"Composers are thinking now of a timeless kind of depth; that is, of creating and going into a sound space, rather than moving horizontally along it" *
Much time has passed since the release of "Can't Illumination" in 2003, and Anna Zaradny and Burkhard Stangl meet yet again, now on each side of a vinyl record on the Bocian Records label. There were, however, many various encounters in various circumstances in between those two official events, and one of them is shown in the photos on the cover.
This is hardly a chance meeting as the two compositions have more in common than it might seem at first sight. Take the misguiding beginnings, for instance. Zaradny's "Octopus" leads off with sounds that might seem to be either of electronic origin or laboriously selected vocal samples. Incidentally, a choral work by Anna, if she ever writes one, might make quite an intriguing listen. Stangl's "Crédit" opens ambiguously too, as it makes you wonder if it might not be a cover of one of the pieces off Neil Young's soundtrack to Jim Jarmusch's "Dead Man" movie. But this is not about games and tricks.
That this is in fact a more serious affair is proved when you listen more carefully to its complex rhythm structure. In Stangl's piece, elongated guitar lines and noises are countered with abrupt regular knocks. Zaradny's polyrhythms can be oppressive enough for you to feel almost relieved with the arrival of a less complicated section, which by the way is reminiscent of the latest efforts from Byetone. Co-existence of different elements and application of distinct layers here may remind you of Alvin Lucier's description of the recording process of "Music For Solo Performer," '[...] We both used overdubbing techniques. This seems to go hand in hand with the idea of non-narrative music because you're getting one layer upon the other. There is a sense of timelessness here because you are not adding things chronologically, you're superimposing them, and a qualitative change occurs when you attain a certain mass.' The music on this record proves that the sense of timelessness is not incongruous with dramatic effects and composing techniques. Once again, over to Lucier, '[...] It seems that this is the beginning of a new kind of structure.' One might add, just open your ears to it.
(—) Piotr Tkacz / transl. Przemysław Chojnacki
* All quotes from: Alvin Lucier, Arthur Margolin, Conversation with Alvin Lucier, Perspectives of New Music, Vol. 20, No. 1/2 (Autumn, 1981 - Summer, 1982)
supported by 10 fans who also own “Anna Zaradny - OCTOPUS”
I can't put into words how it feels to listen to this album. The sensation of increasing anxiety and dread throughout the stages is unique. It makes me want to keep listening and theorizing about what's happening in the songs, especially in the post-awareness stages. D0DGAMES
supported by 6 fans who also own “Anna Zaradny - OCTOPUS”
This is a fascinating aural travelogue that really piques the imagination and engages strong sensory perceptions for me; bringing the 'inward journey' to life.
Koner brings an amazing (and surprising) range of emotions to the fore...there are so many stories being told here and more is unravelled with each listen...
I find myself unwittingly drawn back to these pieces time and again, trying to 'fill in the gaps' and enhance his aural scenarios (or "Sonic Cartography", as Koner calls it) with my own imagination.You can dwell in one location or submit to the ever-moving diaspora...
A truly absorbing and engrossing experience. John Cratchley
supported by 5 fans who also own “Anna Zaradny - OCTOPUS”
Walking through slowed illusory landscapes of sepia tones, we explore faded memories of Rafael Anton Irisarri with piano sketches.
But even if a road is traced in this enigmatic release by the patterns of piano droplets falling in our ears, the various processed instrumentations blur the horizon just like the borders of a dream would endlessly vanish when we try to reach them.
Sensitive and personal, this melancholic work is a decaying love letter to the tired strugglers of reality. Dotflac