KEN GANFIELD x KURT LIEDWART x PETR VRBASomething Wrong There
PHYSICAL | CD
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The science fiction yearning for utopia sometimes falls into dystopian space. Kurt Liedwart with Ken Ganfield and Petr Vrba tried to follow the impulse of getting to the ideal world but their most powerful and fearful predictions and prophesies came to the fore and “Something Wrong There” happened all the time. Liedwart recently became dissatisfied with the improvisation’s disability to create sonically fresh sound worlds and completely remixed the studio recordings. Did it prevent him from making something wrong here? Try to guess. What you hear is a combination of elements of trogged-out electronic psychedelia with a deadly serious mid-European minimalism and dreamy modal ambient improvisations that owe more to the outer limits of cutting-edge electronic music and burnt-out free music from Germany. Pulpy quasi-cinematic tension, blasts of voidal motorik, raptures of psychedelic intensity, these dangerously seductive imagery exists in the space between the serious and the banal, science and mysticism, experiment and pop, knowledge and intuition, mastership and failure.
I wanted to play the other new Mikroton release straight away, but I realized after a minute that would be the wrong choice right now, so I returned a few days later. This is probably one of those releases by Mikroton, where mister Mikroton and me (sounds like a band name!) would disagree on the various nomenclature. Here we have Ken Ganfield (synthesizers, electronics), Kurt Liedwart (synthesizers, cracked homemade and everyday electronics; we spot the relationship there with Norbert Möslang) and Petr Vrba (synthesizers, electronics), who worked together in Prague in August 2017. I have some idea what to imagine happens at such a session. Various people, operating various instruments play together (one could perhaps also call this improvisation; unless in advance it is known what will be played out) and all is recorded. Either each player records his own part or a multi-track recorder has been put in place, or, alternatively, everything is recorded to two tracks (stereo). Anyway, following the recording Kurt Liedwart sat down with the material and mixed it at all. I assume he prefers every player to be recorded individually, so when it comes to mixing (which in this case equals 'composing', I think) there are lots of choices to be made. I don't know for sure if this is the case here, and it is just an assumption. What for Liedwart might be clear examples of composing, might sound like improvising for others; me for instance. I like to believe I heard quite a fair few of this kind of 'composed'/edited' sessions to think at the core it is improvised and in some case that shines through the end result. This is surely one of those instances. It has perhaps to do with what I think is composed and to what extent. Here, on the two pieces on this release, there is quite a bit of cracking and sudden leaps in sound noticeable, jumping up and down, which gave me the impression that this is indeed more or less improvised music (I am carefull here; I am just giving my considerations!) and it's just categorization. I actually like the music very much. It's vibrant, energetic, bouncing, thoughtful and comes with quite a bit of interesting perspectives and abrupt changes in the overall compositions. It's an excellent release. You don't need to call it [fill in whatever you think it is not] if the term shocks you.