Their music explodes the boundaries and reunites from segmented forms. It is naturally scientific, complex with feeling, innovative, other-worldly, captivating and effective, repetitive and organic, a wild and mad process in an attempt to capture a moment of eternity. Defined as free form and expansive, from recognizable concrete elements of everyday life to an unifying abstraction, improvisations, mutations, polyrhythmic and hypnotic groove, experimental beats free of tempo and meter.
GS-IhearU believes all sounds can coexist in an total new arrangement, she transposes the complexity of the world into one electroacoustic sonic soundscape by the reconciliation of all the noises she has collected worldwide and manipulated in the studio, in one inclusive spirit, here and now.
Afrikan Sciences experiments for the computer to be infused by (and contain) Africa there within. His preoccupation with rhythm fixates on the oddities—the mutations, the dualities and instances of bare collision. His amalgamated beats are gleaned from a whirlwind of origins—west London broken beat, the east coast’s ’90s house, ’70s jazz, indigenous African and Latin rhythms—but they’re deployed concurrently and unexpectedly, with cross-beats and displacement used as accents in his own pidgin dialect.
We want to create deep and wide audiovisuals full of grace. Sounds are unlocked and floating freely for a poetical action, a music connected to the world. Computer music is not a prison, technology made us free, and allowed us to meet overseas and invent our collusion, a conversation, almost a real time osmosis through the (www) time and space : we named it Les Graciés.