• agapea_2311__001
  • agapea_2311__002
  • agapea_2311__004
  • agapea_2311__006
  • agapea_2311__008
  • agapea_2311__012
  • agapea_2311__016
  • agapea_2311__020
  • agapea_2311__022
  • agapea_2311__024
  • agapea_2311__028
  • agapea_2311__032
  • agapea_2311__053
  • agapea_2311__063


“2311 is a sonic close-up that immerses us in a body without clearly defined boundaries between the body and the external world, for the sonorous veiling is enveloped in all layers of the air. The sound is seeping through from everywhere, blending with the loudness of the body’s vital processes: with breathing, the heartbeat, the blood rushing through the veins. It negotiates between the internal and the external. The album’s composition is starting from the point where individual sounds, with their intimate internal reality, thoughts, sensations, and memory, blend with environmental sounds, marked by geography, the climate, animals and insects.
“The three long-form noise compositions are mediums for nurturing a sensibility toward the world that raise our perceptual attention. The sounds penetrate the body, resulting in permeability of the senses, which connects the organism with the tissue and veins of other organisms and phenomena. The artist suggests a world-view in which living organisms are not seen as isolated entities. The body lays exposed, with pores open, penetrated by the sun beams, the soft rumbling of the earth, gusts of wind, melodies, memories, associations. It’s not the body that sings – the sound is emitted by everything that enters the body, repeating in extended loops between the origin that can listen and the receiver that can also emit. The perceptual spectrum of the transmitter/receiver is substantially enhanced.”
2311 is ambiental; not in the sense of genre, but in its effect, which delivers transmitter/receiver into a total sonic architecture. In the long sequences, the artist briefly pauses to enjoy the condensing of the sound, and it seems as if the sound arises from an emotional and tactile urge to bend time so as to allow for attentive listening that would not be subjected to regulated time constrictions. agapea’s sound is layered through multiple sound sources. Different levels of music themes are accumulating in slow tempo, each resonating in its own spectrum, like in the natural environment, where each species or natural phenomenon has its own sound niche.
Besides independently researching sound structures, Saša Spačal alias agapea plays with noise(s) in media art installations, in which she broaches the question of a comprehensive posthumanist perception of the environment by employing different biotechnological means or by combining live systems, technologies, and art.”

Instruction for listening: To experience the sound over the whole audio spectrum, high volume and subwoofers are recommended.

– from liner notes by Ida Hiršenfelder alias beepblip



Compositions 2323 and 1111
Saša Spačal alias Agapea

Composition 2322
Agapea and Ida Hiršenfelder alias beeblip


Publisher: Kamizdat
Design and artwork: Andro Giunio
USB and booklet: Maruša ‘Maruji’ Hren
Licence: Creative Commons Attribution-Share Alike-Non Commercial (CC BY-SA-NC) licence

Saša Spačal