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| WIRE Andrey Kiritchenko-True Delusion Ukrainian electronic musician Andrey Kiritchenko conceived of True Delusion as an album exploring the harmonic overtones of guitar and piano. While these instruments do provide a musical and emotional framework, Kiritchenko's album is much more about the abstraction of these elements alongside commonplace incidental sounds, quiet rubbings and field recordings of domesticity. In fact, Kiritchenko is not a very good guitarist at all, never venturing beyond a chord or two, which he plucks with Ry Cooder's sense of space. But what he does with that empty space is captivating, as the quiet tinkling of cutlery, the hushed rustling of a cat scratching its ear and the crickets under the floorboards appear delicate and magical due to Kiritchenko's care and subtle DSP trickery. Once shifting to the piano, Kiritchenko's musicianship is far more confident, presenting a polyphony of cascading notes that he in turn blurs into a miasma of ringing minimalism recalling the excellent Vrioon collaboration between Alva Noto and Ryuichi Sakamoto. Jim Haynes |
| Igloo Andrey Kiritchenko-True Delusion "Scope of My Perception" is a very pretty intro of off-centered guitar strings that just dance in a pale light. True Delusion is contemporary folk music that uses the guise of noise and various samples that include feedback and the openness of a room capped by a chaotic open mic that wanders, gets dragged and plays with the Polaroid quality of field recordings. The crickets, digging in the dirt and other activities are rigorously tended to as Kiritchenko strums his strings on "Both My Sides." The piano on "Illusion of Safety" is not as threatening as it is quite lovely. Tells a story of quiet patience, anticipation. The story changes to something of a spiral staircase snow-globe of lost control in the startling "Illusory Self-Motion" that is just raw, unrefined and sudden. 'True Delusion' winds down with delicate, repetitive melodies that toy with a far more sleepy side of this album. "Agravic Illusion" is the static foam produced by the last lapping waves of Summer. Low tide drifts away, in it the memories of all this play. TJ Norris |
| MusicBoom Andrey Kiritchenko-True Delusion Nuovo lavoro per l'instancabile Andrey Kiritchenko che aggiunge, con questo nuovo album edito dalla Nexsound e SPEKK, un ulteriore tassello ad una discografia gia vastissima. Questo True Delusion segue molto da vicino lo stile evidenziato col precedente Interplays, in-between, superando le derive del glitchcore piu estremo - che caratterizzo i primi lavori - e giungendo ad una personalissima proposta musicale che, pur continuando a strutturare i brani a partire da forme di microsound, alleggerisce una elettronica difficilmente assimilabile con inserti musicali e samples d'ambiente. I brani vengono strutturati lentamente e in maniera progressiva, sovrapponendo a 'sottilissimi' layer elettronici alcune delicate melodie prodotte da chitarra acustica e piano. Dalla commistione elettro-acustica che ne deriva, emergono poi intime registrazioni d'ambiente che, allontanando ulteriormente la proposta da un contesto freddo e inaccessibile, amplificano le capacita interpretative dell'ascoltatore, piu vicino - rispetto a quanto accadeva in passato - al punto d'osservazione dell'artista ucraino. Kiritchenko riesce a trovare un sorprendente punto d'incontro fra le ermetiche soluzioni di una avanguardia elettronica isolazionista e un ambient elegante e inaspettatamente spontanea. Francesco Gemelli |
| Neural Andrey Kiritchenko-True Delusion Non ha certo bisogno di troppe presentazioni Andrey Kiritchenko, uno degli artisti elettronici piu significativi che l'Est Europa puo vantare, ucraino, attivo sin dai primi anni 90, prima come cantante e compositore in una rock band, poi come dj radiofonico specializzato in musica techno, con uno show anche televisivo ('Vilna Zone') dedicato a quelle nuove frequenze, fino ad abbracciare ambiti maggiormente sperimentali nell'investigazione di sonorita assai scarne (microsound), assecondate nella produzione digitale anche dalle influenze d'elettroacustica e musica concreta. Nel corso degli anni non deve stupire abbia accumulato cosi oltre 16 album, su label come Ad Noiseam, Zeromoon, DTA Records, Retina-Scan, Thinner/Autoplate, Notype/Nishi, Soulworm, FGLC, WAN, Tiln, Nexsound, con apparizioni in oltre 20 compilation, segno di una densita d'idee, applicata nel caso di 'True Delusion' a strutture minimali ed armoniche, ottenute nell'iterazione di una chitarra acustica, di manipolazioni digitali, assieme a registrazioni ambientali (principalmente domestiche oppure effettuate in contesti naturali). In aggiunta, solo successivamente, quando il progetto era ulteriormente progredito, Kiritchenko ha operato secondo modalita similari al pianoforte, con un suono lento, melodico e dilatatissimo. Il risultato e pregevole, elegante ed austero, affatto distante da una percezione partecipata che riconcilia gli avanguardismi estremi con i sensi piu spontanei che vengono attivati nella fruizione musicale. Aurelio Cianciotta |
| Loop Andrey Kiritchenko-True Delusion This time the Ukrainian musician Andrey Kiritchenko has incorporated acoustic instruments like the Spanish guitar and the piano, so there is an emphasis in the organic sounds thta is complemented with the digital processing, and even incorporating the electroacoustic music by using domestic objects. This album took 10 months in the making to this young musician from Kharkiv and during the first six months, he spent his time meditating, travelling and the rest of the time he experimented recording instruments in such spaces as the kitchen and the quarters, as well as making field recordings with rural sounds. The idea was to take sounds with few guitar notes that were transformed into harmonic tones, but to this minimal atmosphere a subtle piano unfolds beautiful melodies which evoke Frenchman Erik Satie. Few instruments and the sonorous conception that shaped Kiritchenko after the contemplative stage that he had in this album, is the creative raw material that allows to produce an intimist atmosphere, and a state of mind to the listener, suggesting images with the sounds that surround us, and specially as opposed to the development of few elements, where we have imperceptible resonances. and timbres, and some few notes and chords, there are are sufficient to be able to find extreme gentleness in the work of our protagonist. Guillermo Escudero |
| de:bug Andrey Kiritchenko-True Delusion Wieder mal eine ziemlich magische Platte von Kiritchenko, der hier mit vielen Gitarrenklangen arbeitet, die dem ganzen so ein Gefuhl von Folk geben. Klar liegen auch hier viele digitale Klange druber und drunter und knistern, fliesssen, rauschen leicht, bleiben aber immer sehr flussig und wirken so fast wie ein Grillenschwarm aus einem anderen Planeten. Die Einblicke in Urainische Kuchen zwischendurch sind auch ziemlich gelungen. Sehr subtile fast heimliche Platte. ***** Bleed |
| Vital Andrey Kiritchenko-True Delusion Of course the name Andrey Kiritchenko is familiar to you. Apart from his own music and his own Nexsound label, he also plays with Critikal, Sidharta and Nex and is at the forefront of experimental music in the Ukraine. His previous releases on Ad Noiseam displayed an interest in glitch, ambient and rhythm, but that seems all far away when playing 'True Delusion'. The record falls apart in two parts, each of them having four tracks (and noted as 'side a' and 'side b' on the cover, very odd for a CD). In the first four tracks environmental sounds and guitar play the leading part and on the second four the piano plays the same role. Playing around with overtones is what Kiritchenko had in mind when he started working on this record. Despite the computer-processing that no doubt went into making this record, both guitar and piano are clearly to be recognized. They play a set of simple tune and the overtones of both instruments are clearly worked out. Rhythm and techno influences are no longer there. Unlike Boca Raton's new CD on Spekk, this new Kiritchenko certainly qualifies as ambient glitch music, although it's less minimal than some of the outings on say the Line label. Kiritchenko keeps his own tunes together, plays around with them in his own way and at that he does he very fine job. A fresh start, perhaps? (FdW) |
| DIGIMAG Andrey Kiritchenko-True Delusion Come in molti altri casi ormai, l'apertura contemporanea e il rapido accesso contribuiscono a rendere visibili zone d'ombra del pianeta, mettendo in luce nuove sensibilita in grado di combinare deviazioni locali e tendenze globali. Andrey Kiritchenko e consapevole di questo aspetto, e lo assimila nel migliore dei modi; egli e personaggio noto in circuito sperimentale, ha collaborato con parecchi nomi di punta della scena elettronica contemporanea e degli anni '90, Kim Cascone su tutti, ha pubblicato per Ad Noiseam, Zeromoon e per la label personale Nexsound, a cui lavora dal 2000, e il cui scopo e quello di creare una "piattaforma per la produzione di musica sperimentale dall'Ukraina". True Delusion e il suo ultimo lavoro, proprio per Nexsound, e indaga un'aspetto piu folk del suo agire musicale, meno sviluppato ad esempio in Interplays, In-Between (Ad Noiseam, 2004) dove era il territorio glitch-ambient ad essere messo in discussione. "True Delusion" e esplicitamente diviso in due parti: la prima ha come elemento cardine la chitarra acustica, la seconda il pianoforte, ben riconoscibili talvolta, ma poi fusi in magma corposo fatto di field recordings ambientali, glitch e momenti noise. Si indaga il duplice significato delle cose in mancanza di un contesto che le renda tali, la percezione soggettiva di queste e l'intervento dell'illusione come agente di cambiamento di uno stato. Un lavoro intimista, si evince da queste note testuali riportate nel booklet, ma soprattutto dalle note musicali, anche laddove field recordings domestici (l'appunto vocale, infantile, di Both My Sides ) si fondono allo strumento, quest'ultimo rapportato sempre ad una dimensione ristretta. Txt: Simone Bertuzzi |
| Cracked Andrey Kiritchenko-True Delusion The illusions start at the most physical level. Some medics argue that hearing is the first sense an unborn baby develops. Nothing is for sure and nothing is granted. But this CD is a true beauty. Intricate in the best sense and impressive even though - in contrast to what might be expected - there are no full force noise attacks here, but exactly the opposite. Based on piano and guitar notes, combined with organic sounds of the biggest creature known to mankind - the ecosystem - such are the connotations of this true piece of art. Did I never use the word enlightening or enriching because I don't like superlatives and don't want to wear off words for profane reasons? Maybe I should think about it. Andrej Kiritchenko is the most prominent avant-garde musician from the Ukraine I know (which, I admit, are not so many after all), and he is the founder of the very interesting Nexsound label (which he now runs together with Dmytro Federenko aka Kotra). Releases on Nexsound are always worth listening to, because as far as music is concerned, which challenges the way you listen on an everyday basis even weeks or months later, as well as challenging your expectations of live and society, every release on Nexsound I have heard so far served more than ordered. (Check the reviews to Kotra and Zavoloka for more info.) Kiritchenko also has an enormous range of music he is working on and "True Delusion" is a great testament to that. I rarely ever do this, but this time around I want to copy-paste the info on this record to give you the artists idea of what he did: "The very idea was simple at first. I meant to play the guitar experimenting with minimalist harmonic overtones. Meanwhile I tried to take deep rhythmic breaths timed with guitar sounds. The result was almost meditative, as the guitar buzzing sound was slowly fading out and the body felt close to hyperventilated. : Later the album progressed in terms of the similar use of the piano. It was not exactly harmonic overtones, but the sound was slow, melodic and minimalist, so the album can be conventionally divided into two parts." The result, actually, is a lot more than the meditative minimalism hinted upon in this description. It would be doing great injustice to this music to describe it solely in the terms of slow, longwinding, meditative drones with parts that use instruments in simplistic ways and others that use gentle noises and the washing sounds of atmospheric disturbances. Because this record can really get a grip on you, or at least it got on me, when I listened to it first and then repeated listening to it for the rest of the afternoon. The last time this happened to me was with Marsen Jules "herbstlaub" and both records share an atmosphere of consisting outside the constraints of time in a near complete static balance, which to me defines at least one part of true beauty. But Kiritchenko's work lays importance on two sides of the human spectrum, hinting at the dark as well as at the light. "True Delusion" is a lively discussion with tonality and harmony about the most essential aspects of life. The echoes of field recordings mixed with the sounds of breathing, aesthetically modified and elevated by the harmonious sounds of the piano or the guitar build a complete whole of surrounding sounds which at the same time soothes and frightens the listener. An environmental sound installation that flows and sparks with life, reverberates the tension that (conscious) existence brings along. The ambivalence of human lifes, with all its threats and joys, pain and happiness is reduced to the most basic level or existence - breath in / breath out - which like tidal movements still retains that certain ambivalence. Using acoustic instruments is a new and maybe dangerous path for avant-garde-musicians, but new and dangerous should be the obvious choice for anything calling itself avant-garde (otherwise it'd end up as status quo). There seem to be more and more avant-garde artists taking that way and they have nothing to do with the settled avantgardists on these instruments (like Fred Frith, Eugene Chadbourne, Marc Ribot, to name some I still like) but using these bitparts together with the results of the electronic experimentalists from just around the corner of musical history, be they from the harshest noise sides or the ambient drone sides. That makes for an interesting mixture. First glimpses could be seen with Sylvain Chauveau or David Balula, but now I have the feeling that there is more and more of that, which exchanges the interest into the gigantic soundwalls with an interest into the more subtle and smaller differences. Maybe I am wrong and only deluded by my own perception, which is solely based on the music that comes my way, which of course is only a miniscule part of all the music around. Which brings me neatly to mentioning that there is a lot more to "True Delusion" than music. The second side of this record is the very interesting theoretical background. We here at Cracked Headquarters know and have always put forth the thought that the whole world is actually an illusion. Not so much in the solipsist way of imagining everything out there but in the way that our sense shape the way we perceive the world (phenomenology), our minds shape the way we create the world on an individual basis (constructivism) and how our relationships to other people shape the way we behave in this world (sociology). In other words, we consist of ratio, emotion and socio and don't you ever forget that. From the little blind dot in your eyeball, whose left out visual signals get interpolated and calculated by the brain very much like CD-error-programms have algorithms to calculate the missing sounds and you never notice, to the way our current social position and pressures make us behave (good example: George W. Bush, what power and drugs can do to the perception of the world), this is not at all a new thought. But an exciting, startling and haunting one each time I think about it. Most people live their everyday lives feeling they are in control of their lives. Of course, those are small lives with petty problems, especially in a rich and well-fed country such as Austria, but it is an illusion nevertheless. It takes only a few minutes and the coincidence of some far away factors to make you completely lose everything you ever had. Some CEO in another country decides to restructure the strategic direction of some side-parts of the global company he works for and suddenly your job is gone. A cardriver slides off the street and hits you or your partner straight with full power. A lightning strikes an electric pole which sets of a chain reaction and a whole city goes dark for hours. Warren Buffet decides to earn a few million dollars by a little currency speculation and destroys the economic system of a small country. And to think about the vast logistical system working on market forces and governmental forces it needs to feed a city of a million people, most of them working office jobs. "Illusion of Safety" for sure.[1] Most people have no idea of what is really going on and why some things are working the way they do. I wonder if there is a single person at all. Our society, from the economic basis to the fashion trend surface, from the milk delivered to the supermarket to the designer iPod bought via the internet, is so unimaginable complex. And we wallow through this complexity with our ancient mammal brains trying to find known dots and lines within the chaos that help us along, all the while telling ourselves that we have a grip on everything, when actually we should be screaming, banging our heads and run back to our primeval caves to hide in. |
| Etherreal Andrey Kiritchenko-True Delusion Andrey Kiritchenko est le fondateur du label ukrainien Nexsound et tete de pont de la scene electronique experimentale de l'Europe de l'est. Il s'agit la de son quatrieme album si l'on ne compte pas les multiples sorties en CDR et autres albums MP3. On ne connaissait pas son travail avant ce disque, et c'est une vraie decouverte qui se voit editee conjointement par Nexsound et le non moins exigeant label japonais Spekk. L'album se divise en deux parties, reprenant plus ou moins le meme principe, mais avec une instrumentation differente. C'est la guitare qui est a l'honneur sur les quatre premiers morceaux, utilisee de maniere a creer des ambiances contemplatives. Le principe est pourtant assez simple : des melodies lentes qui tiennent en quatre ou cinq notes, tournent en boucle et se relaient. Les machines s'approprient ce materiau de base et creent des nappes saccadees. Le tout va et vient lentement, melodies et nappes prennent tour a tour le dessus, pendant qu'au second plan divers bruitages et field recordings (chants d'insectes, un enfant qui joue) apportent une vie micro-organique. C'est simple, superbe, apaise, meme si parfois, en fin de morceau, le chaos semble prendre le dessus avec des traitements un peu plus bruitistes, des guitares mal accordees ou grattees de maniere incoherente. Sur la deuxieme moitie de l'album, c'est le piano qui est le centre de preoccupation de l'artiste. On retrouve un peu le meme principe de composition sur Illusion of Safety, mais les bruitages et field recordings ne sont plus systematiques. L'Ukrainien joue plus encore sur le pouvoir hypnotique et contemplatif d'une melodie simple jouee en boucle et transposee de quelques tons. Il travaille sur les harmoniques, utilise des portions de notes pour creer des nappes limpides, ou s'essaye au minimalisme sur le dernier morceau, Agravic Illusion, superposant pendant 9 minutes un drone et une note de piano revenant a intervalles reguliers, et se dedoublant petit a petit. Un superbe album d'ambient electro-acoustique, experimentale mais tout a fait accessible et plus generalement deux labels, Nexsound et Spekk a suivre de pres. Fabrice Allard le 12/06/2005 |
| Bad Alchemy Andrey Kiritchenko-True Delusion Kiritchenko, Grмnder und zusammen mit Dmytro Fedorenko aka Kotra Betreiber des Nexsound-Labels, ist ein feste Grжџe in der ukrainischen Leftfield-Elektronik. Die Labelmacher sprechen von 'environmental music' und 'indocile ambient', um ihren allesamt brillant designten Releases ein File-under anzudichten. True Delusion hybridisiert in der ersten H¤lfte akustische Gitarren- und fein gesponnene, wie ambienter Dunst im Raum stehende Electrosounds zu introspektiver Folktronik. Der minimalistische Eindruck verst¤rkt sich noch im zweiten Part, in dem sich ebenso meditativ Pianorepetitionen mit elektronischen Schlieren mischen. Die Atmosphere hat etwas Brмtendes. Ein isolationistischer Eindruck wird jedoch verwischt durch Home- und Fieldrecordingnebenger¤usche und Familienleben-O-Ton. Die A-Seite kreist um Wahrnehmung ('scope of my percep -tion') und zeigt Ambivalenzen auf: 'both my sides', 'kind in malice', 'good of bad'. Die B-Seite baut Illusionen ab, die 'illusion of safety', 'illusory self-motion', 'optical illusion' und die 'agravic illusion', die Illusion der Schwerelosigkeit. Die stark an die 12k-„sthetik von Kirschner & Deupree erinnernde Klangwelt gibt sich so einen philosophischen Fokus, wird zur њbung in Erkenntnis, Selbstfindung und Orientierung, ohne zu predigen. Die geduldigen, fragenden Wiederholungen betonen das Suchen, noch weit entfernt von Klarheit und Erleuchtung. Das best¤ndige Rauschen und Schleifen von Wind und Gischt, das summende Gedrжhn von Obertжnen webt einen schwer zu durchdringenen Schleier, einen Kokon, der das Bewusstsein mit Spinnwebf¤den fesselt an die Trivialit¤ten um uns herum, ans ambige Environment, das vexiert zwischen Einzelzelle und Bahnhofshalle, Niemandsland und Zuhause. |
| Luna Kafe Andrey Kiritchenko-True Delusion It's always exciting to receive letters/small packets from the Ukraine. Big brown envelopes. Huge stamps. I think Eastern block governmental issues right away, from out of the foggy past. Before everything totally turned over and changed. Walls turned down, borders opened. And finally the velvety 'orange' revolution of last year comes to mind. Situated in the south-eastern part of Central Europe Ukraine borders Russia, Belorussia, Moldova, Slovakia, Rumania, Hungary and Poland on land, as well as to Russia, Georgia, Bulgaria, Roumania and Turkey via the Black Sea. The land are mostly a treeless plain, a 'steppe'. Then there's the Crimean peninsula down south by the B?? Sea. Then you've got the Carpathian mountains in the west. The main Ukrainian river is the Dnieper (one of the longest rivers in Europe), splitting the land in two. And to the east...Russia. This time the letter frmo Nexsound held Andrey Kiritchenko's True Delusion, which is a cd presenting (according to their site): "Minimalist harmonic overtones made with acoustic guitar; slow, melodic and minimalist sound of piano; recordings of rural nature sounds; digital treatment and concrete noise". Quite accurate. "True Delusion" holds ambient noise not being noisy. Slow-flowing abstractions of minimalism and repetition. As an artist Kiritchenko sort of explore and challenge the contemplative and meditative. And his compositions make me think of some minimal tribal music. It seems to be a disc touching the theme of illusion. The illusions of life. Man-made or mind-made. I'm not sure if I get all of it but True Delusion is quite a fascinating listen. And it makes me indeed relax. Maybe the whole record is an illusion? Tracks of illusion. |
| Signal To Noise Andrey Kiritchenko-True Delusion Nexsound label-founder Andrey Kiritchenko's disc is a much more immediately soothing listen. The first four tracks layer acoustic guitar strumming and filtered reverberations of those strums with paper/object rustling and other ambient incidentals. Even when a thick layer of electronic reverb engulfs the other sound sources, like on "Scope of my perception", it does so slowly that the decibel increase comes as relief not shock. The last four tracks use a piano in place of the guitar, bestowing on the album as a whole the kind of sonic balance that each track maintains. Very light plinks, soft mid-range feedback, a piano purring, backwards-processed interior landscape field recordings: Kiritchenko's compositional elements work together, like a beer and an orange, to produce many-flavored feelings. Andrew Choate |
| Electronic Music World Andrey Kiritchenko-True Delusion Andrey Kiritchenko is, well, people who read this site regularly will know what I think of him. A very talented artist from the Ukraine. He can switch genres easily and still bring us the highest quality we could expect from anyone. Never does he release a boring piece of music. True Delusion doesn't differ in the least. From the moment you receive it, you'll be fascinated. The design, which was made using razor scratching techniques by Olga Indovina, is just awesome. And then you haven't even listened to Andrey's music yet. For this album, Andrey has taken on the more ambient, post-rock style of music instead of the glitchy stuff he does. I must add that I prefer the glitchy stuff, but as I said before it doesn't really matter which style of music he comes with, it'll sound good anyway. It's impossible to not be fascinated by the sounds that Andrey Kiritchenko is able to produce, alter, tweak, bleep, etc. Just plain great work. I am very grateful that Andrey releases his own stuff as well on his label, next to all the music from other talented artists. I wouldn't want to have missed this. |
| Blow Up Andrey Kiritchenko-True Delusion Figura centrale della scena sperimentale ucraina, Andrey Kiritchenko e stato finora coinvolto in progetti e lavori dai contorni estremamente mutevoli. In questo suo nuovo album per la nipponica Spekk (ma ne esiste anche una seconda edizione stampata dalla propria etichetta Nexsound) viene preso in esame lo studio degli armonici minimalisti, attraverso l'accoppiamento di strumenti acustici (la chitarra nella prima parte, il pianoforte nella seconda) e scalpiccii concreti che si materializza in un suono greve e corrotto, lontane parvenze di melodia, echi di friabile delicatezza resi tangibili o fatti sparire con magica mano da illusionista. (7/8) |
| Paris Transatlantic Andrey Kiritchenko-True Delusion Kiritchenko's own True Delusion is a moodier affair, taking source recordings of guitar, piano and diverse field recordings and feeding them into the ubiquitous computer, to come up with something that sounds remarkably like Giuseppe Ielasi's two latest solo releases on Sedimental and Hapna. Imagine lying on your back in long grass on a hot summer night and strumming a few neo-folk post-Fahey licks while small insects scuttle perilously close to your earholes. Elsewhere, ultra-minimal three-note piano melodies (both pedals down) drift through a haze of glowing harmonics as the listener is inexorably drawn into a brooding melancholy world worthy of Loren Connors. The difference is that Connors comes out naked and shivering, and doesn't hide under a digital duvet. Kiritchenko's music is touching, atmospheric, and undeniably well crafted, but I'm left wondering exactly how much substance there is under its beautiful surfaces. -DW |
| autres directions Andrey Kiritchenko-True Delusion L'ukrainien Andrey Kiritchenko, croise chez Ad Noiseam ou Autoplate, use de son propre label Nexsound pour coproduire avec le japonais Spekk son nouvel album True Delusion. Kiritchenko confie avoir realise ce disque assez vite, en dix mois : six mois pour reunir un materiel sonore de base tout en reflechissant au disque, et seulement quatre supplementaires pour l'editer, l'ordonner, lui faire prendre forme. L'artiste enregistre ainsi quelques notes de guitares egrenees, avec des microphones de contact, chez lui, quelques melodies de piano chez des amis, et des field recordings dans la ville de Kharkiv ou a proximite. Ces notes qu'ils jouent ne sont jamais bien nombreuses, se repetent, minimales. Ces quelques sequences melodiques se melangent a des bruits, gresillements, crachats electroniques divers - la texture digitale, parfois accidentelle, offrant un support de choix a la mise en valeur melodique que suit aisement l'ecoute de l'auditeur. True Delusion s'ouvre sur quatre compositions ou l'on trouve de la guitare, puis sur quatre ou se joue le piano. Les deus instruments ne se croisent jamais, discourent seuls dans ces atmospheres obscures toujours meditative, faussement calmes soit, mais pas forcement denuees de tension. True Delusion est un album organique, mouvant, parfois legerement orchestral malgre son denuement musical. Kiritchenko y montre tout son talent a l'art de l'infiniment petit, a ce travail exemplaire sur les couches sonores, mais accouche d'un disque tiede ou l'emotion n'est pas toujours communicative, ou il semble regulierement se cacher sous son processus creatif plutot que d'exprimer son ressenti. par stephane |
| Real Tokyo Andrey Kiritchenko-True Delusion Nexsound label founder, Ukrainian sound artist Andrey Kiritchenko releases his new solo album simultaneously on his onw label and the Japanese spekk. While "True Delusion" integrates well in the still small spekk catalogue that so far includes the likes of Taylor Deupree and William Basinski, for those digging the glitches and electronic noises that dominate Nexsound and the artist's previous oeuvre the sparse acoustic guitar (first half) and piano (second half) sounds on this album will take a while to get used to. Using harmonic overtones and field recordings, Kiritchenk carefully and tastefully places each of the eight pieces in the narrow space between reality and fiction, to create indeed a feel of delusion. (Andreas) |
| Geiger Andrey Kiritchenko-True Delusion Andrey Kiritchenko is undoubtedly one of the most significant, experimental artists in contemporary Ukrainian music – if not in Eastern European music in general. He has released more than 20 albums on nearly as many different labels, and has been cooperating with a large number of people from the international scene of experimental, electronic music, including the Swedish Jonas Lindgren and American Kim Cascone. But not only is Kiritchenko a hard-working musician, his work ranging from ambient and musique concrete to electro-acoustic projects, micro-noise and various field recordings. He has also found the time to establish the highly interesting label Nexsound which is, incidentally, named after the trio-project Nex, with which Kiritchenko is involved. Nexsound has, since its beginning in 2000, become a channel of publishing for various artists, representing genres ranging from hard noise to modern compositional music. Kiritchenko himself, however, also uses the label as a platform for parts of his own production – most recently the solo album True Delusion, which might best be described as an enigmatic, dreamlike soundscape. Here, Kiritchenko blends electro-acoustic drones, discrete glitch, fragments of noise and cut-up field recordings with passages of fragile folk music played on acoustic guitar and piano. The different elements are interwoven into strange arabesques, which seem to be constantly vibrating between the immediately beautiful and the disquieting and obscure in their progressing metamorphoses. Kiritchenko masters the art of reserve and balance. The noise and dissonance are lurking in the background but are suppressed, which keeps the soundscape from tilting. On the other hand, the delicate guitar- and piano themes are deconstructed every time they are on the verge of becoming too harmonic and pretty. Thus, the different elements are kept in effect throughout and create a high degree of complexity which, however, primarily unfolds beneath the surface. If the expression New Weird America has any currency, well, then it just might make sense to call True Delusion New Weird Ukraine, with its amorphous blend of quirky free folk, electronic experiments and field recordings. Elsewhere, as for instance during the quiet and sad piano passages of "Optical Illusion", an artist like Max Richter comes to mind, whereas the hyper-sensitive and lyrical glitch-folk is reminiscent of Markus Popp's So-project and, notably, the duo Dйsormais. In other words, the record points in many different directions, but still it attains a sense of wholeness. Not unlike the dream, the album contains many contradictory elements and paradoxes, which nevertheless evokes a unique atmosphere and mood. By Rasmus Steffensen Translation: Esben Strunk |
| the Vibes Andrey Kiritchenko-True Delusion Quando Karl Jaspers parlò per la prima volta della "delusione" nel suo saggio Psicopatologia Generale, operva una distinzione fra le delusioni primarie e quelle secondarie. Le prime (note anche come true delusions) sono contraddistine da una radicale trasformazione di senso -direbbe qualcuno-, cosicchè il mondo o aspetti di esso vengono interpretati in maniera totalmente differenti dal soggetto deluso, in base ad un processo che a molti può apparire causato da fattori psicopatologici. Jaspers individuò quattro tipi di true delusions: quella legata all'intuizione (in cui la causa scatenante non è esogena, ma dipende in gran parte dai cosiddetti "blue states" ovvero degli stati di melanconia), quella percettiva (in cui la percezione "normale" ingenera "delusione" nel soggetto), quella "atmosferica" (in cui un qualche fenomeno esterno fa percepire il mondo in maniera alterato, quasi che fosse investito da una rivelazione portentosa o sinistra, capace sensazioni o percezioni ritenute prodromiche) e infine quella legata alla memoria. La classificazione richiamata, nonostante sia stata criticata sotto vari profili, sembra essere ripercorsa da questo disco di Andrey Kiritchenko, notorio sperimentalista ucraino, fondatore della Nexsound, eccellente etichetta che sta contribuendo alla fama della già apprezzata scena elettronica ucraina e ad accreditarla come tra le più interessanti dell'Europa Orientale. E in questo disco tra qualche spiegazzatura minimalista e molte inflessioni strutturaliste che Andrey sembra che -quasi inconsapevolmente- abbia voluto impressionare un viaggio intimista. Del torpore mnestico che avrebbe tirato fuori Jaspers o meglio i suoi seguaci c'è ben poco, visto che Andrey sembra trovare perfetta collocazione del suo vissuto (percettivo) nella musica che sembra dimenarsi nel groviglio di rumori d'ambiente e glitcherie pregevoli. Come ammette lo stesso Kiritchenko, il progetto era nata con l'intento di esplorare gli overtones armonici per tramite di una chitarra acustica ("l'unico strumento che suono più o meno bene" ricorda Andrey), ma pian piano una qualche impellenza ha visto l'intromissione del pianoforte ("perchè amo ciò che Charlemagne Palestine fa con questo strumento" ha dichiarato di recente in un'intervista). Il processing in altre parole sembra (stranamente) messo in secondo piano, anche se riteniamo che le field recordings rimangano ancora il nucleo dello stile di questo musicista. La con/fusione degli strumenti con i suoni reali sussegue nella ricerca espressiva di questo genere di sperimentazioni, per cui non meravigliatevi se qualcuno avrà la parvenza di essere calato in un'ambientazione surreale in cui gli strumenti più convenzionali (nella fattispecie piano e chiatarra) sembrano gradualmente impolpettarsi con ogni oggetto fonte di onde sonore percepibili da orecchio umano. Ed è proprio in questa "surrettizia surrealtà" che va individuata la fonte di quella "true delusion" a cui Andrey allude nel titolo di questo album, che viene pubblicato anche dalla giapponese Spekk in confezione di cartone riciclato. |
| Gaz-eta Andrey Kiritchenko-True Delusion Ukrainian sound-artists Andrey Kiritchenko had a different perception of how new technology could aid in the act of music making. "True Delusion" is in fact equal parts field recording, real instrumentation [guitar and piano] and computer processing. All of these elements are wrapped in a warm, soothing blanket that invites the listener to repeat the listening process again and again. The album starts off with warm guitar plucking that sounds as if surrounded by an aura of humming or buzzing. Minimal plucking is what Kiritchenko had in mind all along. His vision was to bring a meditative glistening to the recording, something that is immediately apparent. With tapes of crickets, dim nightfall and sounds of something that resembles dried leaves, the music [whether processed or not] gives an appearance of something that is embracing and natural. Though much of Kiritchenko's sounds fall in the serene category, he's still successful at retaining a factor of underlying tension. From one moment to the next, the listener is unable to guess and predict what's coming up next. Will the sounds continue to caress the ears or will the change in direction be so drastic that we'll sit up and take notice of the strangeness factor? His experiments with piano are especially welcome. Half-way through the record, it's the piano in fact that takes over as the predominant instrument. "Illusion of Safety" [not to be confused with the band of the same name] features wads of light keys clicking. Though pleasant at first, the sound appears to be shrouded over with a mysterious substance, almost like an oily filter that leaves a dirty sound behind. The beauty in all of this is how well the sounds flow from one point to the next, from one idea to the next. Kiritchenko is teasing listeners with an intense game of connect the dots. Everything is logical and nothing sounds false or contrived. Almost like a little kid who's connecting large dots on a piece of paper; like an artist who's filling his blank piece of cloth with paint, listening to Andrey Kiritchenko's "True Delusion" is like watching someone give birth to their newborn. - Tom Sekowski |
| Sound Proector Andrey Kiritchenko-True Delusion Передо мной один из лучших релизов Андрея Кириченко - альбом True Delusion. Альбом с двойным названием, перевести можно как Истинное Заблуждение или Правильная Иллюзия. Условно вся музыка здесь разделена на две части. Сторона A включает в себя первые 4 трека - "Scope Of My Perception", "Both My Sides", "Kind In Malice", "Good Of Bad". В качестве инструментов - шумы, гитары, всевозможные сэмплы. Сторона Б - "Illusion Of Safety", "Illusory Self-Motion", "Optical Illusion", "Agravic Illusion". Здесь в качестве основного инструмента выступает фортепиано, все остальные звуки - всего лишь сопровождение. Такие слова как "трек", "композиция" здесь неуместны, так как на самом деле все здесь является своеобразными пьесами, наполненными огромнейшим количеством спрятавшихся призраков, воздушных замков, упавших и разбившихся иллюзий, осколки мечты - все это оживает и начинает шевелиться и жить в процессе прослушивания True Delusion. Самое интересное в том, что этот альбом появился через несколько лет после выпуска Kniga Skazok на немецком Ad Noiseam, и здесь уже нет ничего, что напоминало бы ее софтверные микро-танцевальные треки. Полный разворот на 180 градусов. Тотальная смена всего творческого амплуа. Андрею удалось совершить этот экспириенс, собрать в одно целое свои опыты и создать собственную индивидуальную звуковую систему. В этом плане True Delusion можно назвать шедевром и нерукотворным памятником, это пожизненная визитная карточка музыканта, то, что уже находится далеко за пределами времени и пространства. Опять же, альбом True Delusion выпущен в специальном картонном конверте (designed by Olga Indovina) - книжка с фантастическими сказочными картинками, отпечатанными на специальной оберточной бумаге. В середине этой книжки мне удалось отыскать и прочитать одну спрятанную надпись - ключ, код, шифр к альбому: "Thus, for instance, if a man watches the dusky sky for a brief moment without being told the exact time of the day, he is unable to say whether it is a sunrise or a sunset". |
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