Lanuk: I don’t believe in perfect music
5 months ago, 30 April 2014  ·   10 notes

Last week, we brought out our fifth release on the Baba Vanga imprint. And similarly to the previous releases on the label, the decision to release it came very quickly. Following in its own idiosyncratic path, Arpád Gulyás’ music, similarly to Somnoroase Pasarele or Střed Světa, exists in its own sonic universe without necessarily rushing to please anyone. Music that emanates from a need to express a certain personality, an artistic catharsis.

How did you start making music?

From my very early childhood, music would be played in my house, first from vinyl later from tapes. My dad listened to Hungarian beat bands, singer songwriters. My brother would listen to rock music: Jimmy Hendrix, Doors, Metallica. I liked these records a lot. I was 14 when a guy visited me, whom I knew from school. He told me about his rock band and that they didn’t have a bass player so he asked me to play. I agreed, and started to make music. My brother bought me an old bass guitar, and I strummed it day and night. I started to become interested in the various music genres. There were times when I only listened to jazz (John Coltrane, Miles Davis, Jiri Stivin, Charles Mingus..). Then later at the end of 90ties, I got into Fugazi, Jesus Lizard, Goz of kermeur, Blurt, Skeleton Crew…

I played in more bands, punk noisy stuff on a guitar, bass guitar, harmonica, harp, I also sang. In the beginning of 2000s, I started to experiment with computer sounds. I recorded stuff from TV, radio, etc. I created compositions, but just for myself, I didn’t want to show it to anyone at that time. I would listen to these before going to sleep on headphones.

Once, something terrible happened. I was half asleep, and was listening to one such composition. Suddenly, my eyes opened but I couldn’t move, my arm, my leg just couldn’t move. I felt pressure on my chest, a panic fell upon me. I was scared, I felt something dark around me. I’m not sure how long I was lying in that state. At some point, it was over. I sat up on my bed and decided, that I’m not going to do such thing again. Few days later, I showed the recording to a friend of mine. He said such music has an audience. He took me to the Xperipheria festival in 2002, which impressed me. I started to collect my first synths.

What is the most important thing for you in music?

I think that music exists on its own. I don’t believe that you could transform the sounds of nature or industry into the language of music. I don’t believe in Vivaldi’s 4 Seasons either. There are factors which can encourage the music-
making process, but I think music doesn’t need anything but itself. I just let it come to me.

Could you say something about yourself?

I am from Érsekvadkert, a small settlement in the north of the country. I am married and have a daughter. I like to live in the calmness of the countryside. I don’t have a TV or internet. I like to run and ski in winter.

How did you make your new record vV?

Most of the time is taken by patches and setting up the instruments. Then I programme my controller. I start to play around with a certain theme, get to know its specifics, how it reacts to changes of settings. Then I press record and record everything live. There is no pre-recorded sound, everything is created live on spot. I have 4 synths and a sampler at the end of the chain, I also sample live while playing. It is all very playful and introspective.

You improvise a lot, which is a one off experience. Why do you like this way of working?

I feel it’s authentic this way. There is this magic of the “one-off” experience in it. There are fixed things, which I can play more often, but my music is created within a framework. I do not dwell about how to develop a certain topic. I do not believe in perfect music, I know that every music has mistakes.

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B.ATL - SKTCH EP /aka a glitchy disorientation, electronics exploration/
1 year ago, 14 February 2013  ·   2 notes

image

When we visited Macedonia’s capital Skopje, the punkish Kanal 103 radio, located in the socialist remnant of a building surrounded by a police station and a hooker strip, it seemed like the place where anyone making anything worthwile sonically, congregated. Running their own shows, playing concerts, etc.

One of the guys who works there is B.ATL, part of the Disphilharmonia collective, IDM inspired dissonant digital noiseniks. Here, he comes solo with a broken, glitchy offering, which recalls the heyday of the genre in the 90’s, but somehow follows its own path, to disorienting, almost lucid effect.

Free download.

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b.aTL: Gentle Mind EP
2 years ago, 21 November 2011  ·   14 notes

The title of b.aTL's new record is slightly misleading, although for those in love with fucked up broken structures, twisted beats, squelches and squeaks, there's no denying of this sonic quality. Released on the Macedonian label Greenfields, an online platform for music, photography, graphic design, illustration or new media, Aleksandar Baldazarski’s latest release reaffirms his affinity for IDM-inspired sonic structures, spearheaded by Autechre, but injecting it with his own aesthetic.

Aleksandar is a member of the fledgling laptop ensemble Disphilharmonia, active on the Skopje scene and the brilliant radio Kanal 103 which we had a chance to visit (check back here later for a podcast of our guerrilla style Kanal 103 takeover and some words about the Macedonian electronic/experimental music scene)

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Listening Lectures w/ Avoided & Marin
3 years ago, 8 July 2011  ·   45 notes

Bratislava’s underground electronic scene prepares a special gig for Monday:

listeninglectures:

visual by marin

Avoided: Hangover Pop by uchylord ₩│╬₵├┤₴╟╢│╒╥Ɇʁ - You Came To My Party Depressed As A Shadow by uchylord Nihil Buldozer: Igor mortis by uchylord

More on this Monday dementia (in Slovak) @ Radost music club, Bratislava, 11th of July »

Read More

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Unrest II by Teapot (incl. remixes by Stroon, Stratasoul, etc)
3 years ago, 28 June 2011  ·   21 notes

A new EP by Slovak producer Teapot is due out in July on the Czech label Eclectica with remixes by Slovakia’s prime wonky/post-dubstep producers Stratasoul and Stroon and the Czech producer Blue. Here is a small preview of what to expect:

Unrest II [teaser] by _teapot_

ps. Teapot writes: "It is number II, the first Unrest was released some time ago on Gergaz rec. netlabel. It is built around the same piano sample, however i work with it in a completely different way.”

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