The first time I saw recsund perform live was in a strange kitchen-tiled venue, obscurely placed on the 4th floor of a building outside Kottbusser Tor, Berlin. His sound is hard to describe. With a flurry of sound effects, sampled beats, synthesis and even rapping, listening to recsund can feel like being sucked into a vacuum along with all the other detritus of popular culture. You can hear corporate idents and BBC news recordings alongside acid bleeps and breakbeats. But any semblance of recognition is soon replaced by a new torrent of information, each wave sublimating the next in a continual tide of data.
recsund is also perhaps best known for one of the more successful marriages of sound and vision. The visual identity of the project is arguably tantamount to the music, immersing the audience in the 3D worlds of game design. For his latest A/V project, Tuner, recently debuted at Somerset House, he even performs live club visuals through a computer game engine. “I do have a lot of faith for the tricky medium”, he explains. “It’s actually the absurdity of it that intrigues me”.
But despite its similarity to the dizzying sensationalism of mass-media, the recsund project stays with you for much longer than any flashy advertisement could. From the meticulous post-production processing to his two-faced alien avatar (ProDance®), the recsund project is one that dodges straight-forward story-telling or empty signifiers. “2018 has become a time of progression”, he continues. “And of being harder on the grander ideals and desires of the recsund project”.
What exactly those ideals and desires are must be first gleaned from the project itself. Following his most recent performance at the Quantum Natives showcase with Edited Arts, we asked recsund to give us a taste of his live performance as a contribution to our mix series. Listen below.