Comment:
it have always felt myself delighted while coming to a Japanese
imprint, this time to Bunkai-Kei. This issue of 11 compositions by
Calla Soiled is a true beast due to fairly exquisite modes on chill
out, electronica, design pop, jazz, and (Balearic) and electro and deep house and
even drowsy yacht pop elements are also represented over there. On
the other side, all these elements are not represented in pure way
and even not in a sectional way but instead of it with intention to
think off something which could be considered an example of universal
contemporary music. An example of electronic music without the
borders. And the artist reaches the goal in doing it. I have been
listening to it since early morning today but the result is getting
even more woozy and hazy. It is not because the structure and
configuration of these songs is filled with microscopic flaws one
could find out after an intense listening session but rather it is
zipped in a sophisticated way full of alchemically sticky elements
which used to react with one another after a while. On the other
hand, it might be I caught the level of nocturnal and deep
house-inflected hours within it (for instance, at Rainfall;
at Pellucid).
By considering the blanket of the issue and the music pouring out
from within it you could imagine eineLichtung /a
clearing/lighting to be seen within the ragged top of a volcano in
Heideggerian way. Top standing indeed. For your soul, for your body,
for your dream, for your reality, for your transcendental mind.
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.