The composer, artist and producer Kaitlyn Aurelia Smith, who lives on the west coast of the USA, started her musical career as part of the folk band Ever Isles. But when one day her neighbour showed her a Buchla 100 synthesizer, the American artist turned her attention entirely to electricity and, since 2015, has dedicated herself to her solo career with several critically acclaimed albums. Since the release of "The Kid" (2017), she has deepened her research into the endless possibilities of electronic instruments and the forms, movements and expressions found in the relationship of the physical body to sound and colour. It is this life-guiding interest that forms the fundamental frequencies of her new album "The Mosaic of Transformation". It is a bright, sensual glide through unbound wave phenomena. "With this album I want to show my appreciation and love for electricity," says Smith. The album is a holistic manifestation of embodied movement. Smith's characteristic curiosity about texture naturally flows into a proprioceptive study of melody and timbre. If one could sum up the record in a single song, it would be the 10-minute closing suite, a rapturous collage called "Expanding Electricity". Symphonic phrases establish the piece before the glittering electric shocks and the synthetic vibraphone helix are brought into focus. Soon Smith's voice grounds everything with an intuitive vocal hook, harmonized and amplified by concentric spirals of harp and horn like sounds. Smith's music captures not so much a particular emotion as the joys of owning a body and the ability to euphorically manoeuvre this vessel in space with devotion and a steady, open heart using electricity.