.08.2017 · 11:16 CEST
✹  https://www.redbull.com/gb-en/field-recording-klara-lewis-interview
The Quietus, September 26th, 2014 08:56
✹  https://thequietus.com/articles/16333-nik-void-klara-lewis-tickets
Bandcamp: https://href.li/?https://klaralewis.bandcamp.com/album/ingrid
Website: https://klaralewis.com/
Soundcloud: https://soundcloud.com/klara-lewis
FB: https://www.facebook.com/klaralewismsuic/
Label: http://editionsmego.com/artist/klara-lewis