TP008 Goh Lee Kwang / Julien Skrobek: Disconnected

A file exchange collaboration with Julien Skrobek, he sent me the file a few years back, but not until recently I finally workout something can go along with his parts. Release without permission from Julien Skrobek, who has been lost contact for a few years.

released 31 August 2014

Edition of 60
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Word(s):
Vital Weekly
Label boss Goh Lee Kwang exchanged some sound files with Julien Skrobeck a few years ago and recently set himself to work on it, adding some music of his own. This is released without Skrobeck's permission, as apparently they lost contact, which may account for the title of the piece. It's not on the cover, or on the website, what they play here, but my best guess would this is all to do with electronic sound and/or some form of laptop processing. It's a kind of organ like sound, but then more digital, as well as sustaining and moving at the same time. I have a feeling that this work has been made on the spot rather than through some meticulous compositional process. Quite enjoyable but not an excellent release, also if not a bit long.
- Frans De Waard -

TP006 Julien Skrobek - 0.10

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)

Edition of 50,
cdR, 6 euros+shipping.

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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 -