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    experimental electronic music: releases – news from Lithuanian scene

    | 2006-07-11 | 11:03
    temos: ENGLISH

    „Balsas“ column for sound art (neo-audio) this time is devoted to the new releases coming from Lithuanian scene. In spring of 2006 two releases appeared – a collaborative

    DVD + CDRemix „Boarding Pass“ by Antanas Jasenka & Co

    and a

    double CD “Lengvai” and “60 x One Minute Colours of 2kHz Sound” by Gintas K

    . They seem to be the most noticeable releases in the Lithuanian scene of sound art. Here you can find short introduction / review on them.


    Antanas Jasenka „Boarding Pass“ – DVD (sound + video) + CDRemix (remixes by sound artists)

        A black serigraphic package, encrusted by printed calligraphy, slipping from the casual gaze, is your ticket to an interactive journey through the route called „Boarding Pass“, stringed by one of the most interesting composers and sound artists in the scene – Antanas Jasenka. The project „Boarding Pass“ had begun in 2004, when it‘s first version was performed by a laptop orchestra in the festival of electronic music „Jauna muzika“ („Young Music“). In 2005, as it‘s extended variation, appeared a composition called „Out-In“. Both of them got significantly varied forms and can be found in their final result – „Boarding Pass“ DVD.

         „Boarding Pass“ – caption: Antanas Jasenka in the role of ultrasonic pilot; cyber-graphic matrix projected by videoartist Džiugas Katinas; poetic text hops, narrating scenarios for since-fiction senses by writers Robertas Kundrotas and Algimantas Lyva; and laptop orchestrations, playing other possible sonic dimensions of „Boarding Pass“. Unusual sonic and visual story in quite unusual combination of DVD+CD format.           

        „Boarding Pass“ as a certain „pilot“ project offers metaphores of futuristic landscape, thin density, stagnancy evolved due to jet ultra-speed (which reminds of „The Jet-man“ by R. Barthes). The visual aesthetics is based on 3D graphics, a bit alike to graphic environment designed to videogames. It‘s role here is of a significant importance – together with texts by R. Kundrotas and A. Lyva („Passengers, a new program was created for your safety… it‘s a helmet…“) and due to precise synchronization with sound it forms a narrative. The gaze moves through „installed“ landscape of computer graphics and drowns into reappearing motives – digital systems of coordination, games of abstract symbols and etc. The narrative unfolds a sincere delight in a bit naive and retro-futuristic aesthetics. If, using a time machine, someone would send this record–box into the 80‘s, full of cyber enthusiasm and would take it out of there, filtred through mediated experiences of contemporary electronics, the result would be something simillar to a mythology of „Boarding Pass“, pulsing by realms of robotics.

        Antanas Jasenka sounds here are developed by pleats of synthetic cuts. Sometimes they are wildly rotating in drill‘n‘bass manner, sometimes they are extended in time as drones – compositions of static timbres. The album is marked by carefully programmed digital aesthetics, however, leaving some space for chance and coincidence. Sound constantly appears with a cool metalic savour (according to analogy with the effect of resonance inside the metal cube; really nothing in common with „heavy metal“). As if with „Boarding Pass“ you recognize yourself visiting an acoustic lobby of „Soliaris“.

        „Boarding Pass“ extended it‘s forms into internet space – it was released in well known netlabel „Earlabs“. This version (with additional info and texts) is accesible via links In –Out (2004) and Out – In (2005).

        „Boarding Pass“ remix CD is a collection of works by Lithuanian sound artists and composers, that in one or another way interpret motives of „Boarding Pass“ themes or it‘s sonic aesthetics. It also characteristically describes a map of various styles developed in Lithuanian sound art scene. That is why it can be seen in a wider context. It‘s a documentation of personal acoustic experiences in a track by Darius Čiuta „p/mažoji/mp3“; spatial micro-compositions by Orlandas Narušis („Qrmx“) and ad_Os („[3.92]“); guitar and electronic melancholy in „turn right“ and „turn left“ fragments by Raimundas Eimontas; digital noise cut-off‘s „500200-0x00000409“ by Atrac; expressive and gradually sharpened „you revolt me“ by Artūras Bumšteinas; dynamic, bright and melodic glitch atmosphere in „jet fighter & bridge” by Skardas; 69 steps hypnosis in “69 steps” composition by V.V. Jurgutis; vocal and electronic loops in „devintoji kilpa“ by A. Kučinskas; broken rhythms and massive sound tension in „/////“ by Gintas K; growing intensity of post-techno rhythmics in „boarding“ by Audio_z.    

        „Boarding Pass“ is an artefact of collective creation, initiated by Antanas Jasenka. It‘s definitely worth of experimental sound art fancier‘s attention.          

        Recently Antanas Jasenka is active in various internet based projects. Some of his new releases can be found via these links: Zacheta, Car Music (released by netlabel nishi, Canada), point.exe .           


      Gintas K, 2 CD: „Lengvai“ and „60 x One Minute Colours of 2kHz Sound“

        LengvaiGintas K (Gintas Kraptavičius) – one of the most renown artists in Lithuanian sound art and experimental electronics scene – had crossed another one nomadic circle through international internet and physical collaboration networks, and in spring of 2006  exported his new release. It‘s a double CD „Lengvai“ (eng. „Easily“) and „60 x One Minute Colours of 2kHz Sound“, presented by an acknowledged Portugese label „Cronica“. The CD mirrors the developement of Gintas K style for nearly ten years – style, that is dense of  kaleidoscopic post-techno rhythms (from hypnotic ones to those nearly inviting to dance), organized by compositions, based on strict and precisic logic. In a swinging pendulum manner his tracks balance on the boundaries of pure electronic minimalism and overloaden mass of sound, conveyor of synthetic noise. Melodic tunes, gainning uncommon variations and loaden by continuously growing tension, are thrown into the axis of constant rhythmic dynamics. Frequently pure sinewaves and wiggling of the air, sensed by the skin, in Gintas K music ties the high pilotage of sound amplitudes and turns the psycho-sensorics of the listener into the instrument of resonating acoustic adventures.          

        The Portugese label „Cronica“ is known as a label, specialising on digital experimental electronics and is quite well known in international catalouges of digital sound. Among it‘s releases are works by such famous sound artists as Frans de Waard, Paulo Raposo, Marc Behrens, Pita, Pure, Stephan Mathieu and others. The double CD by Gintas K is a nice discovery along another one path through the up-to-date digital sound aesthetics.

        The structure of the release is quite unusual and gripping. It‘s a combination of two conceptually and musically differing CD‘s. The first one – „Lengvai“ – is rather typical for Gintas K style (called „Easily“, the album sounds really easier in comparison with his earlier works). From the very begginings – minimalistic intro presented in a track „Lengvai“ – lucid and bright atmosphere covers all five tracks. Masterly organised and leisurely prolonged rhythmic strands are developed in two longer tracks „Ilgiau ilgiau“ and „Kūlgrinda“ (ancient Lithuanian word that describes a path in the middle of swamp). In „Kūlgrinda“ the merry-go-round of the sound gets acceleration of rhythmic windings and makes speakers swing from intense mass of melodic sound, twisting around hypnotising chords of overdriven electric guitar (excerpt). However „Koto“ brings back minimalistic and ascetic pureness of synthetic minimalism (excerpt). „Early Set“ – the longest one – consistently dives through all over the scale of dynamics. From slowly running up rhythms of pure frequencies (excerpt) towards another one massive flashpoint – this time the last one. One of the paradoxes of the composition – after sensitively developed paths, leading towards the culmination, unexpected turns are following. This break of compositional stereotypes makes a listener a bit confused and tricked, but step by step compulsive intertwining of musical motives appears.

        The second CD „60 x One Minute Colours of 2kHz Sound“ is a conceptually integral work, that consists of sixty compositions that are one minute long. They‘re all based on 2kHz frequency sound, which gets static transformations in every track or, speaking metaphorically, in every colour of pure 2kHz frequency. This CD is not designed for the easy listening. However it‘s full of variety – from microscopic silent passages to physically effective and sometimes almost unbearable frequencies. When listened to at home it can become a sound instalation for space. A possible recipe of listening here can be borrowed from Sachiko M: „Use your head as an instrument“. Moving around the chamber space you hear differing sound (which is quite static in a composition itself). The sound material of this CD was used in sound, light, and space instalation, that had been set up for the festival of electronic music „Jauna muzika 2004“ (Young Music 2004, Vilnius). On the other side, listening to „60 x One Minute Colours of 2kHz Sound“ leads to astonishing time perception. So what at least could be said as a summary sketch for the „60 x One Minute Colours of 2kHz Sound“ is that a spectrum of sixty colours of one frequency offers intensive acoustic experiences, unfolding during careful and quite meditative listening.

        Four tracks from the second CD: 12, 24, 33, 37.       

    temos: ENGLISH |

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