Electroacoustic Composition

Commissioned for ​​​Melbourne Now: Now Hear This at The National Gallery of Victoria
Insanity comes in two basic varieties: slow and fast.
The predominant quality of the slow form is viscosity.
Experience is thick. Perceptions are thickened and dulled. Time is slow, dripping slowly through the clogged filter of thickened perception. The body temperature is low. The pulse is sluggish. The immune system is half-asleep. The organism is torpid and brackish. Even the reflexes are diminished.
In contrast to viscosity’s cellular coma, velocity endows every platelet and muscle fiber with a mind of its own, a means of knowing and commenting on its own behavior. There is too much perception, and beyond the plethora of perceptions, a plethora of thoughts about the perceptions and about the fact of having perceptions.

Susanna Kaysen - Girl, Interrupted (1993)

"Computers are meant to be the compelling tool of our age, and Thembi Soddell should then be a high priestess of the digital realm. She uses a more determined method than Chris, storing and recomposing pre-recorded samples on hard discs as sequences to be played and manipulated live. You know the sounds aren't synthesised, but they're hard to pin down.

Her new solo work The Absence of Inclination (see: Soundcloud) continues her interest in imbuing meaning to ambiguity, starting with multiple voices whispering, overtaken by a shocking wall of noise which gives way to a high pitch sine-tone. All this could be read as sound-as-materiality, but somehow you know she's aiming at surrealism - the sound stands for an experience of mental states."

- Jim Denley