The First Wave – Emerging Electronic Musicians Of Sri Lanka: Part Five

Isuru Kumarasinghe

It feels like we are moving towards the cold parts, the abstract. Yet Isuru’s music is immediate, confronting: “A person and a bench” carries the impending sound of a distant yet not-so-distant Tsunami. The track which has a field-recoded quality to it, packs enough muscle to disturb a Funktion One rig. “Bipolar” is equally engulfing but more measured, existing somewhere between the fever of Bee Mask and the burning cinema of Fennesz. “Archetype reflection” pushes his Bee Mask towards Antarctica, plinking into a Heroic siege.

Isuru deals with subject matter revered by man: Nature, the circle of life, big oceanic slabs of noise. There are also bleepy, NSI-like experiments: in the backdrop of “Linguistic Formation”, you can hear suburban crows and three- wheeler horns conversing like an overlapping dream. It’s debatable whether he succeeds at storytelling, but his defining moment, undeniably does—Infinite and alive, “Chakra” is a throbbing, breathing journey through the pond. Eerie and heaven-bound, like Eluvium gazing into Emeralds, it’s the music you want to hear from light poles at night, blazing down, like a burning reminder about what we know about life and love.

Yet you can’t but help feel there is scope here for more: Encountering a forest bonfire where exotic drums are being played, Isuru could still be wondering along the coastline, too lost in the sound of the waves to take a peek at the woods. But if Demidike Stare’s evolution in crate digging or the sonically enamoring work of Pan Sonic is proof, the interplay between noise and rhythm is a worthwhile one—And one that could hold the key to another reverberating hallway within the growing sound collage of Isuru Kumarasinge.
Unchain the drums, set the controls to the heart of the sun.

written by  Roland Porter

NEWS - 21. December 2012   CITY - Colombo

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