Ursula Sereghy

With a background in playing jazz and formative years of playing saxophone in a live band, Prague-based Ursula Sereghy stepped out of the hustle to focus, all while becoming a regular at the local Synth Library Prague. A space where she found the support of the musically and politically like-minded and could nourish her newfound passion for experimenting with machines and exploring the limitless possibilities of sound design. An extensive period of voluntary detachment from everyday life during the pandemic gave rise to the stunningly confident debut album 'OK Box' fabricated by this dark horse of a producer.

The Wire (Miloš Hroch):

“You can only find the real problem with imagination and yet undiscovered ways of thinking. The car is related to this. I come across the concept of comfort, which can lead to the inability to listen to your surroundings or different opinions. It symbolises a closed environment: under the pretext of freedom, it forces you to see the surroundings from an artificial perspective and through a comfort filter. I want to break it.”

The Quietus (Daryl Worthington):

“Prague-based Ursula Sereghy’s OK Box seems to challenge the listener to a different mode of perception, undoubtedly following its own internal logic yet making perfect sense. Sereghy’s background is as a saxophone player in jazz bands, but ‘OK Box’ sees her step into working solo, ‘experimenting with machines and sound design’, according to the liner notes. The pieces unfurl like a 1970s fibre-optic lamp, lines of ideas firing multi-directionally outwards from a centre but never totally unhinging themselves from the base. ‘Slug Tremollo (Defenders Of The Existent)’ is built on a choral line which sounds like it could be lifted from an Arvo Pärt composition. Cut up and reassembled into every possible permutation, it becomes a fluctuating hook spinning through the scattered arrangement. Other tracks sound like a big band refined down to the molecular and sprinkled across exploding glitch funk, flashes of meandering bass and wind instruments further bending the unhinged grooves, so that the closing three songs combine into something approaching a trance track getting ever more tangled up in its own contorted momentum. The whole tape seems to strive towards shedding hierarchies, pointing away from electronic music’s traditional unison and tight structures to something far more open ended and genuinely transcendent.”

Oct 21 | Studenthuset Driv (ISBJØRN ) | Door: 8:00PM