PHYSICAL | CD
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Kurt Liedwart, a Moscow-based musician and curator of Mikroton Recordings, developed his own art and sound that cross genres, mixing music practices such as electroacoustic and improvised music, noise and glitch, and art movements such as actionism and Fluxus. He plays a wide-ranging array of instruments such as analog synthesizers, electronics, light-controlled electronics, electromagnetic devices, laptop, sinewaves, field recordings, percussion processed electronically in real time.
“Tone” harnesses the radical aesthetic, knowledge and experience in extreme and reductionist electronics, sometimes coming over to melodic lands, and lies together different and disparate threads of underground movements to create a personal journey through multiplicity of intense abstract layers of electronic and synthetic madness, sometimes conjuring relaxed atmospheres of dronescapes, and cryptic songs.
And finally there are two new releases by label boss Kurt Liedwart, who is also active as a musician, although not always on his own label. Of his own work he says that he is working with “art and sound that cross genres, mixing music practices such as electroacoustic and improvised music, noise and glitch, and art movements such as actionism and Fluxus” and he works with “analogue synthesizers, electronics, light-controlled electronics, electromagnetic devices, laptop, sine waves, field recordings, percussion processed electronically in real time”. First there is the CD ‘Tone’, which is about extreme and reductionist electronics, but also with melodies. If one is to think of Mikroton as a label for improvised music than this is the sort of thing that proofs you wrong. Maybe some of the playing is improvised but through editing Liedwart composed long form pieces of radical electronic music, in which there is indeed place for a melody, traces of rhythm and extreme frequencies from the world of noise music, especially in the second piece, ’Tonen’. While that is a most enjoyable tonal outburst I preferred the other pieces on the CD. These aren’t in the same ballpark volume wise, and offer a more detailed look into the machines Liedwart is using. These are shimmering dark pieces of electronic sounds intertwined, with an odd half-baked melody being eating away by a computer virus, or a looped sound of bytes that got stuck in the hard drive. It’s here that Liedwart shows the most variation and while not always very quiet, it works simply well here than in a sonic overkill.