Comment:
either
to understand is this issue decoded or encoded it depends on the
viewer`s perspective and
keen ability to imagine.
For instance, the compositions on it are titled in the following way:
Y2022,
Y2042,
[-1-],
[-2-],
[–Tran-Sition–],
and Y2062.
This issue of 13 minutes is produced by the Aussie Reuben Petrovski
and being released on an experimental music-oriented imprint called
Radio Stalingrad which face to face with the aforementioned titles
would freely be denoted as the Battle (of) Stalingrad. At
least it could be imagined as a battle between the ghosts of the
soldiers who succumbed during it. Indeed, emotionally these six
wiggly
compositions
chime in a morbid and ghastly way because desolate spatial droning of
empty fields and
fluffy anti-gravitational sensations are
followed up by clattery dissonant noises wherein one can make
difference between black and brownish noise, between
the soil and air.Later
on, the artist exploits ghastly sounds as if being lead through the
aether to convey a secret message. Is it from one
dead
ones to other
dead
ones or is
from
the dead ones to the living ones? Or
vice
versa? Emotionally
it is remarkably more overwhelming than an average pop song.
Aesthetically it is a case where one could see a sort of beauty
through gruesome progressions and
fascinating ugliness.
