Gultskra Artikler


(Copyright © 2006 Piero Scaruffi | Legal restrictions - Termini d'uso )

Lusha (2005), 6/10
Pofigistka (2006), 7/10 (EP)
Kasha Iz Topora (2007) , 7.5/10
Qwerty (2010), 7.5/10 (EP)
Galaktika (2010), 5/10
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Russian duo Gultskra Artikler (Alexey Devyanin and Dmitry Garin) debuted with Lusha (2005). The EP Pofigistka (Lampse, 2006) contained four Devyanin compositions and four remixes by other musicians. The fragile constructs are roamed by ghostly found sounds, emanate the intimate and pastoral feeling of folk music and hint at other dimensions (whether psychedelic or not).

Devyanin crafted dark and expressionist atmospheric electronica with samples on Kasha Iz Topora (Miasmah, 2007). A detuned guitar intones the Slavic litany Po Derevne over the mousesteps of the digital percussions and an eerie choir. A string instrument that sounds like both a violin and a didjeridu struggles to utter a melody in Begushemu Vpered and succumbs to a chaos of metallic percussion. The intersection of chamber music and musique concrete is also at the core of the witty Slovami Poeta. The yearning Krovinka Moya, instead, loops a melodic fragment to establish an atmosphere similar to Pachelbel's Canon and then disintegrates it with a loud drone and a collage of radio voices. Potemnelo even seems to deconstruct a folk fanfare within the odd pile of incoherent sounds. Repeated guitar tones create an idyllic and even pastoral atmosphere in Votpusk. Viceversa the scant distorted guitar sounds in Vechnost, coupled with a grotesque crowd of sonic events, create a gothic atmosphere.
Any narrative pretense is abandoned for the lush abstract digital soundpainting Kartoshka and the dreamy alchemy of Kuraga. These free-form pieces are just decontextualized ungrounded physical experiences. Further down the line are sparse dissonant essays such as Rak Pushka and Medicinski Rabotnik that are basically the laptop equivalent of free jazz.

Pofigistka (Lampse, 2006) is basically an EP with some remixed.

The EP Qwerty (Mille Plateaux, 2010) offered six hyperkinetic vignettes of futuristic digital soundscaping, notably the industrial glitch mayhems of q, the galactic soundtrack w, the ebullient industrial cacophony of e, and the haunting cinematic fantasy t. The physical intensity and the metaphorical otherness of this digital suite constituted a new form of progressive rock despite the absence of rock instruments.

Far less ambitious, Galaktika (Other Electricities, 2010) was an astronomy concept that veered towards much more stable and linear structures. After the wavering overture of Galaktika, that plays the role of a cosmic tuning "om", the jarring glissandoes of Solnce coalesce in a choir-like drone, metaphorically bridging the supernatural and the human. So does the rumble and the drilling noises of Nanorobot, whose ending is even more explicitly a monk-like choir. The choir becomes part of the texture in the poignant Sputnik, the best update of Klaus Schulze's cosmic music to the digital age and the album's highlight. The choir is the main presence in Asteroid, and it soars along string-like drones that seem to represent orbits. No wonder than that Angel closes the album with a colossal mass-like harmony of voices. Too many of these pieces, however, sound trivial. And the continued reference to Gregorian chants was neither original in 2010 nor particularly creative.

(Translation by/ Tradotto da xxx)

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(Copyright © 2006 Piero Scaruffi | Legal restrictions - Termini d'uso )
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