Sound appears as ghostly seeds of memory that eventually unfold as a universe in which there are infinite listening possibilities. Today’s compositional approaches, such as the one subtlety identified in Yui Onodera clearly expose the multi-dimensional experience of the sonic, always calling for a rizhomorphic convergence of time scales in which matter becomes sound, dissolved, as a transitory shadow of eternity. It suggests a conception of sound as a simultaneously inter-connected and autonomous dimension, an integral perspective in which there is no such thing as a guitar or a field recording after all, but mere worlds of possibilities, which in this case are reflected as meticulously crafted textures, able to express simplicity without avoiding fragmentation and molecularization. Nevertheless, semi lattice is predominantly a contemplative journey, waved between detailed and soft sound clouds which fluctuate across ethereal spaces which are naturally revealed through listening: flows of tonal distension, sweeps, strings melt on algorithms, pianos and guitars merged as soundscapes of an atemporal space, pointing to a macrosonic paradise in which spaces, times, memories and subtle events, collapse as drones and micro rhythms, revealing a world of complex harmonic interchanges and intangible organisms, all weaved with the goal creating something between subtlety and intensity, a place in which everything moves and fluctuates, but the listener remains suspended. (baskaru)
