CD Artwork, Video
Label: Quecksilber (Germany)

Vigil is the second duo album by Australian composers Oren Ambarchi and Martin Ng. A dreamlike sonic excursion based upon the fluid architectural modulation of harmonics and resonances.

„A symbiotic encounter of frequencies. This is what stands out in this cd+, which features the collaboration between the australians Oren Ambarchi (honorary mention at the Ars Electronica Festival 2003) and Martin NG (avant-garde turntablist), and two videos by Tina Frank, a designer for Mego and renowned abstract videomaker.

The genes of a common sound expression are present both in the four ethereal pieces of the duo and in the linear visual progressions by Frank, condensed in the two sequences entitled Procession and Surfacing, inspired by two tracks with the same name included in a previous album of the duo. It’s a programmed essential nature, which gradually develops through the sinus waves in the music and through zooming and focusing in the videos, slowly stretching the perception of sound and of the geometric depth.

The aesthetic familiarity has the added value of the musical-visual consonance, which synchronizes the collaboration between the artists, even if the works are enjoyed separately. The invisible space of the sound waves and of the dark background meet, refracting each other, while their informative structures communicate.“

Dusted Magazine, October 2003:
„… Ambarchi and Ng include on the CD two visual interpretations of pieces of their first collaboration, Reconnaissance, to great effect. Artist Tina Frank (of Mego fame), who also created the CD artwork, lends bold colors to the bare tones of their audio experiments, aptly choosing lines to suggest the infinite quality of the sustained pitches. Surfacing is a scant 1:13 and plays solid sheets of red against a black background, each sheet having been sliced with parallel lines. Against the second visual, Possession, the red sheets are like a negative of the varicolored cross-hatches of the muted spectrum drifting across the screen. Possession’s spears of color hang slightly out of focus like continents adrift on an ocean of blackness, shimmering and quivering as a sustained bell chime begins to outline the main tone(s). The edges begin to blur more and more, until the sides of the screen are shifted and jerking in greater chaos with the tone. Frank’s presentations are fascinating, yet bare when flung across the blackness of empty space, a reminder of the bleak and empty world that Ambarchi and Ng explore.

The question has been raised. What can we expect of music? If not to challenge and confound us, then at least to be interesting and imaginative. Ambarchi and Ng do both.“