Initially, Г5—54 was a community focused on analog electromechanic audio generation, named after the Soviet pulse generator*, which was triggered by audio signals and transformed percussive sounds at almost all of the first releases.

According to the text for the Г5—54´s founding project, Sounds of Time, “when the Cold War finished, the atomic age in the arts and culture came to its end”. The main idea of making lo-fi analog sound machines had deep anti-war roots: we recycled electronic components and laboratory equipment built in the USSR for military purposes but remained in storehouses after its collapse.

Unfortunately, these views proved to be wrong. The archaic totalitarian attitude has formed a new basis for the next atomic century with the ongoing war of aggression, thousands of deaths and injuries, and a deep economical crisis.

The necessity of noise live shows is challenging to grasp these times: the share of noise in the information channels has reached its maximum. Do we need any extra? Listening and observing are in any case more informative acts of perception in a life-threatening emergency.

Therefore, starting from 2022, Г5—54 becomes a one-person project with occasional collaborations, which explores field recordings and software-only sound synthesis.

*Г5—54 (G5-54, G554), the laboratory pulse generator, produces voltage pulses of switchable polarity with duration range from 0.1 to 1000 μs and is designed primarily for video equipment adjustments.

New materials do demand new approaches, but this does not erase the necessity of paying attention to shaping the narrative. On the contrary, distinctive sounds, each potential in its own perceived space, allow for a new narrative clarity. Just as in film, our more famous time-based cousin, music can have multiple narratives intertwining and adding complexity to the flow of ideas.

With crosscutting, flashback, and the like, one can create powerful illusions of nonlinearity, but in no case are we able to escape the reality that time only moves forward. When we acknowledge this fact, we face the necessity of structuring musical time with great care. If we do, it is more likely that the music will require and reward an intensified engagement by the listener. This allows us to invoke memory in subtle and powerful ways.

Eric Chasalow, Electroacoustic Music Is Not About Sound

Sound narrates, outlines and fills, but it is always ephemeral and doubtful. Between my heard and the sonic object/phenomenon I will never know its truth but can only invent it, producing a knowing for me. This knowing is the experience of sound as temporal relationship. This ‘relationship’ is not between things but is the thing, is sound itself. Listening cannot contemplate the object/phenomenon heard separate from its audition because the object does not precede listening.

Salomé Voegelin, Listening to Noise and Silence: Towards a Philosophy of Sound Art