SKOLTZ_KOLGEN
"POST_PIANO 07.05" (12K2003)
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here: http://babelfish.altavista.com/babelfish/tr
E/I (US)
Here assembled are 11 variations, selected from a suite of 20,
all based on 11.11.03 by Kenneth Kirschner. That such a concise
and purposeful collection of pieces emerge from the parent already
dry, fully-formed and talking, is compelling in the same way
as identifying the likenesses and differences between the adult
and its fully-grown progeny—just see William Wegman’s
early and disturbingly comic family portraits. As such, Skoltz-Kolgen
implement an important set of ideas about music origination
while exhaling a uniquely breathable, rich, and unified atmosphere.
The pieces range from the calm and nearly motionless capture
of decays stretched nearly to the steady state to the reorganized
emergence of once covert, odd and—no offense—charming,
even playful, rhythmic patterns encased by clipped envelopes,
chattering left and right, forward and backwards across acoustically
lush yet relatively neutral pads, beds, clouds and ghosts. But
unlike drone music, the work on Postpiano exhibits a sometimes
strict, sometimes submerged preoccupation with structure and
with duration. Decidedly not a collection of sustained fragments,
relayered into a lasagna d’ambience, the music here is
always animate and engaged with form and proportion. New and
more familiar forms of distortion play an occasional and contrasting
role, as the subsumed waveforms retreat and emerge from the
afterglow of their own processes. Importantly, these generally
indefinable sounds only now and again reveal their origin to
be the result of sometimes typical, sometimes atypical physical
contact with a piano, casting a context for the music which
allows the listener to apprehend that these sounds are not artificial
constructs, but that they originate from the place to which
they return: as vibration in air. Ideal work for those who have
a proclivity for music actually made out of music, it’s
too bad there are only 500 copies available. - KL
