3 weeks ago, 17 November 2013 · 2 notes Red For Colour Blind blog, which is dedicated to an “invisible scene”, gathers various projects from the fringes of the Prague post-noise underground, mainly associated with the label and DIY collective KLaNGundKRaCH, which, coincidentally celebrates its 6th anniversary this November. Aside from Czech producers and ensembles, it also features foreigners active on the scene including Core of the Coalman or Romano Krzych. The podcast includes tracks from records released this year, previously unreleased material and some forgotten gems. A haunting psychotropic journey through vigorous Bohemian subterranea. Tweet
1 month ago, 15 October 2013 · 5 notes
‘Lincoln Sea’ is an almost 40-minutes multilayered composition, divided in two parts to fit the vinyl format. It’s a second Robert Piotrowicz solo album this year, coming after enthusiastically received ‘When Snakeboy is Dying’. There, apart from his trademark analogue synthesizer, he deployed piano, guitar and vibraphone - in effect that record is gentle, thus differing greatly from his previous efforts. The new one is much more energetic and impetuous. Both albums were mastered by renowned Rashad Becker, who didn’t interfere in the material he had received, but made it sounds richer. Thanks to that it didn’t lose nothing of its original force transferred to vinyl.
This time Piotrowicz, using only modular synthesizer, is giving the listeners an opportunity to go trough a rich sound-experience, demanding attention so they are able to immerse into rough sea of strident microtones. The piece begins with metallic buzzing, which is transformed and gains in strength. It wasn’t improvised but meticulously crafted in studio.
The author admits that the composition’s form and narrative arc are closely related to the sound’s image structure, which means that often the music’s progress was dependent on it’s timbre and architecture. “The material was determined by microtonality, elements of harmonics and emotional status of sound masses. It was realized through a variety of methods, for example a constant intensification and a continuous expansion of the same. I wanted to achieve a limit of the capacity of the sound picture, while at the same time keeping the maximum clarity and resolution of the horizontal factor. The idea of a sound mass took away the autonomous properties of singular elements of piece. Obviously it remains in contrast to purely solo parts, which as a material stay tantamount.”
He also adds that “the concept of multidimensional total structure in a constant movement was crucial to creating a model of the sound masses. In the composition, I wished to reconcile this utopian idea of an independent structure with a time-determined narration of a musical piece. There is a fine line between narrativity of this album and its sound sculpture, it’s something that I feel constantly challenged by.”
As for the title - Lincoln Sea is a barely inhabited part of Arctic Ocean, covered for the whole year by an ice layer thick even up to 15 meters. But Piotrowicz hadn’t been there and it wasn’t his intention to create a musical portrait of the place. The record is related to the area on a symbolic level - aggression and exhilaration interwoven, sound treated in a holistic way.
By Karolina Karnacewicz, see her blog hereTweet
2 months ago, 20 September 2013 · 1 note
Somnoroase Păsărele, named after a famous eponymous poem by a Romanian poet Mihai Eminescu, is a duo from is a duo from Romania, based between the coastal city of Constanta and the capital Bucharest. Gili Mocanu is an established painter and together with Elena Album, also a visual artist, they have started a musical endeavor, quirky and tactical, organic yet otherwordly, witty and utterly serious at the same time. “Five years ago I began to create music again, after a 15 years break. Before the break I used all kinds of objects of resonance for instruments, including self-made classical instruments, accompanied by pre-recorded, distorted sounds played on magnetic tapes. Experimental music would be the term,” they told us in an interview a few years ago
Their musical output is conceptual, ranging from twenty minute long medleys to recontextualisations of Caucescu’s speech. The sonics are idiosyncratic, alien mutant sounds that are mysterious and beautiful at the same time. The musical process is intuitive and irreverent: “First of all, our music is disharmonic from the beginning. I am familiar with the piano keyboard (even though I can’t play in the classical sense, I can produce the sounds accordingly with my feelings) so the score goes from basic intuitions played on the piano. The architectural formula of the songs is mostly a repetitive pattern, sequentially entering the orbit of other cycles of patterns,” says Gili.
Their latest album, released on 18 September on Baba Vanga, is also a conceptual record, with their own artwork. “ABECD is the title of the album, is constructed by 5 colours, each of them is also a letter.The songs are short and simple, the colored squares game resemble to the structure of the music,” says Gili. “All around, musical dunes for Fata Morgana, Yeti in a chairlift, Sisyphus pushing Prometheus in a convertible, Gili does ‘pataphysics technoulipo for the gymnastics of heavenly bodies in the sky and other macrotonal didascalia that remain to be demonstrated,” Octav Avramescu.
Listen to the whole album here:
And a remix by fellow Romanian Miron Ghiu:Tweet
3 months ago, 29 August 2013 · 0 notes
Jonáš Gruska is an Institute of Sonology graduate, runs the LOM label and creates music under the Binmatu alias. His latest release comes courtesy of the Russian label Cyland Audio Archive on polycarbonate squares. The three-track album is a voyage into outer spaces, especially pronounced on the first track, sometimes even reminescing of UR’s Discovers The Rings of Saturn offbeat passages. The music was made in an analogue studio in Hague, as well as a home-made modular synth. Thus sounding organic, fragile, alien.
We are visitors
to the studio with use
of analogue tape machines.
We hear fast moving
but harsh musical patterns
derived from the analog
equipment mixed with
contrasting slower patterns
governing the processes
of growth and aging.
5 months ago, 8 July 2013 · 0 notes
LOM is a Slovak experimental label, focusing on the avantgarde, electroacoustic, and adventurous. It started in 2011, when Jonas Gruska, LOM’s heart and soul, was studying at the Institute of Sonology in the Netherlands. It has released numerous releases by idiosyncratic Slovak artists, and here they present their ouvre. A gentle, detailed and sublime journey through the various delineations of sound and composition. Here is our radio interview with Jonas about LOM /in Slovak/ and here Jonas’ own project Binmatu.
How and when was LOM set up?
LOM started in 2011. I was studying in the Netherlands and that led to me view the Slovak experimental music in a different, outbound perspective. I felt that there is a certain lack of an experimental platform, which would reach audiences outside of the borders of the country. Therefore I reached Danky and Or.lock in Bratislava and we joined our forces in this singular effort. .
What is the objective of LOM?
Our main objective is to give space and promote underground, experimental artists, which in our belief deserve publicity. Our main focus is Eastern Europe, although lately I have been exposed to so many interesting (and not releasing) non-CEE artists, and I am reconsidering the idea. .
How do you pick your artists?
Sometimes they pick us, sometimes we pick them, but the main criteria is originality and dedication. We love to hear people which truly believe in their work and aren’t simply trend-followers trying to surf the hypewave. We don’t focus on specific direction of experimental music, prove can be found simply by comparing our latest 3 releases. .
Can you tell us about your current release?
Our current release is a work by Jolana Havelková, an established Czech visual artist and Lucie Vítková, a composer and performer. Together they have created quite original material dealing with graphic scores, reminiscences and sonic archeology. In my opinion, it is truly a gem on the field of new contemporary Czech-slovak music and we hope it won’t be forgotten. .
What are your future plans?
The future plans are quite wild. I am organizing one event in September, something in a quite unconventional and new format. Regarding releases, we already have four albums planned, starting with Cave Art, which is a group surrounded around “Standuino” synthesizers, continuing with mesmerizing Angakkut, weirdfolk operas of András Cséfalvay and ending with dense rhythm psychedelia of Amen Tma. Keep your ears clean! .