Passive/Aggressive

Kætø – Teasing the means of production

English Kritik February 18 2019

Kætø ”Poppers and Rotation – Processen” (self-released, 2019) – review by Wieland Rambke

Pop music as a phenomenon is both private and public. The daydreams that pop music evokes and communicates are inherently personal. A well-made pop song makes us feel that we stand in personal correspondence with the artist.

At the same time, this experience is shared with everyone that the song is singing to. It becomes part of the common life experience of people. Thus, it becomes public. Pop music is a personal mass phenomenon.

But while pop songs address our emotions, they are not themselves born out of emotion. They are manufactured in a process of constant evaluation and elimination. A pop song is engineered, it is planned, it is a product.

The term „product“ comes up again and again when Mathias Andersen and Kristoffer Rank Rasmussen talk about their electronic music project, Kætø. With their second release, titled „Poppers and Rotation – Processen“, they present the listener with their own take on the meaning of pop music: As a product of a system based on claimed ownership. So why not reclaim ownership?

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Physically Sick 2 – Music and medicine against legally administered poverty

Blog English April 5 2018

PS2_cover

By Emil Néné Rasmussen

In the always peculiar legal world of the USA, a particularly odd system is set in motion almost every time someone is held in custody or otherwise detained. The system is called bail, and it is the procedure of letting the detained person pay a deposit to the court in return for being released until their trial. While the exact cost of this procedure varies from state to state, depending on the severity of the crime, it has potentially destructive financial consequences for those impacted by it. No matter where one stands on crime and punishment, the matter of the fact is that 1: “We do not tend to confine the most dangerous – we jail the poorest among us”, 2: “Our jails are disproportionately filled with Black and Latino men” and 3: “Defendants sit in jail for long periods awaiting trial. Some defendants have even waited in jail for more than four years before trial”. (Alexander Shalom, “Bail Reform as a Mass Incarceration Reduction Technique”, 2014)

So what can you do? Læs resten

Olivier Alary – Creating intimacy from purely digital sound

Blog English August 18 2017

OA

By Wieland Rambke

With Olivier Alary’s “Pieces for Sine Wave Oscillators”, California-based label LINE Imprint continues its flow of conceptual and minimalist releases that refuse to draw a line between sound art and music.

At the heart of the compositions assembled here lies a strictly formalized idea: By only resorting to using sine wave oscillators as sound sources, Alary is creating sound that is only electronically possible. Læs resten

Dariush Dolat-Shahi – Persisk post-revolutionær musik i nye kredsløb

December 7 2012

Den oprindelige indspilning af “Electronic Music, Tar and Sethar” (Folkways, 1985) med den iranske komponist og tar-mester Dariush Dolat-Shahi er blevet genudgivet her i 2012 af Dead Cert – og genaktualiseret for et nyt publikum på samme måde som Charanjit Singhs indiske “Ten Ragas with a Disco Beat”, der ikke nød anerkendelse i sin samtid.

Musikken er skrevet for elektroniske apparater nok mest synthesizere og hhv. tar (klassisk persisk strengeinstrument i lutfamilien) og sethar (sitar/variation af samme), men der er smukke ornamenter af fløjter og feltoptagelser af fugle, regnvejr med mere. Kompositionerne tager med overvægt udgangspunkt i strengeinstrumenterne og udfoldes som skalaer med skiftende perkussiv fremdrift og et utight touch, og så bliver den “elektroniske musik” udfylder rollen som enten droner eller et krydderi, der tilføjer en tekstur af polyrytmik, arpeggio og uforudsigeligt futuristisk lyddesign. Med andre ord sker der er en udveksling, hvor det meget frie spil på tar og feltoptagelserne bliver det stabile, og den elektroniske musik bliver et ustabilt modspil, der giver dette 27 år gamle genopdagede album en stærk følelse af menneskelighed, lyst og spontanitet.

“Electronic Music, Tar and Sethar” er overraskende, selvom den er behagelig at lytte til. Det her må have været ret eksperimenterende i 1985, og det siger jeg uden præcist at kende betingelserne for iransk kultur på den tid. Dariush Dolat-Shahi studerede komposition i Iran, både klassisk persisk musik og vesterlandsk musik, fortsatte sine studier i Holland, og flyttede i 1975 til New York, mens politiske uroligheder lurede i Teheran. Efter den iranske revolution i 1979 mistede han sit scholarship men blev boende i USA, hvor han har boet og undervist siden. Selv i nutidens lys er denne kombinationen af traditionel musik, feltoptagelser og synthesizere – med et konstant øje for hele helhedens spændinger – ganske sjælden (Tak til Haile Lassie for tippet). Læs resten