Odradek is a Ghent, Belgium-based organization dedicated to sound art, experimental and electronic music. They host regular sound art exhibitions and concerts by renowned and emerging electronic musicians and composers. Odradek also aims to stimulate and promote exciting new work by young Belgian sound artists. For Sonic Circuits, Odradek selected three graduates from the Experimental Arts studio of the Ghent Art College. All three artists work primarily with sound in installations and performances.

Mieke Lambrigts has been working steadily on a series of sound interventions tailored to specific locations. With little more than field recordings and sine waves she weaves subtle soundtracks that almost completely blend into the room ambience and resonance of the spaces in which they are performed. Very discreet music that is always on the verge of disappearing.

Pauwel De Buck utilizes location recordings of surplus sound materials from the urban environment. His composition methods are as much time-based as they are sculptural and spatial. The resulting works traverse between concrete sound environments and abstract aural spaces.

Jeroen Vandesande takes a highly explorative approach to sound and composition. His works combine avant-garde compositional methods such as game theory and chance operations with contemporary DIY techniques like no-input mixing, chaotic feedback systems and guitar drones.

Among his pieces are audiovisual installations, solo improvisations and works for multiple performers.

Sonic Circuits asked Han Van Den Hoof, director and curator for Odradek, a few questions about the new sounds coming out of Ghent.

You once mentioned that these 3 individuals form part of the “new Ghent school of electronica.” Does Ghent have a tradition of electronic music, and a unique style or approach to sound art? If so who are the pioneers? Or is this just a throw away term created by local media?

To a degree it’s really little more than an easy catchphrase, but there certainly is a tradition of electronic music in this town. The IPEM (Institute for Psycho-Acoustics and Electronic Music) was one of the first electronic studios in Belgium. During the 70s and 80s a lot of electronic work by international composers was developed there.

To call the current resurgence of electronic music a “school” would be an exaggeration, though. There is no particular “Ghent style” of electronic music It’s mainly a group of people who become interested in similar things at a given point in time and create a fertile atmosphere for exchange of ideas and interesting new music or art.

How would you characterize the work coming out of Experimental Arts studio at the Ghent Art College?

The output of the Experimental Arts studio isn’t easily classifiable. Otherwise it wouldn’t really be “experimental”, right? But there is an emphasis on performance art, installations, video and sound art.

Many people have never encountered sound art in a performance setting and it can be confusing or intimidating. Do you have any suggestions for the first time listener on how to approach such music?

As an audience member, one should keep an open mind and retain a willingness to listen. In that respect it’s no different from any other form of experimental music or art. The more you’re willing to submit yourself to it, the greater the reward could be.

Mieke Lambrigts and Jeroen Vandesande perform September 29 and Pauwel De Buck September 30 at Pyramid Atlantic.