Another absolute diamond from Entr’acte in the UK. Helena Gough produces a glitch-laden collection of pieces on “with what remains”, touching on territory previously inhabited by Goem, or Pita, yet somehow not repeating history, and manifesting something utterly unique.Gough generates muscular digital voids, doubtlessly layering field recordings and re-codings, angular sequences that squeal and howl, and then blister and trough into the lower depths. This is a recording of events, and there is rarely a dull or motionless moment here, each piece bristling with activity, and creative bluster.
The curiously entitled “condensed milk” (well, why not?) mobilises squelchy and off centre dynamics that move in and out of focus, and “silt” is pure digital delight, pin –sharp sampling and elegantly paced, verging on super-minimalism, but the shift of pace and tone mid-way leaves me gasping at Gough’s precision and originality. Something about this work would make me guess that it was composed by a Japanese artist, as Gough exhibits the rigour and precision of sound workers from Japan. There is something incredibly beautiful, and elegantly poised about each piece, and for me, “unsung” steals the show for its restrained richness, reminding me of Richard Devine, for want of a better reference. Somehow, Helena Gough manages to re-define glitch and minimalism in one effortlessly classy collection, and I for one, will be seeking her work and begging for more. A masterpiece. BGN