Filmed in rundown areas with high levels of unemployment, Everson implicitly asks how and where the structural underpinnings of society are made manifest in everyday life, particularly in the lives of minority communities. Often dislodging sound and image, he opens ways of thinking about the literal construction of what is around us in order to rethink our relationship with “what’s seen above ground and the elements taken from granted beneath the surface.”
We observe the team’s collaborative spirit and their care in assessing, once and for all, where they’d have to tear up the street and begin the next phase of the project. Sound That shows collective effort, trial and error, and in its emphasis on cutting, patching, and the distinction between sound and sight, serves as a perfect metaphor for the filmmaking process itself.
...That subtle frequency becomes apparent near the end of the film at the credit sequence, when we hear the soft fluctuations of natural sound pulsing in and out of phase. In mainstream industry circles this would normally be defined as room tone—even though the film is shot entirely in exteriors. Call it street tone... In most cases it would be considered noise. Here, Everson makes abstract soundscapes from it, moving the viewer to a beat that they never knew existed.