The first thing you hear on Opening, the new record from Swedish musician Klara Lewis, is a grainy fog of ambient noise: the sound of waves, a roadside or perhaps just the creaks and echoes of the room she’s recording in. The whining reversed strings that soon emerge from the murk create a wistful atmosphere, but then things take a turn: the loop clips and distorts with strobe-like intensity; after several minutes, it cuts off mid-bar, as though it’s been unplugged.
This deconstructed, shape-shifting approach is typical of the self-styled “sound sculptor”, who has been composing uncanny instrumentals from a combination of acoustic instruments and processed samples since 2014. As always, she imbues the harsh experimentalism with real…
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