 |
cat-nr: verazität: 047, release date: July 2006, ltd.-edition: 60, "Differences in time, transition of consciousness from consciousness. Simplified morning condition. The rest of famine running from us. Desire to realize a proceeding sound of shout, tearing. As the dog delirium..." | |
Only about twelve weeks ago, we reviewed the previous release by Ctacik, a.k.a Stanislav Popov (see Vital Weekly 520). Here he returns with 'In Order To Prevent Sense'. Compared to the previous 'Amur Region', which was a step forward from his previous more noise oriented work, this new release continues the new style, in which ambient music, noise and musique concrete work finely together. Field recordings of bird sounds and people talking are set against a wall of dark synthesizer sounds. A piano tinkles away with rain sounds, but also with what sounds like an engine. It's still not pleasant music, for its all quite dark and alien music, but it has a certain cinematographic quality that makes this most workable soundtrack for any home shoot movies. As said, along the lines of 'Amur Region', but just a little bit better. by frans de waard @ vital weekly Solo project of Stanislav Popov, “In Order to Prevent Sense” was birthed in 2006 in a limited edition of 60 CDr’s and features a more ambient excursion for Popov’s noise treatment. A labyrinth pulses and thuds, squeals in cinematic darkness, lumbering as on a thousand hoofed feet. Diminished fragments are peppered through this first track under the fingers of a jerking marionette, making for deep bass and dulcet in tone but-not-in-phrasing upper register of the pianoforte an unnerving rising curtain. The ambience is one of squalor, where drones are prickled with skewers of soft noise and disruption. That this maze is inhabited is obvious, so minatory are the throaty bubblings and haunted tunnels echoing with gelid winds. CTACIK doesn’t just sit rummaging for food to survive in the murk, but displays otherworldly ambience as well in “Leaving Earthlings Far Behind”. The lapping of the water more like the slaver of something incomprehensible, ghosted in electronic funnels of crescendo and decrescendo. Track 5, “4” is a twisted alien jungle populated with unfamiliar sounds and the susurration of insects replaced with industrial hiss and oscillation. Unwelcome predators breathe through gasmasks that squelch white noise as if it were being ground into mincemeat. It sits at odds with the first two and last tracks of album markedly, but nonetheless unique in evincing a strange world. Lastly there is more dissonance from the pianoforte as the final track draws down the curtain in sinister style. Digits thunder at the bass keys with menace and sustained immeasurably while their partners above stop and start, lurch and clatter horrid little chords to squirm at. Not even the cliché of the thunderstorm can isolate the manikins dark jest. The album’s artwork features four hands nailed to the body of a woman in a classical style on full colour laser print, with it similarly featuring affixed to the CDr surface. by heathen harvest | ||