Review
Three stalwarts of Chicago's experimental music scene—Whitney Johnson, Lia Kohl, and Macie Stewart—arrive at an inevitable convergence on BODY SOUND. Having crossed paths in various configurations over the years, the trio grounds their debut in heavy physical resonance, weaving viola, cello, violin, and voice into a dense electroacoustic fabric.
Critics emphasize the record's meticulous balance of spontaneity and strict studio discipline. Drawing on an extensive post-production process, the trio fed raw strings and vocalizations into analog tape machines, a technique characterized by Treble as a "scientific meat-in-the-grinder method" that transforms live improvisations into "wholly-shaped compositions". The resulting movements endure in constant flux; reviews note that the music "moves with a watery grace, lulling at certain junctures, vigorous at others, and always forming and reforming".
The tension throughout the album originates from its structural contrasts, alternating between lush minimalism and sharply rhythmic friction. Rather than presenting loose, untidy jams, the trio offers a meticulously sculpted acoustic experience that "expertly balances on the edge of freedom and control". It is a visceral document of three aligned musicians manipulating physical resonance into profound new forms.
