Möller Records bringen bald ein neues, kollaborativ ausgerichtetes Album der in Großbritannien lebenden türkischstämmigen Musikerin Elif Yalvaç heraus. “My Heart of Noise”, das auf sehr unterschiedliche Weise an den Stil der vorausgegangenen Longplayer – “Mountains Become Stepping Stones” (NNA Tapes, 2020), “Green Drift” (Expert Sleepers, 2022) – anknüpft, basiert stark auf der akustischen Alltagswahrnehmung der Künstlerin und ihrer Neigung, musikalische Strukturen in verschiedenen Geräuschen zu erkennen. Neben Yalvaç, die Synthies, Fieldrecordings, Laptop und den Sound eines Game Boy beisteuert, sind zahlreiche Gäste an den Aufnahmen beteiligt: Wilma Hultén (Synthesizer, Laptop, Kristoffer Lislegaard (ebenso), Saaramaija Żórawski (Stimme, Field Recordings zusammen mit Antti Kainulainen), Magnús Bergsson (Field recordings), Ríkharður H Friðriksson (Gitarre), Daniele Moog Girolamo (Tape Recorder, Gitarre), Jesper Pedersen (Modular Synth, Field recordings), Charles Ross (Geige, Panflüte, Maultrommel, Harmonium, Field Recordings), Asalaus (Gitarre, Field recordings), Michael Bearpark (Morleytron ). Das Album erscheint digital über Bandcamp.
“I hear music everywhere: in natural sounds, in electronic sounds, mechanical sounds. I want to capture and shape it so others can hear what I hear and experience what I feel. I’ve spent the last years trying to make sense of a noisy world. My heart is also noisy, but slowly I learn to listen to it better. And in this new music, I found that I became its ‘heart of noise’, through meeting and inviting collaborators from across the Nordic countries, bringing their works together coherently, and finding an emotional centre. [My Heart of Noise] began with a collection of studio and concert recordings from my travels north before the pandemic. It became like a puzzle: I could hear something special, but also that the pieces didn’t fit together well or feel complete. The breakthrough came in realising that this project was meant to be more about creation than preservation, and that it didn’t need to be a literal document any more. It could still be faithful, but instead to the spirit that inspired this music and my travels in the first place, instead of a particular recording. I created new musical starting points, and invited artists I met on my travels plus others, asking them to choose one to begin to work with together. Some artists incorporated our previous recordings, others set off in a new direction, while I shaped the pieces and found a way to connect them together. [...] There’s a tension in music, as in any creative activity: between wanting to document and reflect the times we live in, or to escape and hide from them. In this music I’ve tried to find a balance between both of these, and in doing so, to listen to my heart”. (Elif Yalvaç)