Part of the short text on the inside cover of this beautifully packaged fifth release Spekk declares "There are events and occurrences that are the same in essence and yet have their own conceptual notion when placed in a certain context... without having an access to the information about the context... a man ... gradually comes under the influence of illusions that begin to change his life." Whether or not True Delusion will change listeners' lives, it does create a contemplative space tinged with a degree of mystery. Track titles such as Good Of Bad, Kind In Malice and Both Of My Sides further demarcate the conceptual space delineated by the liner note.
A swell of harmonic overtones provides a backdrop to muffled scrabbling as an acoustic guitar sounds out
pendant notes in a patient, repeated motif. The scrabbling might be the manipulation of a shortwave radio
or the amplified mastication of a distant hermit. The sum effect is of a brooding significance, of a period of
waiting for something awfully inevitable to happen. There is a sense of the filmic here, the suggestion of an
open plain under blistering sunlight. Scope Of My Perception feels as though it might stretch forever, lambent,
still and rich with foreboding. The acoustic guitar on Both My Sides brushes a path forward. Overdriven hums
and clatters litter the way. Again, the sense of waiting becomes the thing itself, but then reaches out with a roiling
tension to transfigure briefly before an abrupt end. The music hovers at a point triangulated between, but not
limited by Eno and Budd's two collaborations, Ry Cooder's soundtrack to Paris, Texas and Simon Fisher Turner's
soundtrack for the Derek Jarman film, Caravaggio. With the chirrup of a cicada, True Delusion comes into focus.
Mood and event meld to form a soundworld constructed by the listener as much as by Kiritchenko himself. As the
note is understood to indicate, the artist's intention hovers at a point somewhere between the two parties while
the received truth gradually accretes, ultimately beyond his reach.
Ukrainian electronic musician Andrey Kiritchenko conceived of True Delusion as an album exploring the harmonic overtones
of guitar and piano. While these instruments do provide a musical and emotional framework, Kiritchenko's album is much
more about the abstraction of these elements alongside commonplace incidental sounds, quiet rubbings and field recordings
of domesticity. In fact, Kiritchenko is not a very good guitarist at all, never venturing beyond a chord or two, which he
plucks with Ry Cooder's sense of space. But what he does with that empty space is captivating, as the quiet tinkling of cutlery,
the hushed rustling of a cat scratching its ear and the crickets under the floorboards appear delicate and magical due to Kiritchenko's
care and subtle DSP trickery. Once shifting to the piano, Kiritchenko's musicianship is far more confident, presenting a polyphony of
cascading notes that he in turn blurs into a miasma of ringing minimalism recalling the excellent Vrioon collaboration between
Alva Noto and Ryuichi Sakamoto.
L'ukrainien Andrey Kiritchenko, croise chez Ad Noiseam ou Autoplate, use de son propre label Nexsound pour coproduire avec le japonais Spekk son nouvel album True Delusion. Kiritchenko confie avoir realise ce disque assez vite, en dix mois: six mois pour reunir un materiel sonore de base tout en reflechissant au disque, et seulement quatre supplementaires pour l'editer, l'ordonner, lui faire prendre forme.
L'artiste enregistre ainsi quelques notes de guitares egrenees, avec des microphones de contact, chez lui, quelques melodies de piano chez des amis, et des field recordings dans la ville de Kharkiv ou a proximite Ces notes qu'ils jouent ne sont jamais bien nombreuses, se repetent, minimales. Ces quelques sequences melodiques se melangent a des bruits, gresillements, crachats electroniques divers - la texture digitale, parfois accidentelle, offrant un support de choix a la mise en valeur melodique que suit aisement l'ecoute de l'auditeur. True Delusion s'ouvre sur quatre compositions ou l'on trouve de la guitare, puis sur quatre ou se joue le piano. Les deus instruments ne se croisent jamais, discourent seuls dans ces atmospheres obscures toujours meditative, faussement calmes soit, mais pas forcement denuees de tension. True Delusion est un album organique, mouvant, parfois legerement orchestral malgre son denuement musical.
Kiritchenko y montre tout son talent a l'art de l'infiniment petit, a ce travail exemplaire sur les couches sonores, mais accouche d'un
disque tiede ou l'emotion n'est pas toujours communicative, ou il semble regulierement se cacher sous son processus creatif plutot
que d'exprimer son ressenti.
Kiritchenko, Grbnder und zusammen mit Dmytro Fedorenko aka Kotra
Betreiber des Nexsound-Labels, ist ein feste Grure in der ukrainischen
Leftfield-Elektronik. Die Labelmacher sprechen von environmental
music' und ,indocile ambient', um ihren allesamt brillant designten
Releases ein File-under anzudichten. True Delusion hybridisiert in der
ersten Halfte akustische Gitarren- und fein gesponnene, wie ambienter
Dunst im Raum stehende Electrosounds zu introspektiver Folktronik. Der
minimalistische Eindruck verstarkt sich noch im zweiten Part, in dem
sich ebenso meditativ Pianorepetitionen mit elektronischen Schlieren
mischen. Die Atmosphere hat etwas Brbtendes. Ein isolationistischer
Eindruck wird jedoch verwischt durch Home- und
Fieldrecordingnebengerausche und Familienleben-O-Ton. Die A-Seite
kreist um Wahrnehmung ("scope of my percep -tion") und zeigt
Ambivalenzen auf: Both my sides, Kind in malice, Good of bad. Die
B-Seite baut Illusionen ab, die Illusion of safety, Illusory
self-motion, Optical illusion und die gravic illusion, die
Illusion der Schwerelosigkeit. Die stark an die 12k-asthetik von
Kirschner & Deupree erinnernde Klangwelt gibt sich so einen
philosophischen Fokus, wird zur bbung in Erkenntnis, Selbstfindung und
Orientierung, ohne zu predigen. Die geduldigen, fragenden
Wiederholungen betonen das Suchen, noch weit entfernt von Klarheit und
Erleuchtung. Das bestandige Rauschen und Schleifen von Wind und Gischt,
das summende Gedruhn von Obertunen webt einen schwer zu durchdringenen
Schleier, einen Kokon, der das Bewusstsein mit Spinnwebfaden fesselt
an die Trivialitaten um uns herum, ans ambige Environment, das vexiert
zwischen Einzelzelle und Bahnhofshalle, Niemandsland und Zuhause.
Andrey Kiritchenko est le fondateur du label ukrainien Nexsound et tete de
pont de la scene electronique experimentale de l'Europe de l'est. Il s'agit
la de son quatrieme album si l'on ne compte pas les multiples sorties en CDR
et autres albums MP3. On ne connaissait pas son travail avant ce disque, et
c'est une vraie decouverte qui se voit editee conjointement par Nexsound et
le non moins exigeant label japonais Spekk.
L'album se divise en deux parties, reprenant plus ou moins le meme principe,
mais avec une instrumentation differente. C'est la guitare qui est a
l'honneur sur les quatre premiers morceaux, utilisee de maniere a creer des
ambiances contemplatives. Le principe est pourtant assez simple : des
melodies lentes qui tiennent en quatre ou cinq notes, tournent en boucle et
se relaient. Les machines s'approprient ce materiau de base et creent des
nappes saccadees. Le tout va et vient lentement, melodies et nappes prennent
tour a tour le dessus, pendant qu'au second plan divers bruitages et field
recordings (chants d'insectes, un enfant qui joue) apportent une vie
micro-organique. C'est simple, superbe, apaise, meme si parfois, en fin de
morceau, le chaos semble prendre le dessus avec des traitements un peu plus
bruitistes, des guitares mal accordees ou grattees de maniere incoherente.
Sur la deuxieme moitie de l'album, c'est le piano qui est le centre de
preoccupation de l'artiste. On retrouve un peu le meme principe de
composition sur Illusion of Safety, mais les bruitages et field recordings
ne sont plus systematiques. L'Ukrainien joue plus encore sur le pouvoir
hypnotique et contemplatif d'une melodie simple jouee en boucle et
transposee de quelques tons. Il travaille sur les harmoniques, utilise des
portions de notes pour creer des nappes limpides, ou s'essaye au minimalisme
sur le dernier morceau, Agravic Illusion, superposant pendant 9 minutes un
drone et une note de piano revenant a intervalles reguliers, et se
dedoublant petit a petit.
Un superbe album d'ambient electro-acoustique, experimentale mais tout a
fait accessible et plus generalement deux labels, Nexsound et Spekk a suivre
Come in molti altri casi ormai, l'apertura contemporanea e il rapido accesso
contribuiscono a rendere visibili zone d'ombra del pianeta, mettendo in luce
nuove sensibilita in grado di combinare deviazioni locali e tendenze
globali. Andrey Kiritchenko e consapevole di questo aspetto, e lo assimila
nel migliore dei modi; egli e personaggio noto in circuito sperimentale, ha
collaborato con parecchi nomi di punta della scena elettronica contemporanea
e degli anni '90, Kim Cascone su tutti, ha pubblicato per Ad Noiseam,
Zeromoon e per la label personale Nexsound, a cui lavora dal 2000, e il cui
scopo e quello di creare una "piattaforma per la produzione di musica
sperimentale dall'Ukraina". True Delusion e il suo ultimo lavoro, proprio
per Nexsound, e indaga un'aspetto piu folk del suo agire musicale, meno
sviluppato ad esempio in Interplays, In-Between (Ad Noiseam, 2004) dove era
il territorio glitch-ambient ad essere messo in discussione. "True Delusion"
e esplicitamente diviso in due parti: la prima ha come elemento cardine la
chitarra acustica, la seconda il pianoforte, ben riconoscibili talvolta, ma
poi fusi in magma corposo fatto di field recordings ambientali, glitch e
momenti noise. Si indaga il duplice significato delle cose in mancanza di un
contesto che le renda tali, la percezione soggettiva di queste e
l'intervento dell'illusione come agente di cambiamento di uno stato. Un
lavoro intimista, si evince da queste note testuali riportate nel booklet,
ma soprattutto dalle note musicali, anche laddove field recordings domestici
(l'appunto vocale, infantile, di Both My Sides ) si fondono allo strumento,
quest'ultimo rapportato sempre ad una dimensione ristretta.
Of course the name Andrey Kiritchenko is familiar to you. Apart from his own music and his own Nexsound label, he also plays with Critikal, Sidharta and Nex and is at the forefront of experimental music in the Ukraine. His previous releases on Ad Noiseam displayed an interest in glitch, ambient and rhythm, but that seems all far away when playing 'True Delusion'. The record falls apart in two parts, each of them having four tracks (and noted as 'side a' and 'side b' on the cover, very odd for a CD). In the first four tracks environmental sounds and guitar play the leading part and on the second four the piano plays the same role. Playing around with overtones is what Kiritchenko had in mind when he started working on this record. Despite the computer-processing that no doubt went into making this record, both guitar and piano are clearly to be recognized. They play a set of simple tune and the overtones of both instruments are clearly worked out. Rhythm and techno influences are no longer there. Unlike Boca Raton's new CD on Spekk, this new Kiritchenko certainly qualifies as ambient glitch music, although it's less minimal than some of the outings on say the Line label. Kiritchenko keeps his own tunes together, plays around with them in his own way and at that he does he very fine job. A fresh start, perhaps? (FdW)
"Scope of My Perception" is a very pretty intro of off-centered guitar
strings that just dance in a pale light. True Delusion is contemporary folk
music that uses the guise of noise and various samples that include feedback
and the openness of a room capped by a chaotic open mic that wanders, gets
dragged and plays with the Polaroid quality of field recordings. The
crickets, digging in the dirt and other activities are rigorously tended to
as Kiritchenko strums his strings on "Both My Sides." The piano on "Illusion
of Safety" is not as threatening as it is quite lovely. Tells a story of
quiet patience, anticipation. The story changes to something of a spiral
staircase snow-globe of lost control in the startling "Illusory Self-Motion"
that is just raw, unrefined and sudden. 'True Delusion' winds down with
delicate, repetitive melodies that toy with a far more sleepy side of this
album. "Agravic Illusion" is the static foam produced by the last lapping
waves of Summer. Low tide drifts away, in it the memories of all this play.
This time the Ukrainian musician Andrey Kiritchenko has incorporated
acoustic instruments like the Spanish guitar and the piano, so there is an
emphasis in the organic sounds thta is complemented with the digital
processing, and even incorporating the electroacoustic music by using
domestic objects. This album took 10 months in the making to this young
musician from Kharkiv and during the first six months, he spent his time
meditating, travelling and the rest of the time he experimented recording
instruments in such spaces as the kitchen and the quarters, as well as
making field recordings with rural sounds. The idea was to take sounds with
few guitar notes that were transformed into harmonic tones, but to this
minimal atmosphere a subtle piano unfolds beautiful melodies which evoke
Frenchman Erik Satie. Few instruments and the sonorous conception that
shaped Kiritchenko after the contemplative stage that he had in this album,
is the creative raw material that allows to produce an intimist atmosphere,
and a state of mind to the listener, suggesting images with the sounds that
surround us, and specially as opposed to the development of few elements,
where we have imperceptible resonances. and timbres, and some few notes and
chords, there are are sufficient to be able to find extreme gentleness in
the work of our protagonist.
Kiritchenko's own True Delusion is a moodier affair, taking source recordings of guitar, piano and diverse field recordings and feeding them into the ubiquitous computer, to come up with something that sounds remarkably like Giuseppe Ielasi's two latest solo releases on Sedimental and Hapna. Imagine lying on your back in long grass on a hot summer night and strumming a few neo-folk post-Fahey licks while small insects scuttle perilously close to your earholes. Elsewhere, ultra-minimal three-note piano melodies (both pedals down) drift through a haze of glowing harmonics as the listener is inexorably drawn into a brooding melancholy world worthy of Loren Connors. The difference is that Connors comes out naked and shivering, and doesn't hide under a digital duvet. Kiritchenko's music is touching, atmospheric, and undeniably well crafted, but I'm left wondering exactly how much substance there is under its beautiful surfaces.
Nuovo lavoro per l'instancabile Andrey Kiritchenko che aggiunge, con questo nuovo album edito dalla Nexsound e SPEKK, un ulteriore tassello ad una discografia già vastissima. Questo True Delusion segue molto da vicino lo stile evidenziato col precedente Interplays, In-between, superando le derive del glitchcore più estremo - che caratterizzò i primi lavori - e giungendo ad una personalissima proposta musicale che, pur continuando a strutturare i brani a partire da forme di microsound, alleggerisce una elettronica difficilmente assimilabile con inserti musicali e samples d'ambiente. I brani vengono strutturati lentamente e in maniera progressiva, sovrapponendo a 'sottilissimi' layer elettronici alcune delicate melodie prodotte da chitarra acustica e piano. Dalla commistione elettro-acustica che ne deriva, emergono poi intime registrazioni d'ambiente che, allontanando ulteriormente la proposta da un contesto freddo e inaccessibile, amplificano le capacità interpretative dell'ascoltatore, più vicino - rispetto a quanto accadeva in passato - al punto d'osservazione dell'artista ucraino. Kiritchenko riesce a trovare un sorprendente punto d'incontro fra le ermetiche soluzioni di una avanguardia elettronica isolazionista e un ambient elegante e inaspettatamente spontanea.
Non ha certo bisogno di troppe presentazioni Andrey Kiritchenko, uno degli
artisti elettronici piu significativi che l'Est Europa puo vantare,
ucraino, attivo sin dai primi anni 90, prima come cantante e compositore
in una rock band, poi come dj radiofonico specializzato in musica techno,
con uno show anche televisivo ('Vilna Zone') dedicato a quelle nuove
frequenze, fino ad abbracciare ambiti maggiormente sperimentali
nell'investigazione di sonorita assai scarne (microsound), assecondate
nella produzione digitale anche dalle influenze d'elettroacustica e musica
concreta. Nel corso degli anni non deve stupire abbia accumulato cosi
oltre 16 album, su label come Ad Noiseam, Zeromoon, DTA Records,
Retina-Scan, Thinner/Autoplate, Notype/Nishi, Soulworm, FGLC, WAN, Tiln,
Nexsound, con apparizioni in oltre 20 compilation, segno di una densita
d'idee, applicata nel caso di 'True Delusion' a strutture minimali ed
armoniche, ottenute nell'iterazione di una chitarra acustica, di
manipolazioni digitali, assieme a registrazioni ambientali (principalmente
domestiche oppure effettuate in contesti naturali). In aggiunta, solo
successivamente, quando il progetto era ulteriormente progredito,
Kiritchenko ha operato secondo modalita similari al pianoforte, con un
suono lento, melodico e dilatatissimo. Il risultato e pregevole, elegante
ed austero, affatto distante da una percezione partecipata che riconcilia
gli avanguardismi estremi con i sensi piu spontanei che vengono attivati
nella fruizione musicale.
Wieder mal eine ziemlich magische Platte von Kiritchenko, der hier mit vielen Gitarrenkl„tngen arbeitet, die dem ganzen so ein Gef„ˇhl von Folk geben. Klar liegen auch hier viele digitale Kl„tnge dr„ˇber und drunter und knistern, fliesssen, rauschen leicht, bleiben aber immer sehr fl„ˇssig und wirken so fast wie ein Grillenschwarm aus einem anderen Planeten. Die Einblicke in Urainische K„ˇchen zwischendurch sind auch ziemlich gelungen. Sehr subtile fast heimliche Platte. (bleed)
The illusions start at the most physical level. Some medics argue that hearing is the first sense an unborn baby develops. Nothing is for sure and nothing is granted. But this CD is a true beauty. Intricate in the best sense and impressive even though in contrast to what might be expected there are no full force noise attacks here, but exactly the opposite. Based on piano and guitar notes, combined with organic sounds of the biggest creature known to mankind the ecosystem such are the connotations of this true piece of art. Did I never use the word enlightening or enriching because I donít like superlatives and donít want to wear off words for profane reasons? Maybe I should think about it. Andrej Kiritchenko is the most prominent avant-garde musician from the Ukraine I know (which, I admit, are not so many after all), and he is the founder of the very interesting Nexsound label (which he now runs together with Dmytro Federenko aka Kotra). Releases on Nexsound are always worth listening to, because as far as music is concerned, which challenges the way you listen on an everyday basis even weeks or months later, as well as challenging your expectations of live and society, every release on Nexsound I have heard so far served more than ordered. (Check the reviews to Kotra and Zavoloka for more info.) Kiritchenko also has an enormous range of music he is working on and ìTrue Delusion is a great testament to that. I rarely ever do this, but this time around I want to copy-paste the info on this record to give you the artists idea of what he did: The very idea was simple at first. I meant to play the guitar experimenting with minimalist harmonic overtones. Meanwhile I tried to take deep rhythmic breaths timed with guitar sounds. The result was almost meditative, as the guitar buzzing sound was slowly fading out and the body felt close to hyperventilated. Later the album progressed in terms of the similar use of the piano. It was not exactly harmonic overtones, but the sound was slow, melodic and minimalist, so the album can be conventionally divided into two parts.
The result, actually, is a lot more than the meditative minimalism hinted upon in this description. It would be doing great injustice to this music to describe it solely in the terms of slow, longwinding, meditative drones with parts that use instruments in simplistic ways and others that use gentle noises and the washing sounds of atmospheric disturbances. Because this record can really get a grip on you, or at least it got on me, when I listened to it first and then repeated listening to it for the rest of the afternoon. The last time this happened to me was with Marsen Jules ìherbstlaub and both records share an atmosphere of consisting outside the constraints of time in a near complete static balance, which to me defines at least one part of true beauty. But Kiritchenkoís work lays importance on two sides of the human spectrum, hinting at the dark as well as at the light. ìTrue Delusion is a lively discussion with tonality and harmony about the most essential aspects of life. The echoes of field recordings mixed with the sounds of breathing, aesthetically modified and elevated by the harmonious sounds of the piano or the guitar build a complete whole of surrounding sounds which at the same time soothes and frightens the listener. An environmental sound installation that flows and sparks with life, reverberates the tension that (conscious) existence brings along. The ambivalence of human lifes, with all its threats and joys, pain and happiness is reduced to the most basic level or existence breath in / breath out which like tidal movements still retains that certain ambivalence.
Using acoustic instruments is a new and maybe dangerous path for avant-garde-musicians, but new and dangerous should be the obvious choice for anything calling itself avant-garde (otherwise itíd end up as status quo). There seem to be more and more avant-garde artists taking that way and they have nothing to do with the settled avantgardists on these instruments (like Fred Frith, Eugene Chadbourne, Marc Ribot, to name some Istill like) but using these bitparts together with the results of the electronic experimentalists from just around the corner of musical history, be they from the harshest noise sides or the ambient drone sides. That makes for an interesting mixture. First glimpses could be seen with Sylvain Chauveau or David Balula, but now I have the feeling that there is more and more of that, which exchanges the interest into the gigantic soundwalls with an interest into the more subtle and smaller differences. Maybe I am wrong and only deluded by my own perception, which is solely based on the music that comes my way, which of course is only a miniscule part of all the music around. Which brings me neatly to mentioning that there is a lot more to ìTrue Delusion than music.
The second side of this record is the very interesting theoretical background. We here at Cracked Headquarters know and have always put forth the thought that the whole world is actually an illusion. Not so much in the solipsist way of imagining everything out there but in the way that our sense shape the way we perceive the world (phenomenology), our minds shape the way we create the world on an individual basis (constructivism) and how our relationships to other people shape the way we behave in this world (sociology). In other words, we consist of ratio, emotion and socio and donít you ever forget that. From the little blind dot in your eyeball, whose left out visual signals get interpolated and calculated by the brain very much like CD-error-programms have algorithms to calculate the missing sounds and you never notice, to the way our current social position and pressures make us behave (good example: George W. Bush, what power and drugs can do to the perception of the world), this is not at all a new thought. But an exciting, startling and haunting one each time I think about it. Most people live their everyday lives feeling they are in control of their lives. Of course, those are small lives with petty problems, especially in a rich and well-fed country such as Austria, but it is an illusion nevertheless. It takes only a few minutes and the coincidence of some far away factors to make you completely lose everything you ever had. Some CEO in another country decides to restructure the strategic direction of some side-parts of the global company he works for and suddenly your job is gone. A cardriver slides off the street and hits you or your partner straight with full power. A lightning strikes an electric pole which sets of a chain reaction and a whole city goes dark for hours. Warren Buffet decides to earn a few million dollars by a little currency speculation and destroys the economic system of a small country. And to think about the vast logistical system working on market forces and governmental forces it needs to feed a city of a million people, most of them working office jobs. ìIllusion of Safety for sure. Most people have no idea of what is really going on and why some things are working the way they do. I wonder if there is a single person at all. Our society, from the economic basis to the fashion trend surface, from the milk delivered to the supermarket to the designer iPod bought via the internet, is so unimaginable complex. And we wallow through this complexity with our ancient mammal brains trying to find known dots and lines within the chaos that help us along, all the while telling ourselves that we have a grip on everything, when actually we should be screaming, banging our heads and run back to our primeval caves to hide in.