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KIRITCHENKO, ANDREY - Misterrious

Format: CD Label & Cat.Number: SPEKK KK: 017 Release Year: 2008 Note: comes in oversized & book-shaped hardcover-design Price (incl. 19% VAT): €15.50 Warning: Currently we do not have this album in stock! More Info "Piano, akustische Gitarre, Glockenspiel, dazu Grillengezirp oder undefinierbares Hantieren im Hintergrund, ANDREY KIRITCHENKO führt einen mit Misterrious (KK017) einmal mehr in seine naturnahe Ambientklangwelt. Nur dass diesmal ein neues Element ins Spiel kommt, Drumming, besser vielleicht, Percussion. Bei einigen Tracks versucht er sich selbst als Schlagzeuger - natürlich der zarten Sorte - , bei drei seiner Spaziergänge auf der Krim übernahm Jason Kahn diesen Part, bei ‚Your thoughts in scary forest‘ dann Martin Brandlmayer. Der Ukrainer bevorzugt schlichte und repetitive Verlaufsformen, ostinat wiederholte Piano- und Bassnoten, dazu simple Töne von Mundharmonika oder Melodica. Brauchen die Grillen mehr? Wiederholen sich nicht sogar die Vögel? Kiritchenko charakterisiert sein Bestreben dabei als „cinematic, naive and visionary“. Das Ergebnis ‚jazzig‘ zu nennen, ist freilich gewagt. Der Mann in Charkov schiebt daher gleich ein ‚I did it my way‘ nach. Die immerzu kreisenden Piano-, Bass- und Gitarrenfiguren von ‚Evening light wrap me softly‘, begleitet von gestrichenen oder rasselnden perkussiven Repetitionen, kämen selbst dem ambientesten ECM-Jazzer nicht in den Sinn. Kirichenko ist Pulsminimalist in Sinne eines Steve Reich, seine Mittelsind sind dabei folktronisch und von ritualistischer Suggestivität, bis hin zu gedengelten Klangschalen. Immer wieder hört man, von Vogelstimmen begleitet, Schritte im Wald, die Naturverbundenheit bekunden. Kiritchenko spinnt grüne Traumfäden. Ob das naiv ist oder visionär, wird sich zeigen." [Bad Alchemy] "When I started to think about new album, I wanted to keep up with what I have started to explore in “True Delusion” release and continued in “Stuffed With/Out”. I wanted to introduce something new to the sound – make it more acoustic than electronic. Believe me or not, I wanted to make a jazz record (my way of course) - cinematic, naive and visionary album. In the new album I choose piano as the main and solo instrument and wanted to make it sound in minimalist, melodic and overtone way. So, when I had some amount of free time in rehearsal rooms of Stockholm’s student chummery I started to make first piano sketches. After those sessions and also collecting piano outlines I made later in Kharkov I decided to continue with an appropriate jazz attribute – drums. After few unsuccessful conversations with local drummers I decided to ask Jason Kahn and Martin Brandlmayer for their participation as I really appreciate their stuff and approach. After their part was done I still had some tracks that wished to have a percussion part too, so I decided to try that out myself and bought a snare and a set up of cymbals. By that time I had wonderful field recordings of insects I made on half-island of Crimea (Ukraine) and they fitted very well with the rest and also with my usual instruments: guitar, glockenspiel, mouth harmonica, auto-harp, Tibetan bowls and objects." [Text by Andrey Kiritchenko] "Kiritchenko returns here to Spekk, following 'True Delusion' (see Vital Weekly 476), although of course Kiritchenko has released various other releases in the meantime. He set himself at work with the idea of creating something that was more acoustic than electronic, with the vague notion of jazz, in the Kiritchenko way that is. The album is built from various elements. First there is the piano playing of Kiritchenko, with some guitar parts. To add he added some percussion of his own, mainly a snare and a cymbals, but also he asked Martin Brandlmayer and Jason Kahn to play some real drums. Last but not least he added some insect field recordings from the Crimea area. Maybe the drumming is a bit jazz like, but throughout I didn't perceive this as a jazz album. But then perhaps also I didn't hear this to be a microsound album, or glitch or, well fill in whatever you think is appropriate. Its one of those albums that avoids any tags. Postrock, ambient rock, may come close, but then its hardly rock what is going on here. Very mellow music, with an excellent mixture of instruments and field recordings, and indeed to a very minimal extent an album of electronics. That perhaps is the greatest achievement of this disc, to move away so strongly from the old territory and so finely moving into a new one, or rather: expanding on the old one, and create something that may sound like the old one, but achieved with new means. Fine album indeed." [FdW / Vital Weekly] www.spekk.net