Album title Acousma Light refers to Acousmatic music in which a sound source isn't visible during the concert or listening session.
In 1955 a pioneer of musique concrète, French composer Pierre Schaeffer coined a term acousmatique, derived from the Greek word akousmatikoi (the hearers). The latter was used by Pythagoras to describe uninitiated disciples. According historical sources, the aspirants had to follow a vow of silence for five years while listening to the teachings of the master behind a screen (a curtain), without seeing him.
In a composition Acousma Light sound components are being grained into sonic particles - as elemental as possible. The sound of the piece may be described in such characteristics as timbre, spectrum of sound, varying and changing speed of motion.
In the first stage of composition, in which a recording of live performance takes place, a principle of sound deconstruction is being employed. Recorded material is then being organized into a structure that gradually evolves into a crystallized form.
Nine episodes are presented in the Album. Total time 71:58
Cover image represents balancing stones from inner ear. They are attached to sensory hair. When the head tilts, the movement of stones causes nerve impulses that originate into a sense of balance.
„Kūrinio pavadinimas „Acousma Light” nurodo į muzikos terminą „akusmatinė muzika”, kuris gyvam muzikos atlikimui priešpastato muzikos klausymą nematant garso šaltinio ir muzikai, kuri užrašyta natomis, priešpastato kūrinius, kurie egzistuoja tik garso pavidalu.
1955-aisiais metais konkrečiosios muzikos pradininkas prancūzų kompozitorius Pierre'as Schaeffer'is ėmė naudoti terminą acousmatique, kurį kildino iš žodžio akousmatikoi (girdėtojai), kuriuo Pitagoras vadino neinicijuotus mokinius. Pagal istorinius šaltinius, prieš tapdami inicijuotais Pitagoro mokiniais, pretendentai privalėjo 5 metus laikytis tylos įžadų, klausydami mokytojo mokymų iš už širmos, jo nematydami.
Kūrinys sukurtas 2017 metais kompiuteriu. Kompozicijoje garso komponentai smulkinami į kiek įmanoma mažesnes garsines dalelytes. Kūrinyje vengiama tiesioginių įprastų melodinių linijų, harmonijos, ritmo, metro. Albumo skambesys grįstas tokiomis garsinėmis charakteristikomis kaip tembras, garso spektras ir kintantis garso judėjimo greitis.
Albumas grįstas garso dekonstrukcija pradinėje gyvo įgrojimo stadijoje, o po to įrašytos medžiagos kristalizavimu į struktūrą.
Albumą sudaro 9 epizodai viso trunkantys 72 minutes.
Gintas K — Acousma Light
For almost 30 years Gintas K remains one of the leading figures of Lithuanian experimental electronics and sound art. At the beginning of this year he released new albumAcousma Light, dedicated to the tradition of acousmatic music. The term acousmatique has been introduced by legendary French musique concrete composer Pierre Schaeffer in 1955. Acousmatic music in general could be described as a serious and deep sonic experience of the most advanced and progressive composers, producers and listeners
The work of Gintas К is not a pure acousmatica, it's more like an interpretation and personal approach to this unique technique of producing sound compositions . At the same time, all elements, characterizing the previous works of Gintas K, are available here - heavy digital micro and macro processing, glitch, digital noise, high quality extreme sounds etc. Also it's difficult to realize what kind of sound sources have been used during the process of creating of the album. It could be fragments of live sets, based on modular or laptop improvisations, or field recordings and found sounds, transformed into something different and new.
Acousma Light sounds excellent. It's even difficult to stop the process of listening, covered by the flow of multi layered information. One of the best albums in a vast discography of Gintas K!
Author: Alexei Borisov
Vital Weekly number 1172
To play straight away the other CD is quite the effort, which I didn't do; I waited a day. This CD
is about 'acousmatic music', "in which a sound source isn't visible during the concert or listening
session", like the old masters of musique concrete once did, using a reel-to-reel on stage and no
instruments were visible. Here "sound components are being grained into sonic particles - as
elemental as possible. The sound of the piece may be described in such characteristics as timbre,
spectrum of sound, varying and changing speed of motion. In the first stage of composition, in
which recording of live performance takes place, a principle of sound deconstruction is being
employed, Recorded material is then being organized into a structure that gradually evolves into
a crystallized form". I am not sure what that means, however. Is the first piece here a live recording
and the other eight subsequent deconstructions, or is each of the nine pieces a bit of live recording
with deconstructions, all part of the same composition, times nine? Not really sure, but also not the
most vital information I should think. Music wise we are here in a similar mood as with 'M', but
throughout these nine pieces seems to me to be slighter more complex in approach. There is more
happening in terms of chaotic sound bits sparkling about, but it comes with additional layers of
sounds that are more drone-like and sustaining. In both of these discs, Gintas K is neither very
noisy nor too quiet, even when 'Acousma Light' seems to me to have quieter bits, with more
isolated sounds. Both of these discs most certainly do not contain 'easy' listening but are filled
with quite some demanding music with a lot of sonic information. (FdW)
Gintas K – Acousma Light
Sep. 05. 2018
The album title is an immediate reference to acousmatic music, despite Gintas K actually not being part of that “land”. More generically, he prefers the sound art scene and his work focuses on digital, glitch and granular sounds. He had already released 29 album with important labels (Cronica, Zeromoon, Con-v, m/OAR, Copy for Your Records, Baskaru and Ilse) and live performed at the most important international festivals, like Transmediale., ISEA and the IRCAM forum. Actually, as the title suggests, “Acousma Light” shows some respect for this specific tradition, but the author provides his own approach, not so crystallized and more free from dogma and constraint; a light version but not for this reason lacking in seriousness and sensitivity. The most direct reference to the school started by Pierre Schaeffer is that no sound source is noticeable during the listening session or at the concert. So in the first part of the composition the sound is very rough and at the mercy of trembling circuits, fluctuating between bleeps and liquid digressions, reduced to its essential parts but not lacking in shocks, accelerations and losses of adhesion. However, a clear connection between the sounds and their sources of production is missing. The matter is very much felt, especially regarding the electronic lives, to sometimes not be spectacular enough. But the works present some moments of fullness, mostly orchestral, and some basic melodies, together with some pauses and introverted weaves, mixed with the atonies and dense buzzes. But the author likes the idea that all the elements played are modular sound particles. Following the acousmatic way, the physical characters of these audio emissions are invoked: the timbre, the sound spectrum, the variations and the variable speed of movement. Making a whole from some fragments can’t be considered a laboratory practice, but a subjective practice, with its own aesthetics and value provided by the forms and the results the artist got with his work. From this point of view, we can’t make any criticism of Gintas K, because the album’s nine tracks are suggestive and engaging, noisy and chaotic but definitely full of talent and concrete.
Extraordinary sounds as heard by TJ Norris
MARCH 11, 2018
Acousma Light by Gintas K
It’s been some time since I’ve experienced new work from Gintas K, and Acousma Light is a quirky and strong re-introduction. At times a jumble of electronics, wired, frayed, tumbling like dice – and at others a groovy, almost a cinematic soundtrack for the making of an arcade game. The record is broken into nine distinct ‘episodes’ which makes for a chapter-like listen. This is active listening, that fades and plays with your ears, at times a bit corny fun in its whirring cartoonish-ness as on ‘episode4′ which is one if the recordings’ most distinct tracks. Stay for the full nine minute plus ride and I promise a magical pixieland complete with bouncing balls, mysterious jangling, and crunchy grit holding it all together. He’s quite an arsenal of recordings floating out there on labels like Portugal’s lauded Crónica, the French imprint Baskaru and the German-based but now defunct (!?) Retinascan— however this is his first on his own imprint, Gk Rec.
Acousma Light is grainy and receding in places that you would least expect and intolerantly vivacious in other respects – but never to the extent where things become unlisten-able, moreso he seems to capture momentary lapses of irritation and live process. This occurrence rears and buries its head on ‘episode6’ creeping in and out of reception until the latter 1/3 of this disc where things play on out jazz sans horns or other typical musical modifiers. What you witness is more akin to a funhouse carnival where the symphonic flare is full of rubberized manipulation and awkward silences. This is until ‘episode8’ and ‘episode9’ finish this off with a refrain of everything you have heard previously here, except remixed and spaced out like a drunken Summer night, the wee hours played live for the unwashed masses. In the end we are treated to a colorful array of toy sounds and faint toots abruptly up-ended.
The Lithuanian composer whose full name is Gintas Kraptavicius has been releasing his unique sound work since the early 00’s and always has something quite modern and obtuse to add to the larger sound scape. It’s great to have him inside my head again, this one is memorable for its unreserved antics and refined subtleties.
GINTAS K Acousma Light· 22 FEV 2018 · 09:07 ·
2018 gk rec.
Cada capítulo é uma história.
Que som faz uma máquina quando tenta emular a voz humana? De que forma verbaliza uma inteligência artificial aquilo em que pensa? Em que linguagem comunica? Talvez seja algo semelhante a "episode #1", a primeira faixa de Acousma Light, o novo álbum do lituano Gintas K. O título refere-se a música acusmática, um género de música que não tem fonte visível durante uma sessão de escuta ou um concerto - assim como as máquinas não têm boca.
Não têm, mas falam, recorrendo aos mais diversos sons, todos eles estranhos ao ouvido humano. Gorgolejos digitais, gritos sintetizados e graves, drones vários. Acousma Light tem, sabemo-lo, alguém por detrás da sua criação; mas não o vemos. Quem nos fala é o seu trabalho, os instrumentos com os quais realizou o seu trabalho. E a sensação que temos é a de estes que nos falam por iniciativa própria, como se o seu diálogo tivesse sido captado com um gravador, e não construído do nada.
Se nos falam, atentemos, procuremos compreendê-los por entre o caos noise aquático de "episode #3", por entre os murmúrios fantasmagóricos de "episode #5#, ou os guinchos brincalhões de "episode #7" - três capítulos de uma discussão com nove, no total, sobre os mais diversos temas. As máquinas já sabem falar; basta que tenhamos a delicadeza de as ouvir.
Gintas K - Acousma Light [GK Rec. 001]
JANUARY 27, 2018
Incoming from Lithuania is "Acousma Light", the latest album by Gintas Kraptavicius - better known as Gintas K to followers and fans of the countries experimental music scene - which has been put on the circuit via his freshly launched imprint GK Rec. as the the labels very first release. Following the principles of Pierre Schaeffer's 'acousmatic music', a term derived from Pythagoras' ancient lecturing methods, in which a sound source is not to be seen via a concert or listening session the Lithuanian artist presents a menu of nine so-called episodes, all subsequently numbered and following a certain principle of sonic deconstruction and recomposition. Without going into detail on each and every episode presented it seems like the source material, in parts based upon beautifully floating strings, is - over the course of each single track - slowly, and digitally, decaying, shattering and falling into granular, highly compressed and overtly dry bits and pieces, creating a chaotic, yet not necessarily fully un-organized wall of fast moving slivers hitting the listeners ear as an overwhelming, unfiltered maelstrom of artificial, probably MAX MSP-generated sonic events, partially interrupted by beauteous static Ambient breakdowns like in the 17+ minutes long "Episode 3" which even caters hints of heavenly melodies and Electronica within its second half. With "Episode 4" we're even getting into more humoristic sonic realms following in array of computer tones evoking thoughts of of playful little robot discovering and messing around with tonal scales, "Episode 5" presents and eerie, hauntingly warped transmission from an interdimensional outerworld whilst the approx. 13 minutes of "Episode 7" take small-grained, multilayered digital chaos to a next level for lovers of Noize (Not Noize), Glitch, Clicks'n'Cuts and other hypermodernist, post-millenial genres alike. Fascinating stuff in here!
gintas k – Acousma Light
Posted on January 9, 2018
gintas k’s brand new release got me like a prank on april’s fools day. When it played from the start I instantly thought that my listening equipment had gone berserk. It made me check the wires, hid the machine from the back and the front & even made me check my own brain to see if it was maybe a inside technical problem. Of course over time I realized all these odd sounds are in fact the actual music & not the sound of the sounds not working properly. Sometimes the difference between experimental and equipment failure is hard to distinguish between each other. I realized when some kind of fire alarm started to ring that we at YIKIS don’t have such alarms installed & it was indeed all coming out of the acousma light.
What a delight and relief, as now we could just sit back and enjoy the audio expressions instead of worrying about how to fix the music playing machines. A worry less; a joy plus! What got me the most after the realization was how computerized these sounds sounded, as if a genius hacker hacked into the behind of electronic music and twisted all the connections in order to make them do things on their own. Of course it’s difficult to understand if you had been expectingA to Z compositions,baselines, straight to the point melodies or hell; even singing! But on its respective own it does provide the righteous sparkles, the wtf form of audio excitement and material that sheds a different light on the machines around you. It sounds like a alternative kind of nature.
Somehow gintas k makes these experimental experiments sound as if they are coming in liquid forms, vibrant, squishy and squeezable. These are elements that are hard to create when going for your average bill & joe kind of country album or any other form of concrete music in general. With these tracks here it’s more about shapes, forms and sizes. Maybe the sounds pop once in a while but they will stay organic and never form a recognizable pop pattern. A shine through melodic hint might shine through, although the experimental sounds do dominate the scenery. Why it relaxes? I guess because it has the same excitement and calming artifacts as standing under a waterfall at a beauty of a location. It sounds and feels very different, but they have in the end lots in common.
GINTAS K - Acousma Light (2018). Great joy of Pythagorean Music!
2018 m. Sausio 06 d., 11:25
This is the first musical album i review this year. It was released on the 2nd day of the year. Lithuanian artists prove that they are prolific even when others party. GINTAS K (Gintas Kraptavičius, 1969, Marijampolė, Lithuania) is one of the best composers i've ever heard, and his many works are different and worth to listen to. It all started from punk rock, later he established the first industrial electronic band in Lithuania MODUS (1988), and then started to release experimental music albums as GINTAS K. Album title ACOUSMA LIGHT refers to Acousmatic music in which a sound source isn't visible during the concert or listening session. In 1955 a pioneer of musique concrète, French composer Pierre Schaeffer coined a term acousmatique, derived from the Greek word ἄκουσμα akousma, "a thing heard". The latter was used by Pythagoras to describe uninitiated disciples. According to historical sources, the aspirants had to follow a vow of silence for five years while listening to the teachings of the master behind a screen (a curtain), without seeing him.
So, what does this album teach us about? It's no way silent (although, in the middle of the longest - 7th - Episode we can observe silence for a couple of minutes), and it's quite long, even 72 minutes. Nevertheless, the album is very interesting and intense - it varies from near-noise sounds to more silent explosions of notes. All album seems to be a concept one not only because of Acousmatic matters, but also because of its music. It is different from other GINTAS K's albums as it has a totally different sound. My favourite tracks (Episodes) are 5 and 8, but i recommend to listen the whole album from the beginning to the end.
In the informational part of the digital album it is written: In a composition Acousma Light sound components are being grained into sonic particles - as elemental as possible. The sound of the piece may be described in such characteristics as timbre, spectrum of sound, varying and changing speed of motion. In the first stage of composition, in which a recording of live performance takes place, a principle of sound deconstruction is being employed. Recorded material is then being organized into a structure that gradually evolves into a crystallized form.
ACOUSMA LIGHT is also released as a CD (only 300 copies, so hurry up), which is a nice surprise for me, as many Lithuanian musicians in 2017 released their albums only on MCs or LPs. (I still prefer CD.)
The design and the cover art of the digipak is very nice, and it's made by old friend and colleague of GINTAS K - Juodo. Cover image represents balancing stones from inner ear. They are attached to sensory hair. When the head tilts, the movement of stones causes nerve impulses that originate into a sense of balance.
GINTAS K is a very productive composer and released in total more than 50 albums and collaborations. Last year he released two albums (2014, attenuation circuit, ACP 1101, Germany, and Under my skin, Crónica 124, Portugal), one collaboration (I Will Loose It, with Estonian artist Roomet Jakapi, Powdered Hearts Records – PH16, USA), and one track (A1geras) in Powdered Hearts Winter Sampler (2017-18) by Powdered Hearts Records and Tapes.
You may find these links useful while listening to GINTAS K's music. By the way, he is also a writer, whose debut was in famous literary almanach VARPAI in 2009. GINTAS K is also a professional saxophone player, so i wouldn't be very surprised if one of his next albums would be a jazz album.
GINTAS K is a sound artist exploring granules, hard digital, memories. His works have been published by record labels Crónica, Zeromoon, Con-v, m/OAR, Copy for Your Records, Baskaru, Ilse and presented at various festivals (Transmediale.05, Transmediale.07, ISEA2015 etc.). GINTAS K is a winner of the II International Sound-Art Contest “Broadcasting Art 2010” held in Spain.
I almost never write evaluation of albums, but this one is really worth 10+ (from 10). Great joy of Pythagorean Music!
Gintas K – Acousma Light
4 January 2018
The ever-prolific and some enigmatic Gintas K kick-starts 2018 with his umpteenth album (26 available via BandCamp for a start) in fifteen years. We don’t hear much from Lithuania, and the chances are that the exploratory and chiselling works released by Gintas K will reach the broader populace is an injustice.
Acousma Light is a mangled mass of bubbling analogue bleeps and whistles, R2D2 slowly melting over a sulphurous swamp amidst an immersive smog of low-end hums and disconsolate drones. As such, it very much continues in the vein of one of the most confusingly-titled releases ever, 2014 (Attenuation Circuit 2017), which was released last year.
Gintas K (no relation to Michael K or the associated neoist project of multiple identity associated with the name) sits in the broad bracket of avant-garde in his approach to creation. He describes himself as ‘a sound artist exploring granules, hard digital, memories,’ and has had works released on an impressive array of labels which promote experimental and avant-garde works, including Baskaru and Crónica. But, perhaps more admirably, K continues to release material apace with or without label backing. This is an artist in the truest sense – one who places artistic endeavour before commercialism, and clearly creates by compulsion rather than being motivated by any desire to create ‘product’ of an overtly marketable nature. And there is nothing commercial or marketable about Acousma Light, an album with a detailed theoretical context which I shall sidestep here, because its not integral to appreciating the audio experience.
It’s awkward, uncomfortable, tense, jittery. The compositions – such as they are – are formed around flickering circuitry, skittering notes – not exactly musical, so much as resembling sparks flickering from a defective socket. Much of Acousma Light reminds of the pink noise extravaganza of early Whitehouse releases like Total Sex, or more contemporary works like
Yoshio Machida’s Music from the Synthi and Yasunao Tone’s AI Deviation #1, #2. It’s also an expansive work: the bulk of the nine ‘episodes’ extend far beyond the five-minute mark, with ‘Episode#3’ (17:24), ‘Episode#4 (9:27), and ‘Episide#7’ (12:50) really pushing the parameters with extended sequences of unsettling noise.
There’s nothing comfortable about any of this. There isn’t supposed to be. Unsettling noise, ever-shifting carpets of discomfort casting patters over which snakes slither and crawl: this is the shape of the ever-shifting shape of Acousma Light. Dark, murky, hazy: above all, this is an unsettling scred of noise which offers a different kind of immersive.