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The Dead Twin (2015)

“The boat ride is complemented by an equally eerie soundscape (accompanied by the thrum of the boat’s engine). Jacques Soddell’s great skill as a sound designer is apparent in the iridescent tone his work adds to the journey. Sound plays a major role throughout the piece: at times it sits under the dialogue, supporting the characters and emphasising the simmering tension. But at other times it bursts to the surface, unsettling the space before falling into a new rhythm. Soddell is masterful, his work is definitely one of the highlights of the play.”


“A chilling onstage experience that combines beautifully distorted imagery with a spectacular soundtrack” http://performing.artshub.com.au/news-article/reviews/performing-arts/sofia-monkiewicz/the-dead-twin-248993





Animation Festival (2014)

“Back from recent travels through parts of the US, Jacques Soddell creates a visual analog to musique concrete. He brings us his interpretations of Yellowstone National Park, the iconic cultural destination of the state of Wyoming. His live improvisation is pure abstraction; heavily processed and cleverly rotoscoped video footage of his travel breathes new life into a recent electroacoustic sound composition made up of field recordings, noise and minimalist sound.”


Silence of the LAMBS (2012)

My contribution to the group show  Dark Matter, Dark Energy at Stockroom Gallery. Kyneton.

“Jacques knows how to manipulate vibration, how to make sound a spatial material. Stand in different parts of the gallery and you'll get a different physical feeling caused by his sounds. He is technically minded and the thoughts behind his work are compelling. ..... WARNING: low frequencies occur.” From Kent Wilson's curator's essay for the exhibition.  http://stockroomonpiper.blogspot.com/2012/07/the-materiality-of-empitness.html

Frozen Moment (2011)

“Jacques Soddell manages to build an impressive mass of sound that mutates into different forms  occurring  in different spaces but that  is always perceived  as a unit.  A remarkable aspect to ‘Frozen moment’ is how every sound seems to occur in a complete different space: every layer of sound is isolated from the next one creating an impressive sense of   ‘parallel simultaneity’ on every given moment. …... Frozen moment’ is a compelling release that shows that musique concrete is as valid, pertinent and unexplored as any other line of work, where new and pre-existent formal approaches and reflections alike can be strongly rewarding for both the artist and the listener.” from review by John McEnroe,The Field Reporter No 137 http://thefieldreporter.wordpress.com/2012/06/06/137/

“Soddell crafted an excellent, intense piece, or perhaps 'flow' is a better word, from small events at the beginning, then a first wave, small sounds and then a major wave, resulting in small scale events at the end. Ice does make waves, dangerous waves at that, and Soddell tells the whole story. Quite a cinematic soundscape.” from review by FdW in Vital Weekly 792.


[DATA #12] (2010)

A collaboration between Jacques Soddell & Cedric Peyronnet  derived from their live performances

“a very fine piece of music, with some interesting moves and a fresh approach to field recordings in a live context.” review by FdW, Vital Weekly 748 http://www.vitalweekly.net/748.htm

Liquid Architecture performances (2008)

Melbourne was 4 channel; Sydney was stereo + video improv.

“Making effective use of the multi-speaker setup, Jacques Soddell presented a work that sent field recordings, samples and white noise sliding around the space. Not afraid to use single sound sources with gaps and silence, this work slowly developed out of simplicity, often returning to samples almost as a kind of recurring theme. “ Review of Liquid Architecture 9, Melbourne by Simon Charles

“Not all the visuals had to be imagined. Jacques Soddell opened with video impressions of a face, shifting in and out of perception accompanied by liquid static. Big, rich sustained tones drive us through beautifully framed tunnels and telegraph lines, followed by an aggressive overload of interference laden, cutup media images and the sound equivalent of dirty pointillism. Besides the ‘meaningful’ conclusion (the image of a church altar), Soddell on the whole walks a fine line between abstraction and narrative which complements his sound explorations. “ Review of Liquid Architecture 9, Sydney by Gail Priest http://www.realtimearts.net/article/issue87/9198

Jodi Rose: Singing Bridges - Vibrations : Variations (2005)

 "The second disc of remixes of these sounds features some incredible, though initially almost inaudible work from Francisco Lopez, and jangly dramatic drone work from Jacques Soddell amongst some other more traditionally structured electro responses." - Bob Baker Fish Cyclic Defrost #11 http://www.cyclicdefrost.com/pdfs/cyclic_issue_11.pdf

The Shed (2005)

“The sparse, sharp and localised lighting and the superb soundscape—generating experiences of isolation (the silence of the shed), the natural environment, threat and sometimes the release of dream—help to translate the ‘realness’ of the story into the territory of the mysterious and the resonant.  …..... The short movie (by Paul Fletcher) takes elements of the Australian landscape (a shed, a fence, a tractor, a sunset) and abstracts them into a shifting collage of light and colour underscored by a soundscape that I can only describe as like the recording of electrical and chemical reactions in the brain.“ From review by Paul Monahan  in Realtime. http://www.realtimearts.net/article/issue71/8040

The Piano Room (2005)

“Soddell’s exhibition, The Piano Room, originated in the history of the store’s piano room. In a partly archival presentation it documents the movement of the piano from its status as a universal domestic object through to its modernist reworkings. The Piano Room references John Cage’s 4’33”, prepared piano and the Fluxus movement (especially George Macuinas, La Monte Young, George Brecht, Giuseppe Chiari). Documents of the Fluxus movement are accompanied by a small video work which shows Sonic Youth dismembering the keyboard of a piano, and the immortal image of the little boy playing in the Dr Seuss tale 5000 fingers of Dr T. These capture the theatricality and anxiety that a piano can generate as a monolithic instrument that has to be mastered, even defeated.

In another section of the space a delightful work engages the audience. As an interactive tribute to Baranoff-Rosine’s Piano Opto-phonique (1923), Soddell has created a synthesiser keyboard that, when touched, manipulates projected computer generated images. These were based on the visuals from the first exploration by the opto-phonique, a tool to explore the relationship between sound and light.

In a corner, music faintly emanates from a shopping bag containing baguette and book. Soddell’s deconstruction of Claude Debussy’s Hommage to Rameau is a captivating, quietly, poetic sound installation that demands attention to the internal nature of music and the way it travels with us in the everyday. The subtle interplay of sounds throughout Soddell’s exhibition brought past and present together, our understanding of music today heightened by echoes from the past.” From review by Tara Gilbee in Realtime



Neon Fog (2000)

"lovely microscopic, organic electronics (no surprise that Jacques is a microbiologist). Reminds me a bit of Dorobo's more ambient music." Shannon O'Neill, Furthermore, 2MBS (Sydney, 2000)