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If the word "music" is sacred and reserved for the instruments of the 18th and the 19th century, we can replace it with a much more meaningful term: THE ORGANIZATION OF SOUND. (J. Cage)

Immanens is the conceptual title of a debut album by the project Eikonoise. The album comprises a series of 19 compositions that were created over a period of 15 years. The compositions are a product of a long-term collaboration of a number of artists from different domains of musical and visual expression. The title Immanens, which unites the 19 separate works, was chosen to depict that which is stylistically indefinable, specific, unique, original, and unrepeatable.

By definition, immanence describes that which is intrinsic and inseparable; that which exists within the very essence of a particular thing. In this case, we speak of the immanence of sound. Sound as a sense of diversity, as a form that gives shape, as an embodiment of force and continuous action, sound as the elusiveness of the tonal structure that is aliquot and dynamic. In its quest for diversity, multi-layered sound design, and the openness of the work itself, Immanens doesn't fit into any of the hybrid categories of contemporary music. It is hard to place this album into the confines of any musical genre, as it chooses sound itself, in the entirety of its immediacy and presence, as its expression, its main element, its paradigm, its unique stimulus and challenge, and as the beginning and the end of its creative process. Such approach reminds of (and leads to) experimental work and research, but with enough restrain to avoid experimentation for the sake of experimentation.

It is essential to mention the affinities on which the aesthetic of Eikonoise has been built. These affinities directly describe some particular creative processes and principles of creation: Brian Eno and his ambient concept, collage, minimalism, and the factor of coincidence; Arvo Pärt and his extreme reduction of sound material, deep sense of enlightenment, timeless beauty, sacral minimalism, spiritual power, and "the love for each individual note": Steve Reich and his technique of gentle phase shift, hypnotic repetitions of rhythmic patterns, emphasized meditative atmosphere and simplicity, guided by the motto of all minimalists – "more is less, and less is more". Minimalism and graphic notation of John Cage, rhythmic structures of Igor Stravinski, "Intonarumori" and Luigi Russolo's various deconstructions of classical instruments, Pierre Schaeffer's collection and questioning of potential musical value of particular sounds by recording them with a tape recorder, and general fundamental changes in artistic practices, introduced by the numerous avant-garde movements of the 20th century. These changes were exhibited in both the technical and the aesthetic spheres of artistic activities, through the crossing of the borders set by harmonious and canonized music. An indispensable influence has been derived from the contemporary Scandinavian artists such as Eivind Aarset, Nils Petter Molvaer, Bugge Wesseltoft, Jan Bang, Arve Henriksen, and Erland Dahlen.

Immanens is sound, in its immanent presence and absolute form, removed from routine and self-evidence, sound which enables us to create new experiences that haven't already been prefigured by the usual and the familiar.