Anna Zaradny ( Go Go Theurgy )

Kelham Island Museum - Saturday Pt4

We are extremely excited to welcome Polish experimentalist and sonic architect Anna Zaradny. 

We first heard her perform Go Go Theurgy at Unsound 2016, when it was released. It completely blew us away. We are privileged and delighted that Anna has chosen to complete the performance lifecycle of this album with us here at No Bounds 2020 Virtual 3D.

Together we will explore the piece mixed for 3DM in a way that we hope will draw new dimensions out of the wrk, a work that is already immensely powerful and encompassing, we invite the listener to surrender to it's magnifiscence on the Huddersfield Immersive Sound System.

 

"Go Go Theurgy”, consists of two majestic compositions.

Strikingly charismatic and intense, they teem with sensuality and anxiety, while their palpably dense and detailed

texture is constantly filled with tension and sense of urgency. The crystal-clear narration of these structurally complex

pieces creates a framework for Zaradny's uniquely intricate and emotional sound.

This music celebrates performativity and defies genre limitations. Although bravely experimental, it is precisely

structured at the same time, and sometimes builds a momentum usually connotated with pop music.

“Go Go Theurgy” recalls the primordial but also cultural references, creating its own idiosyncratic value.

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“Go Go Theurgy” is an intricately woven tangle of synthetic and natural textures and modulations; the next step

for the Zaradny's unique sound; very organic, and somewhat seductive.

The idea of sound sculpture, found in her earlier pieces, is particularly significant for “Go Go Theurgy”. Its loops

and cycles create a specific rhythm completely without percussion, based solely on the pulse and dynamics of the

composition itself. A high intensity of intersecting layers of sound and repetitions refers directly to the title, a kind

of ritual suspended between dance and performance, and the concepts of rebellion and power, purification and

liberation by the movement of the body.

Zaradny's works have often included a theme of a ritual stripped of mystical aura, reduced to the tension

between cultural roles and their phantasms (e.g. in “Castration class” (2010), “The sweetest sound of circulating

firmament” (2011), “GEN IUS” (2014), “Punctus Contra Punctum” (2014)), but for the first time it takes the form of a

sound composition.

“Go Go Theurgy” has a clear sonic architecture and contains echoes of the space where the sound resonates

and returns in subsequent cycles. The composition becomes not only a reflection of the ritual documented on the

photos, but also a metaphor of the resounding open space. Elements that we hear in the initial parts of the composition

return in a processed form, an effect of a redefined echo which becomes an independent sound object detached from

its source. This physical multidimensionality of sound is another step towards a sound sculpture. An attempt at

stopping the moment, experiencing trance, looping movement and gesture.

Daniel Bro?ek