Viennese experimental audio-visual artist Billy Roisz explores the frequency spectrum and the sound materiality of the double bass in her sophomore solo album BAJO. Roisz does so from a philosophical and refreshingly innocent perspective. The double bass represents the concept of going low, not only in terms of Roisz’ fascination with the familiar, dark, deep tones of the double bass but also in a metaphysical sense.

The double bass’ acoustic and physical, heavily resonating sounds are sculpted and layered, processed and expanded with the modulation of electronic devices that veil its sonic substance and range but suggest whole new, mighty, brutal and noisy, multidimensional and dramatic sonic entities. Roisz adds another layer of sound to the mix, created by the processed cymbal that belonged to her longtime stage partner Silvia Fässler of the duo Skylla (that released a self-titled album, Editions Mego, 2008). BAJO is dedicated to the memory of Fässler.

BAJO was recorded at Atelier Weißgasse and Sperrmuecc Studios and the tunnel Spillern in lower Austria, with the help of Roisz’ partner Dieter Kovačič (aka dieb13). Roisz painted the aardvark on the cover, and BAJO is released as limited edition vinyl and a download option.

Roisz evokes on BAJO an uncompromising and demanding sonic journey deeper into abstract and unsettling sounds. It is strange but highly imaginative «Picnic At Sine Wave Valley», as the opening piece is titled. Roisz employs errors and surprise encounters to navigate her multifaceted pieces into intriguing sonic territories and unexpected associations as in her previous works. BAJO, with its weird but highly suggestive ritualist spirit, invites the listener to dive deeper into Roisz’s idiosyncratic and mysterious sound universe.

Eyal Hareuveni

 Billy Roisz (b, el.b, cymbal, elec), dieb13 (helicon)