My third album takes the transition to a purely non-metric and noise based point of view. Liner notes:
“A Residual is what remains in the sieve of the human memory under the process of temporal erosion. The Residuals found on this album are both the result of the transformation, destruction and the confrontation of different views of the original sound material and the result of an autistic confrontation of myself with what I was thinking and feeling during the last year. They abandon harmony, melody etc. to open space for an empiric experience, an imaginary landscape, using noise that allows several interpretations. Not pushing the sounds around but trying to figure out how they would behave autonomously. Experience the oscillation between different layers of dreaming. See an immobile rock turning into a goblin who starts to walk away. Witness an exorcism and the sudden panic arising from the recognition that the images of one’s memory are inevitably washed away, leaving only impressions that are a reference back to ourselves and not to an outer world, therefore making it impossible to share one’s psyche with someone else…”
More notes on the fifth (last) piece which won a prize at the Bourges festival 2003:
“This is the last one in a series of five pieces entitled «Residual». The name points to the process of temporal erosion in the mind of the composer as well as the listener. The strange conflict between elaborating an atmosphere and the ongoing composition process that covers a time span of several month and includes vast changes in mood, thought, social contacts etc. The strange activity of the listener in whose head a piece is kept in flux and changes meaning over time.
«Residual» also because of what remains in the sieve after sculpturing the sonic material that was completely derived from field recordings of small and noisy sounds, e.g. nuts, stones, paper. The material was prearranged in the form of a quasi-automatic «time canvas» (M. Feldman) generation consisting of the original microphoned sounds convolved with each other and spread in an all-over manner throughout the five pieces. The margins between the pieces have been readjusted several times in order to blend the edges.”