With The Transition Pieces, a cycle of compositions initiated in 2025, Hot Bodies aka Gérald Arev Kurdian explores the transformation of body and sound through a hybrid and experimental musical approach.

How can an MtoF transition redefine the singing voice, instrumental performance, and the use of new sound technologies?

At the crossroads of singing, electroacoustic composition, and digital cultures, this project traces a sensitive path between intimate folklore and contemporary mythologies.

Its first chapter, Chant I (River Goddesses, Metaverse, and Hormone Nymphs), unfolds like a post-internet oratorio, a 21st-century canticle in which the human voice multiplied and augmented becomes a vector of metamorphosis.

Structured as a dialogue between a performer and a choir of vocal clones, the work weaves a sonic diary of transition, where transformations of body and identity resonate through evolving musical landscapes.

Inspired by the Song of Songs, Ovid’s Metamorphoses, and the fluid languages of the digital world, Chant I (River Goddesses, Metaverse, and Hormone Nymphs) combines human and synthetic voices, electric bass, piano, synthesizers, and electroacoustic processing (sound morphing, granular synthesis, microsampling). Between glitches and acousmatic textures, stripped-down melodic lines and microtonal instabilities, Kurdian composes a space where the voice fractures and reinvents itself, sliding along nonlinear trajectories.

Both experimental and incantatory, this first stage in The Transition Pieces cycle examines our relationship to bodies and technologies, transforming songs and incantations into true instruments of passage. Through this work, music becomes a ritual of mutation, a space where sound material and imagination intertwine to open new possibilities for our future communities.