Sound as possibility and material of artistic expression...sound as an immaterial but space-occupying, space-creating and space-defining phenomenon ... sound as a means of both exploring and interfering with the limitations of human perception system ... sound interfering with handed down or conventinal definitions in audio-philology ...
Such approaches have dominated the discourse of cutting-edge experimental audio art production for quite a while now. Sounds produced with instruments like electronic keyboards and drum-computers build the very basic material in Elisabeth Grübl´s sound-pieces. Through intuitive computer manipulation, Grübl develops these sounds into abstract, non-melodic, often minimalistic works. Though  they intentionally neglect traditional composition and even conceptual approaches, they result in stringent works of art. With a strong emphasis on the drone as a central musical material and with just very few ephemeral modulations, the compositions "f II", „f III“ and „f IV“ represent a rigorous example of Grübl’s artistic concept, finding its parallels also in the artist’s other very reductive and strictly focused works of art. "f II" , „f III“ and „f IV“, create an artificial, accoustically defined, space: horizon-less and flat buzzing sounds evoke a landscape lacking in heights and depths, electrified but lifeless. But, only by and by, developing a life on their own. The longer one listens, the more one is pulled into this world of special „nothingness“ and hypnotized by the growing drone that starts to take off and modulate within itself. Space tips over, as does sound, only to arrive at its point of departure again.

by Ute Pinter