Flood Coil presents a charged encounter between visual artist Kjell Bjørgeengen and sound provocateur Lasse Marhaug, forging a work where audio behaves like unstable electricity coursing through an overloaded circuit. Emerging from Bjørgeengen’s long engagement with video feedback, flicker and the physicality of signal, the album treats sound as a close relative of image: not a soundtrack to moving pictures, but a parallel current of data, distortion and rhythm. Marhaug, known for his fiercely textural approach to noise and electronics, plugs into this environment with a sculptor’s ear, carving mass from crackle, tone from interference, and form from apparent chaos.
Rather than following a linear narrative, Flood Coil operates as a system under stress, continually approaching overload without collapsing into pure noise. Fragments of pulse, tonal residue and distant, radio-like harmonics briefly surface, only to be submerged again in waves of grain and static. The music feels as if it were generated directly from flickering image streams and feedback loops, its dynamics dictated by an invisible choreography of signals crossing and colliding. Instead of foregrounding individual gestures, the duo builds a vast, shifting field where every small modulation counts, and where listening means tracking minute changes in density, brightness and pressure.
The title hints at both inundation and circuitry: a coil flooded with current, a space saturated by information. Bjørgeengen’s sensibility brings a concern for phasing, repetition and stroboscopic perception, while Marhaug amplifies those tendencies into something almost tactile, using saturation, distortion and sudden drops in level to jolt the body as much as the ear. At times the soundmass narrows to a thin, high line that feels like a beam of light; at others it blooms into a low‑end swamp, thick enough to feel against the skin. Throughout, the pair refuses the security of stable motifs, preferring an unstable equilibrium where forms emerge, break apart and reconfigure under constant internal pressure.
Flood Coil ultimately reads as an electroacoustic environment rather than a set of discrete tracks - a place where signal, noise and perceptual thresholds are continually renegotiated. It invites listeners into a zone where the boundary between hearing and sensing becomes porous, echoing Bjørgeengen’s visual work in which light and flicker push vision to its limits. In collaboration with Marhaug’s restless sonic imagination, this project captures that same intensity in audio form, offering a document of two artists using sound itself as a flickering medium, a volatile material that can flood, coil, and spark in the dark.
