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Palikti vandenyne online dating

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At the beginning of this year he released new albumAcousma Light, dedicated to the tradition of acousmatic music. The term acousmatique has been introduced by legendary French musique concrete composer Pierre Schaeffer in At the same time, all elements, characterizing the previous works of Gintas K, are available here - heavy digital micro and macro processing, glitch, digital noise, high quality extreme sounds etc.

Also it's difficult to realize what kind of sound sources have been used during the process of creating of the album.

It could be fragments of live sets, based on modular or laptop improvisations, or field recordings and found sounds, transformed into something different and new. Acousma Light sounds excellent. It's even difficult to stop the Palikti vandenyne online dating of listening, covered by the flow of multi layered information. One of the best albums in a vast discography of Gintas K!

Oct 23rd, https: Lengvai being described on the back of the jewelcase as a rhythmic and textural post-techno inspired piece, while 60 x one minute audio colours of 2kHz sound is a more conceptual sound art piece that also literally does take up the 60 tracks on Disc 2, all with other 1 minute variations of 2kHz sound. This 2 CD set is definitely an interesting Palikti vandenyne online dating enjoyable varied release of music that kicks off on Disc 1 with the first part of Lengvai easily or easy in Englishtitled Lengvai.

The first track is the most minimal and microsound influenced part of Lengvai starting with filtered liquid synth Palikti vandenyne online dating moving towards frequency manipulation of sine wave tones accompanied by a soft Palikti vandenyne online dating glitch rhythm and sine chords that kind of sound like Dub Techno stabs completely reduced to the first building block of the synth sounds.

Mysterious and abstract but also with frequencies playing with your ears in the sensitive part of hearing, the first part is a calm start of a composition that does get more rhythmic and varied very quickly.

No spoilers yet in this first part however. Ilgiau Ilgiau features glitch drums with a very funky groove to them, stereo panned noises and high frequency beeps are also part of the mixture. Near the end of this part the music moves towards a more diffuse drone that gets glitched up as well in the rhythm of the music.

It creates a very fun kind of playfulness in the music that keeps it from sounding rigid and cold. Maybe a little cheesy in its sound but it gives the music a funky and also pretty humorous sound. After this section the music fades to a watery synth sound, very liquid, like a kind of device sucking out water accompanied by high frequency clusters of ticks.

This crossfades into a distorted drone and gets accompanied by the glitch beat of the first section. Now however the sound of the full mix gets gradually more and more mangled into distorted, folding and trembling by the manipulation.

The added high harmonics give the music a very nice adventurous vibe and I found this manipulation especially great. The full mix gets more and more distorted at the end, ending a full wave of warbly distortion, excellent. Fourth part Koto starts with a great drone mostly at the left side Palikti vandenyne online dating the stereo image that gets heavily flanged, the flanger settings being manipulated in various patterns that add cool resonances and Noise like harshness to the sound.

The music builds with a Palikti vandenyne online dating sparse, polyrhthmic Glitch beat accompanying the drone. In the second half of this track the drone fades out and the music is more focussed on the glitch rhythm in which now also short tones are added for resonance. Early Set is the final part of Lengvai and is also the longest track at 27 minutes 19 seconds length.

Just like the pieces before, the music flows through various sections but with even more variation. Highlights in this part for me are the bird like sounds in the first half, that also sound like distant car alarms. In the last section of the piece there is a section of what sounds like music samples being combined with washes of Noise and rising high frequencies, harmonic and harsh at the same time, very nice.

At the very end the piece breaks down to a minimal stereo glitch rhythm that Palikti vandenyne online dating gets more and more distorted and mangled, even slammed.

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Until it sounds like microscoping broken black holes of sound. Great ending to Disc 1 of this release. Disc 2 features the full piece 60 x one minute audio colours of 2kHz sound. This piece was definitely a pretty unique listening experience, the 2 kHz sinewave sound is audible on pretty much all the 60 tracks, either pure or manipulated in frequency, rhythm or other ways.

The length does of course make the piece a bit challenging because sounds at 2 kHz can sound rather fatiguing on the ears Palikti vandenyne online dating a long long time, fortunately Gintas K creates quite a lot of variation in the piece, not only manipulating the 2 kHz Palikti vandenyne online dating itself but also adding other sometimes glitchy high frequency sounds to it.

At one point the sound even gets really loud intense and fast in ticking, sometimes also sounding a bit like an alarm. The more progression the better with this kind of sound. So definitely a unique but challenging piece, a good listen.

Disc 1 is more accesible and suited for repeated listening but Disc 2 also does offer a great kind of study of sound that is at point just as playful and progressive as Disc 1. In any case, this is a great creative release of glitchy sonic work by Gintas K and a good listen, so check it out for sure.

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Gintas K — Acousma Light. More generically, he prefers the sound art scene and his work focuses on digital, Palikti vandenyne online dating and granular sounds.

The most direct reference to the school started by Pierre Schaeffer is that no sound source is noticeable during Palikti vandenyne online dating listening session or at the concert. So in the first part of the composition the sound is very rough and at the mercy of trembling circuits, fluctuating between bleeps and liquid digressions, reduced to its essential parts but not lacking in shocks, accelerations and losses of adhesion.

However, a clear connection between the sounds and their sources of production is missing. The matter is very much felt, especially regarding the electronic lives, to sometimes not be spectacular enough. But the works present some moments of fullness, mostly orchestral, and some basic melodies, together with some pauses and introverted weaves, mixed with the atonies and dense buzzes.

But the author likes the idea that all the elements played are modular sound particles. Following the acousmatic way, the physical characters of these audio emissions are invoked: For this outing, the enigmatic granular sonic artist from Lithuania has delivered an array of 14 fragmentary pieces, the majority titled by number, spanning snippets less than a minute in length to quarter-hour brain-sizzlers, with the majority of pieces clocking in around the Palikti vandenyne online dating mark.

Beats stutter and funnel into disarray and fuzzy edges dominate the sounds as those beats crackle and fizz. Most of the loops on here sound sped up and pitch-shifted, gloopy electronica and synthy beats shifted up to resemble clicks and bleeps and scratches of static. Everything crunches and collides at a frenetic pace to create an overwhelming blizzard of sound, a sonic soup that batters rather than massages the senses and the brain. A great many of the rhythms are arrhythmic, or otherwise disturbed or distorted in some way or another.

At times akin to a palpating heart, and at others a flutter beneath a screeching squall of static, a fizz of treble and a mess of skittering noise, Into the Void leads the listener into "Palikti vandenyne online dating" territory, and at times threatens to abandon them in a sandstorm of sound that will leave them completely adrift.

There are some moments of variance: Personally, I dig it, but as a listening experience, its uncomfortable and far from easy. At times a jumble of electronics, wired, frayed, tumbling like dice — and at others a groovy, almost a cinematic soundtrack for the making of an arcade game.

Stay for the full nine minute plus ride and I promise a magical pixieland complete with bouncing balls, mysterious jangling, and crunchy grit holding it all together. Retinascan— however this is his first on his own imprint, Gk Rec.

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