The duo playing in the dimly lit room, was Constanza Piña a Chilean techno experimentalist and techno-feminism activist, and čirnŭ a musician from Bergen, Norway. The duo’s heavy thick drone-y industrial sounds filled and trembled the air in the room.
After the duo’s performance, some in the audience gathered around the table to examine the duo’s equipment. “This is a radio, and this (pointing to a thick large sheet metal wired with a mic) is a pick-up. It collects feedbacks and the sound is circulating,” čirnŭ explained.
The heavy sheet of metal gave the impression of an ecological statement, not because it was recycled material, but because of the function. Circulating and recycling sound, involving the environment of the entire room until it rumbled to every corner.
Amazed by the variety of gear the duo had wired up, I asked čirnŭ if ‘there was any gear in the past that he got and never used, or had regretted buying?’ His answer was superb. “Never!”he shook his head with a big grin, a grin that told more than any words.
