Monday, September 19, 2016

Grozny 93 – Dysproporcja (2014)




  • Harsh noise 
  • Brown noise 
  • Avant-garde 
  • Experimentalism 
  • Non-music 
  • Abstract 
  • Psychoacoustic

Comment: I am aware of the fact that a very great part of people are terrified possibility that they have to listen to noise music. Let’s imagine such a dystopic universe or planet where they have to deal with it. However, noise music was probably one of the first protest music genres stepping against war and decay in general within the Western culture area. It was very clever to attack the adverse phenomena of the Western civilization in a provoking manner and frequently with their own attributes in a slightly bent way. Furthermore, it is a kind of music because of being articulated and composed. For instance, let’s listen to this handful of pieces to make out of how much elements is going to happen throughout the course. This is a play on different levels, playing with intensity, playing with stereo effects and timbres, playing with terror and silence. More profoundly, it starts off with a brown-hued flow as if having no equilibrium between the two channels therefore by searching for it the soundscape begins to swing. In the third composition those brownish bits are all of a sudden saturated by more shrill and higher frequencies and subsequently timbres changing its course from muddy field to abandoned junk yard full of metallic garbage. I guess to be submerged by these sounds might have been very inspiring for such geniuses like Edgar Allan Poe, and HP Lovecraft if they had lived nowadays. At first glimpse one may see the austere formalism behind the sounds but by listening to it more carefully one can perceive fleshed out emotions and sensations behind those menacing developments. And there is also enough place for full-fledged fantasies. For instance, at times it chimes like an audible representation to depict a monstrous octopus moving on a the bottom of the ocean to find out the slot to surface and then devastatingly attack. The last piece is an intense chugging due to spasmodic bass frequencies, however, being buried and veiled appealingly. The mind-provoking issue is a notch in the discography of Azawad.
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