ADÉLA KONEČNÁ

Overload

Video Studio

In what way do you think a place can leave its mark on music with- out becoming immediately recognizable? And conversely, can music sometimes provide a more accurate interpretation of a place than the recordings themselves?
It depends on how I feel in a particular place and whether I have any connection to it or memories of it. Just like music, certain places can stimulate various moods and states in me, whether pleasant, intense or unsettling. And I often find it easier to interpret these through music than through the field recordings themselves.

Do you think silence still exists, or are we only left with various forms of filtered noise?
The sound of the sea can, for example, be like silence to me, but when I close my eyes and imagine the sound of a highway, they actually sound quite similar to me. I consider the relationship between noise and silence quite ambivalent. Since I perceive silence more as a state of mind, it continues to exist, though it may become increasingly difficult to find – especially in places where fainter sounds are gradually being drowned out by louder ones.

Your graduation EP explores the theme of overload while also seeking to create space for more sensitive listening and empathy. Isn’t that a certain paradox – working with noise and intensity in order to help people perceive the subtleties and nuances of the soundscape once again?
I think we can begin our search for subtlety within noise itself, which contains many layers and details. Noise can become a melody or a rhythm, it may begin to convey a certain feeling. We can experience the power of silence even through noise and intensity – especially in its absence or in contrast to it.

photo: Polina Davydenko