Musique Machine / Multi-Genre Music Magazine

Taking environmental recordings to the next level, Natasha Barrett utilizes 3D ambisonic microphones to capture the sonic imprint of various locations in exciting new ways. With this as a base, she then transforms the sounds and atmospheres into abstract works that will give the listener an entirely new approach toward the area as initially perceived. Toxic Colour is her latest work, with five pieces of intricately recorded and deconstructed soundscapes to tickle one's brain.

Toxic Colour begins with "Impossible Moments from Venice 3: The Other Side of the Lagoon." The third instalment in the Venice series, one is instantly transported to the canal-filled city while it begins to sink, and the water levels rise. One of the world's tourist marvels, the darkness of reality is shown here, and this is anything but a vacation. "Venice" has an urgency to it, something coupled on top of the crashing waves, a darkness that is felt more than expressly described. Beauty turns into a haunting vision, and the listener is left on their own without knowledge of what the future holds. Continuing with the darkness of the previous piece, "Glass Eye" uses its recordings to give a grim look at the growing number of surveillance cameras and devices popping up around the world. Despite dystopias warning us of this loss of privacy and unavoidable government scrutiny, we allowed it to happen, and we're now always watched by this glass eye. With more mumbled voices present in the piece, "Glass Eye" adds the much needed human element to the work, cementing it in our personal worlds and connecting us with others, others we need to team up with to revolt (echoed with the group chant of "shame on you" halfway through). More introspective than the first track, this one is a slow burn that will keep one's thoughts moving for long after the runtime. With all the war, devastation, and trauma happening all over the world, "Ghosts of the Children" hits hard, knowing that many children will never get to lead their lives as planned because of evil, greed, and hate. Like the track before, the voices here add the human element and reinforce the piece's gravity; hearing the children play alongside birds chirping during peaceful times is in stark contrast to those who are becoming ghosts far before their time. Although grim in subject, the piece itself is a bit lighter than the earlier ones and doesn't revel in the awfulness of despair. Not hopeful by any means, but just restrained and thoughtful. Shifting inspirational gears, "The Swifts of Pesaro" offers Natasha's meditative side as she builds upon recordings made in Pesaro, Italy. The birds here carry a different feeling than the bird calls in "Ghosts," and one can picture sunsets, warm breezes, and a oneness with the world. The manipulated bells work with the churchbell recordings and reinforce the meditative vibe, all while the pieces shimmers forward to the finish. Ending with the title track, "Toxic Colour" is harsh but vibrant and the almost struggling motor sound speaks to mining, construction, and industry. An industrial soundscape to match the ravaged landscape, the darkness here speaks to the dire times our planet is in and that we must act now before it's too late.