There's a particular kind of composition that refuses to be experienced in a single sitting - music that unfolds across hours, even days, before completing its cycle and returning to its beginning. Mireille Capelle's Sonic Architectures exist in this expanded timeframe, where sound becomes something closer to installation than performance, to architecture than song.

Each Sonic Architecture consists of two compositions that can function independently but reveal their full dimension when played simultaneously through two CD players and four speakers. The interaction between these layers creates something constantly shifting - a work that takes its time, that measures itself not in minutes but in the patient accumulation of sonic events across extended durations. This isn't ambient music in any conventional sense, nor is it simply field recording or sound art. It's something more rigorous, more considered.

Anello, Naga, and Sunyata were each originally conceived for specific Axel Vervoordt exhibitions - Artempo, Academia, and In-finitum - spaces where art, architecture, and philosophy converge. Capelle's work shares this convergence, built according to geometric and mathematical principles rooted in numerical symbolism. Yet the material itself comes from everyday sonic experience: street noise, wind, water, conversations, birdsong, singing. The raw stuff of daily life organized through careful structural thinking.

The three CDs in this box represent simulations, fragments of the full Sonic Architectures. Even in this condensed form, they offer insight into Capelle's approach - one that understands composition as a way of shaping time and space rather than simply filling it.

Capelle herself moves between worlds. Opera singer, baroque interpreter with Jos Van Immerseel, contemporary music performer with HERMESensemble, professor at the Conservatory of Ghent where she directs the singing department. This range informs the Sonic Architectures, which carry traces of vocal music's relationship to breath and phrasing even as they extend far beyond any traditional vocal practice.

For those drawn to the outer edges of contemporary composition - to artists like Alvin Lucier, Éliane Radigue, or Pauline Oliveros who understood that music could operate outside conventional temporal boundaries - these Sonic Architectures offer something rare: work that asks for a different kind of attention, a different relationship to duration and listening itself.

"The Sonic Architecture pieces are constructed geometrically according to a mathematical scheme which is based on the symbolism of numbers. On the basis of whatever drives my senses, I gather together a great mass of recorded sounds from everyday life: the street, the wind, streams, the noise of cars, of conversations, of birds, of singing… accompanied by everything that resonates around them." — Mireille Capelle