It is a 21'34'' piece called 0.10 in reference to the exposition held in Petrograd in 1915 while Kazimir Malevitch was taking the step from Futurist to Suprematist painting, abandoning the Cubic analysis of figures for a radical abstraction of pure forms and colours... (more line note included with the album)
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Review(s):
Vital Weekly
0.10 is a reference to Malevitch - Skrobek's interest is in the opposition between popular / folk and high art, and uses such things as acoustic guitar, balloons, electric heater, radio, digital metronome & 220 hz sine wave. It very much resembles the supermatist blocks and shapes with its distinctive abstractions and structures, the early and not the latter which like most of modernism ends in some religio/mystical blankness, a theo-ontology unlike the nihilist ontology of noise itself. Never the less this work deserves attention, an abstract yet aesthetic composition in its own right. Though one could take issue with the idea of a differentiation between high and low/folk art in the post-modern, which we are either located in or have past. The barriers between the two in fact were well under dissolution in the Victorian era where the new bourgeois classes wanted art they could understand, through to the pedaling of impressionism to the Americans and the reciprocity of sending Jazz back across the Atlantic to infiltrate the avant garde. There are problems generated by what Skrobek explores, of elitism and fascism , but its a process which has been explored and intellectualised until nothing is left but dried an bleached bones, perhaps we should make a music with these?
- Jliat -
