t02
kostis kilymis
.accumulated
cdr, limited to 140 copies, available from our shop
sounds, recordings & processing by kostis kilymis (2006-2007)
1. wave
2. film
3. ascension
4. across the water
5. into filmcover photograph: golfer by grigoria vryttia
track 3 ("ascension") originally appeared in a different version in the ihatemusic compilation : ihm compilation ii: olives & pancakeslisten :
track 3 ("ascension", ~8mb)
field recordings, sine waves, feedback, discrete processing & re-recording construct a brief exploration through the mutation of audible phenomena. The material was originally created during the same period as that used in "thessaloniki 1963, a diary from b to c" [t01], though used here for different intents & purposes. A more affirmative answer to the question once eloquently mumbled by Jim Jarmusch: "why am I here?"
reviews
Some weeks ago, in Vital Weekly 604 we reviewed a CD by Thessaloniki 1963, a project by Kostis Kilymis although it was hard to decipher. Maybe it was after all just under his own name. This new release is more clear. Five pieces of music by Kilymis, who offers some highly dynamic music. Let's say if you wanted to hear the softest bit on the CD, the loudest bit would be earpiercing loud. I compared his previous work with Meelkop, Behrens and Chartier, here he seems to be finding more of his own voice in music. Still based on field recordings and such like, there is a bigger deal of feedback employed here (the earpiercing aspect), and more crude and raw than before. His music is made of amplifying his surrounding and let the unwanted sounds - feedback and hiss - inside. Quite a wellmade release once again. (Frans de Waard, Vital Weekly)
Difficult to remain captured by microsounds, controlled feedback and environmental recordings nowadays if one doesn't know the exact measure of their gatherer's seriousness. Yet Kilymis has found a way to sustain attention by depicting simple views with even simpler means, his music nearly tending to what once was called “reductionism”, at least in spurts. What distinguishes this from other similar offers is the efficacy of the source placement process set in action by the Greek artist, who puts all eventualities in the most accurate contexts by forcing disturbances and natural emissions to live together in harmony, as Stevie and Paul would say. Penetrating squeals sound like the most obvious occurrence in a regular world, modified granular complexities leaving room to strange tones and farting bleeps while we hear background activities, either from a street or from the room itself where all these things happen. In the last track an electric guitar manifests its presence more clearly, but it’s instantly forgotten because of the growing stratification of hiss and feedback that constitutes the main foundation of the piece, until the “white noise wind” at the end. Both enigmatic and analyzable in the tiniest detail, this is a very interesting record which at 32 minutes of duration leaves the listeners in the hands of a blemished perplexity, bordering on admiration. (Massimo Ricci, Touching Extremes)
Two very enjoyable sets of collaged sound from Kilymis, each combining field recordings with direct input of an abstract electronic nature, the latter occasionally dipping into the everyday world of ring tones and other detritus. As with much of the better music I’ve heard recently, it’s not so much the newness of the sounds or conception, more the grace (or attractive awkwardness) with which the sounds are deployed. Never forced, moments that initially seem out of place make sense a minute or two onward and the variety of sounds and approaches always keeps things bubbling. Both discs work really well as wholes[...] (Brian Olewnick, Just Outside | review of both t01 & t02)
On his latest excursion [the highly limited], ".Accumulated", Greek improviser Kostis Kilymis uses everything from field recordings, sine waves, and feedback, through processing. Throughout the rather brief recording, Kilymis tends to probe the listener with sine waves that are interweaved amongst field recordings of nature [birds, sounds of night]. Flow of the whole tends to be quite good as individual pieces follow a pre-arranged narrative. Excellent work that makes me salivate for more. (Tom Sekowski, Gaz-Eta)
This very nicely packaged CD arrived with no extra info about the composer other than what was written on the back of the sleeve which credits Kilymis with 'sounds, recordings & processing'. The sounds that Kilymis has recorded have been culled from very ambiguous sources (mostly field recordings I suspect) and processed to maximise their most uncomfortable, piercing, grating and dis-harmonious qualities. He / she / them / it has used these sounds alongside the unprocessed sounds to create a recording with an incredibly sparse beauty that avoids pretty much all the clichés of noise music.
.accumulated certainly won't be to everyone's taste. There is very little concession here towards the comfort of the listener. Microphone pops and knocks are incorporated into the recordings sharing the stage with more deliberate sounds. Many of the tones used are painfully high both in pitch and in the mix. I found myself cringing along to this album on more than one occasion. Of course each cringe was accompanied by a rueful smile because there is an undeniable charm here. This is easily the least compromising albums I've heard in a very long time and I like it all the more for that fact. Boldness of vision of this calibre should always be supported. Recommended. (Wonderful Wooden Reasons)
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