Natasha Barrett's 'Toxic Colour' Album Explores Dystopian Soundscapes
Natasha Barrett's album 'Toxic Colour' presents a critical reflection on the relationship between man, environment, and technology through manipulated field recordings. The album opens with 'Impossible Moments from Venice 3: The Other Side of the Lagoon,' contrasting the lagoon's surface with hidden underwater sounds, disrupted by boat engines. 'Glass Eye' addresses surveillance, transforming protest voices into neutral textures. 'Ghosts of the Children' evokes erased memories with fragile atmospheres. 'The Swifts of Pesaro' offers a moment of airy suspense via transformed bird calls. The closing track 'Toxic Colour' distorts natural sounds like water and insects to suggest a contaminated future. Barrett uses 3D ambisonic microphones to record, then deconstructs and recomposes the material in the studio, creating narratives that do not return to original places. The work highlights social and ecological tensions, using sound as a tool for analysis and commentary on the contemporary world.
Key facts
- Natasha Barrett is the artist behind the album 'Toxic Colour'.
- The album was released on the Persistence of Sound label as a CD.
- Barrett uses 3D ambisonic microphones for field recordings.
- The album includes tracks: 'Impossible Moments from Venice 3: The Other Side of the Lagoon', 'Glass Eye', 'Ghosts of the Children', 'The Swifts of Pesaro', and 'Toxic Colour'.
- 'Glass Eye' deals with the theme of surveillance.
- 'Toxic Colour' is the longest and most abrasive track on the album.
- The album is a critical reflection on man, environment, and technology.
- Barrett's work reinvents places rather than documenting them.
Entities
Artists
- Natasha Barrett
Institutions
- Persistence of Sound
Locations
- Venice
- Italy
- Pesaro