 |
|
Frank Bretschneider, "Isolation"
Composed as part of a 2012 installation at a former East German prison, it should come as no surprise that Isolation is at times an intentionally off-putting, disturbing, and unpleasant piece of music. The prison, housing political prisoners and using more than questionable methods of interrogation, was in operation from 1956 to 1989, and stands as a testament to the darkness that pervaded Eastern Germany during the Cold War. Bretschneider’s work is an attempt to capture the sense of isolation and disorientation caused by the prison in audio form, and it is a resounding success.
Bretschneider utilizes a variety of compositional techniques in these five pieces to symbolize the multitude of experiences that lengthy incarceration and state sponsored "enhanced interrogations" could generate.On the opening to "White Light," he does this via extreme frequencies and their associated psycho-acoustic properties.The first few minutes are a tinnitus-like buzz that could induce migraines at a loud enough volume, and mixed with a low frequency rumble that gives just the right amount of uncomfortable physical vibration.
"Cycle/Circle" also features extreme sub bass that, on a loudspeaker set-up are more easily felt than heard, and via headphones lead to an odd sensation that is almost akin to dizziness.But I should be clear that, even though Bretschneider is using these heavy frequencies to convey physical sensations, these are still pieces that bear the mark of a true composer.Even though "Cycle/Circle" is all heavy vibrations and physical sensations, he weaves in understated tones and sounds that add a distinctly cold and austere sense of beauty.
Another technique he utilizes to great effect is passages of silence or near silence that enhance the titular sense of isolation, such as the hushed first half of "Neon Night" that, while not empty, it is extremely sparse.The 11-minute "Vertical Time" conjures the timeless monotony of incarceration via subtle hums and mechanical drones that result in an intentionally mundane, yet complex bit of repeated tones and vibrations.The concluding "Oscillation/Feedback" is completely descriptive in its title, with the first half being shimmering oscillations of high-pitched noise similar to that of "White Light".The concluding minute and a half, however, is a blast of pure digital noise that sputters apart brilliantly, akin to the final moments of insanity that could precede this sort of solitude.
Frank Bretschneider's Isolation is intended to be a disquieting, at times disturbing, piece of sonic art, and he accomplishes this wonderfully.Not in the sense of being a harsh noise endurance test, but something far more conceptual and composed.When listening (as recommended) via headphones, the work does an exceptional job at conveying the unpleasant experiences of a lengthy incarceration via repetition and unpleasant frequencies, at least as well as a CD possibly could.
samples:
 
