Svalr began with OD's excursion to Svalbard, to take in its Arctic majesty, learn its secrets, and get some once-in-a-lifetime field recordings. Accompanied by sculptor/installation artist Andreea Ionascu, the duo not only captured the archipelago with traditional microphones, but also utilized hydrophones, geophones, electromagnetic mics, and a 36-channel piezo mic sculpture. With these, they were able to capture land, sea, air, and beyond, giving Svalr the required depth of sound that such an enigmatic location deserves. The journey starts naturally with "Arrival," a watery, wave-slapping mix of hydrophone recordings and synth lines, both undulating with different purposes, reflecting different elements with their song. Slightly noisy waves give the listener a sonic feel of the crisp, Arctic air and unending sky. Whether one feels a night or day vibe with this opener, OD nails the mood and brings Svalr into the listener's mind, locking it in right from the start. Moving into "Impermanence," the natural recordings are again propped up against lush and uplifting synths, an audio montage of the fauna in Svalbard. Mixing with some noisier elements and oscillations, one gets the feeling of waves and tides. An elegant and engaging mix of sounds, "Impermanence" is a fantastic track and a highlight of the album. Taking things in a deeper, darker direction, "Pale" juxtaposes the bright beauty of the area with what can only be assumed as the unseen but ever present dangers: sub-zero temperatures, polar bears, and isolation to name a few. Continuing with the darker presentation, "Crushing" is like a nighttime version of "Impermanence," the birds heading in for the evening while our adventurer looks for a safe place to spend the night. In previous tracks, the noisier elements were all at the edges of sounds, but "Crushing" brings them to the front, layered, abrasive, and claustrophobic. Structured a bit more intensely than the previous pieces, this darkness lifts and gives way to a brighter, safer ending. Making the most of its nearly ten minute run time, this one certainly tells a tale. Rounding out the album, "Permabloom" feels the least organic of the tracks, despite quite audible field recordings. The synths just happen to prevail, but also strongly reinforce the nautical feel to the album, its leitmotif ebbing and flowing with delightful symbolism. Bookending the album with more waves for the exit, Svalr wraps quickly, a whirlwind tour of one of Earth's most extreme locations perfectly packaged for audio adventurers.

 

A very interesting premise for this sound art series, the second SITE entry, OD's Svalr, is a dynamic and enigmatic journey to the Svalbard archipelago. Its Arctic locale provides immeasurable opportunities for natural recordings, and OD and Ionascu captured material beyond sight and sound. Many works based on field recordings tend to lean a bit more on the academic side, bordering on the unenjoyable, but Svalr is a wonderful work from start to finish. The recorded material is audible and provides much-needed location cues and feeling, but isn't overbearing or awkward; the materials that were transformed to create new sounds were added into the mix seamlessly, making Svalbard itself an instrument to sing boastfully of its own beauty. Passing by before one even realizes, Svalr begs to be replayed again and again, as new details emerge, the waves crash anew, and the birds return to roost. Dive in here