"Vis-Viva" is the surprise of movement, the wonder that leads to imagine new possible configurations of the present, objects created with materials not yet invented move in aseptic and virtual spaces without respecting the normal laws of physics. Used for the first description of kinetic energy in elastic collisions the historical term "Vis-Viva" titles second OOH-Sounds release from Voronoi, a work inspired by post humanism literature, experimental observation, and speculative evolutionism where sounds and motion seem to face over the contemporary techno-scientific corpus from a positive angle. Can sounds behave like particles do? How sound reacts and transforms if treated like organic matter? Voronoi tries to answer back by sculpting a precise and complex sound design in an anti-climax approach to composition. Rhythms are free, unpredictable, tracks always seem to respect some grammars of club-music but abstracting from its normal timbres and denying its conclusions to face a digital fantasy. Vis-Viva's experiment is completed by an extended six minutes re-work track by electronic music producer and multidisciplinary artist Jesse Osborne-Lanthier who reassembles Voronoi's sonic palette into his unique style. The result is as if everything has traveled outside the lab to be exposed to the outside world. The suspended atmospheres of "T-1000" set the Vis-Viva experiment with pulverized granular sound debris, occasional rhythmic pulses, and reverberant movements. Built over two distinct parts, in which the second seems to deny the first, "SPHERO 2.0" forces a dynamic dialogue between raw and ultra-processed sonic material. Elements orbit around a fast and joyous drum pattern that builds up in "Marbles", a more complex experiment in which particles slow down and accelerate in chaotic, though controlled, collisions to generate micro melodic bursts. B-side opens with innovative artist Jesse Osborne-Lanthier who re-works Vis-Viva's raw recordings in an apparent disassembled hierarchy, layering the original sonic elements over an amazingly sounding, erratic texture made out of what sounds like hyper-processed field recordings. "Gumbody Flash" closes with the slower, uncanny precision of an out-of-battery mechanism, whose degree of freedom decreases as its elastic repetitions get looser and contradictory. Mini-LP of five, four-minute tracks.

"Three-dimensional sound collage goes haywire on this mind-melting remix from Jesse Osborne-Lanthier, which builds up to a climax that sounds like a robot trying to destroy itself." --Andrew Ryce, Resident Advisor