tri-n-os

tri-n-os – stemming from the ancient Greek word θρήνος (thrínos) meaning lament, wail, mourn and cognate to Sanskrit ध्रणति (dhráṇati, “to sound”), Latin drēnsō (to cry, to murmur), and Old English drān (drone) – unfolds as a deep delve into the realm of improvisation, drone and feedback. A sonic exploration of the lament as an open process: unruly, fragmented, and recursive —not simply as emotional expression, but as a state of being and a resonant system. Drawing on the principles of cybernetics, the music forms a system of responsive interactions—where sound listens to itself, decays, and reforms. Nothing remains fixed. Like mourning, it loops, distorts, and slips through comprehension. In this unstable terrain, tri-n-os becomes not a narrative, but a process—of remembering, of letting go, of listening to what remains. Textures are unraveled and reassembled, inviting the listener into a state of deep resonance and disorientation shaped by drones, feedback loops, and haunted fragments of field recordings. Through these layers of feedback loops, immersive drones, and eroded field recordings, tri-n-os creates a haunting auditory landscape where textures disintegrate and reassemble, alive and haunted, vulnerable and unresolved. Sounds emerge and decay in constant interplay, guided by cybernetic principles where signal and response form a fragile ecology. The music listens to itself, collapses into silence, and returns in altered form—mirroring the nonlinear rhythms of grief. Rather than composing fixed pieces, each track is an emergent structure, shaped in real time through a dynamic dialogue between three agents: two performers and a machine. In this triadic constellation—echoed subtly in the prefix θρῆ- (thri-)—the feedback system is not merely a tool, but a responsive entity. It intervenes, resists, and transforms; shaping the musical outcome as much as the hands that play it. tri-n-os thus becomes a collaborative act of mourning, where human intention and machine autonomy entangle within a shared field of resonance. tri-n-os does not offer consolation. Instead, it lingers in the aftermath—where sound becomes memory, and memory becomes noise.

Anton Lambert (BE) and Thanos Polymeneas Liontiris (GR)— first crossed paths in Athens in the fall of 2023 by a shared interest in cybernetics, improvisation, and the unstable poetics of sound. Where Anton focusses on live processing, weaving dense, reactive environments from signal flow and decay, Thanos brings a unique voice through his work with feedback-augmented instruments, particularly the halldorophone and the FAAB, which blur the boundary between instrument and system. Together, they explore a feedback-driven practice where machine listening, field recordings, and raw acoustic material fold into each other—generating a sonic language of rupture, resonance, and lamentation.