Slavek Kwi is one of those ambitious sound artists whose collected releases, when taken together, constitute a grand, cohesive body of work. Chapters in Kwi's main opus, the Artificial Memory Trace series, have emerged as CDs, as cassettes, as soundtracks, and as compositions for radio. These scattered volumes are unified by the Artificial Memory Trace concept--musique concrFte compositions created to reflect and incorporate the sounds of the universe.
Falcons, flamingos, and distressed computers take the starring role on DISTORI (NOAH). Kwi manipulates recordings of birds, amphibians, and insects captured in their natural environments, ingeniously folding bits of a computer crash captured on tape and synthesized voice samples into his extrapolation of caws and chirrs. The 13 compositions range in length and disposition, from the still, long-string drone of "Skeletune(s)" and the uneasy calm of "ppp-Petrus" or "Aurorah" to the activity condensed into the furious minutes of "Monokrom I.(b)-III." Kwi's strongest gambit, the forced interaction of the habitual rhythms of natural and mechanical systems, goes far beyond clever construction and textural conjugation. "Makanik Mrak (Cloud I)," "Fisilpao (Nostalgy Randomized by Hardisc Error)," "Elekreon (Insekt Raga)," "Tribus (Cloud II)," and "Foma (Soap-Foam in Zoom) encapsulate an eternal conflict between man and the natural world.