Courtis / Kiritchenko / Moglass - s/t


Anla Courtis provides sounds for Andrey Kiritchenko to work on. Anla Courtis also provides sounds for The Moglass to work on. And both provide sounds for Anla Courtis to work on. Obviously, this three way global interchange of sounds and noises has Anla Courtis at the centre (this time), though Kiritchenko starts off followed by the Moglass and ended by Anla Courtis. So much for the basics of this release. What is missing to fill the matrix are the interchanges between The Moglass and Andrey Kiritchenko, but there are no reasons to fill a matrix aside purely formal ones and formality is something that you should forget about completely when confronting this release. Or any release on Nexsound for that matter, because they are all challenging your senses, your hearing restraints and the status of fringe music.

What combines the three artists is that they tend to take on sound as something physical, elevating it to a tangible level that works not only through the auditive sense but also via the skin. Even though The Moglass are the most \"song-oriented\" of the lot from their history onwards, they also step into the chaotic-dynamic lines of this animated soundforgery. They seem to work with sound like a lion tamer works his wild animals, teasing them and teaching them, but always on the lookout for they might break out and wound someone. They are also very eclectic in their work, splunging into all kinds of ambients and sounds which were neatly divided by journalist types and collectors and with a wave of their hand mixing them all together again. And in the end all three have long careers, discographies and impressive biographies to show for them.

Andrey Kiritchenko's tracks are like a wave, but no tsunami but a slow motion wave that surrounds and embrazes you, tightly and densely, and starts to drag you down. His processed field recordings and noises (the notes say guitar but it is hard to believe and anyway wouldn't be recognizable from something else in this mix except for some parts in his third track) are dynamic and frantically changing while remaining massive and powerfull throughout. When they start to fade out your brain starts to breathe again and you wonder if the crackles of fire in your head are for real or still coming from the CD. But what did you expect from on of Eastern Europe's foremost proponents of noise and electroexperimental music? This adds very nicely to his growing and recommended discography.

The Moglass start off almost atmospherically with waves of almost new age sounds and synths. The stress lays on almost, as almost always. The band is know to prefer being led by the sounds than to lead the sounds, so this time the sounds first lead them to a really quiet and peaceful place and afterwards to more rocky and rough terrain, which still has a lot of good echo. They also add spooky and tripping vocals to great effect and with lots of echo and sustain, though it has to be said that I like their current release \"sparrow juice\" (also on Nexsound) some more than the big walls and monumental sounds they build up on here. On the other hand, the finely carved and worked out songs on their album wouldn't really fit here.

Anla Courtis has adopted many names during his long career, which started off in Buenos Aires when he studied classical guitar, piano and composition, then threw all of that away to play a very early form of free rock with another guy and a third guy, one of which was a mongoloid who sang and played the drums, under the name of The Reynols. Believe it or not, before Courtis called it quits for The Reynols the trio released more than one hundred CDs and vinyls worldwide almost everywhere and, which is much more important, has connected to likeminded musicians in every town of the world possibly. Here he connects on a completely different level. He actually flies off in various directions during the course of his four tracks, and sometimes he flies into different directions at the same time. A combining element of his contribution is wild creativity and a sense for being \"out there\". I have no better words to describe it. He dares to use gentle tone and to fall into more softer paces at times where his cooperators might have chose power and volume in favor of subtlety or microsounds, for instance when he lays softly swaying yet deftly distorted guitar chords over a bass-heavy basis of crackling industrial noise.

All in all this three way cluster is a great and powerful invocation of the liberating spirits within noise and experimental electronics. I don't believe anyone reading the reviews on Cracked regularly has never heard of any of these three artists, but if so, let this be an introductory guideline for you.

Other Reviews of s/t