Bardo Sound Travellers

Bardo Sound Travellers is an audiovisual project by Roman Hodirev (a member of the musical projects KOAN project, AGNI and NAGUALъ), bringing together spiritual traditions and contemporary art. Immersion in its world of sound and imagery begins with the didgeridoo and visuals created in the Om Optical Art style. Each performance is pure improvisation: a journey in sound in which music is born here and now.

Inspired by the Fluxus movement, Hodirev creates an audiovisual experience that reaches beyond the familiar. His Biomechanical Noise Machine combines electronic experiments and ethnic harmonics, turning each performance into a meditative act. This is more than a concert: it is living art, in which every sound is unique and unrepeatable.

The interplay of geometry and colour, and the manipulation of lines and ornament, create a breathtaking atmosphere. It is a journey into a world where music and imagery become one, opening new horizons of perception. Bardo Sound Travellers is Fluxus in action: art here and now.

In this sound installation made of human and machine, Roman orchestrates a symphony of spontaneity, combining the unpredictable harmonies of chance encounters and improvisation. The result is a constantly changing soundscape that challenges traditional sound composition. Every sound is born anew, never repeating itself, creating an immersive experience that is both mesmerising and thought-provoking.

In this project, the artist dissolves the distinctions between musician, instrument and audience, creating a collective, experiential journey that redefines the very understanding of sound, creativity and space…

Bardo Sound Travellers—Rzhevka 74

The recording Rzhevka 74 is an experimental sound composition created during a drift with BKC NOTA in the MEZHDU (“BETWEEN”) space. It consists of 74 tracks combined into a single work exploring temporality, space and sound as a means of experiencing reality. The recording includes sounds of the surrounding world—rustling, wind and urban noise—along with elements played on the ocarina and staff, which give it a ritual and performative structure.

The work is an experience of interacting with a sonic environment, in which chance noises and deliberate actions play an equal part in shaping the acoustic landscape. Its approach to sound recalls John Cage’s ideas, emphasising the importance of listening and the use of chance as an artistic method.

The Concept of Drift and Recording as Experience

Rzhevka 74 is a sonic intervention that explores space through listening and transformation. Drifting in MEZHDU becomes a metaphor for transition and the search for a connection between people and the world around them. Here, sound becomes a tool for creating a new reality.

Symbolism and Structure

• The ocarina and staff serve as symbols of a ritual experience of space, emphasising the interaction between people and the sonic environment.
• The 74 tracks illustrate the layers of perception and temporality: each sound captures a moment, while their combination creates a new, unified acoustic narrative.
• The MEZHDU space and its sounds invite viewers to sense the boundary between the outer and inner worlds.

Its Place in the Installation

Within the installation, the recording takes the viewer into an acoustic drift, giving them a similar experience of interaction with space and sound. It becomes a tool for living a moment here and now, bringing together chance and meaning.

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Rzhevka 74 is a study in sound that immerses the listener in the atmosphere of a space through playing, listening and documenting. It is a work about fragility, temporality and the art of hearing the world, in which every sound becomes a meaningful element of the story.