Mads Emil Dreyer’s Repeater, Quietus, and Lorenzo Colombo’s Point 0 share a common thread: a radical rethinking of the identity of the instrument and of the sonic possibilities it contains.

In Repeater, Quietus, the percussion instruments are transformed into vibrating bodies. Through the use of transducers and a feedback system, the instruments are set into resonance, amplified, and pushed towards unstable and unpredictable behaviours. The percussive gesture no longer simply produces a sound; instead, it initiates a process in which the instrument reacts, resonates and transforms, taking on the character of an autonomous sonic organism. Sound and light work together to create a space in constant transformation.

In *Point 0*, Lorenzo Colombo takes the drum machine and the percussive gesture as starting points for exploring possibilities that radically depart from their conventional use. Rhythmic cells are treated as harmonic functions, whilst techniques such as physical modelling and cross-modulation transform rhythmic material into complex timbral and harmonic structures. The percussive gesture thus becomes a means of generating sonic phenomena that extend far beyond the drum machine’s original function.

Both works challenge the idea of the instrument as a fixed and defined object. Instruments become open systems: elements to be explored, distorted and recombined. By focusing on qualities that are often overlooked, marginal or seemingly secondary, the works reveal unexpected compositional and perceptual possibilities.

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