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Amnesia (gk rec. 2020)

by gintas k

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1.
Amnesia 44:05

about

Amnesia 44:05

All music composed by Gintas K / Computer / 2017
Used drum samples by Travis D. Johnson

Released by gk rec.#03 / 2020

Cover art and design by Indra Kraptavičiūtė

Supported by LATGA

C P 2020 Gintas Kraptavičius
gintask.puslapiai.lt

reviews:

Wild, hyper-colorful and imaginative new work for electronics, field recordings, samples and who know what else from Gintas K. (Gintas Kraptavičius), 'Amnesia' - Brian Olewnick
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Gintas K – Amnesia / Sound & Spaces (CD / Cassette Recensie) Geplaatst op 24 november 2020 door Ben Taffijn
www.nieuwenoten.nl?p=10054
Dit voorjaar besteedde ik hier aandacht aan het bij Esc.rec. verschenen ‘Variations in a​-​moll for a granular synthesis’ van Gintas K, ofwel de uit Litouwen afkomstige Gintas Kraptavičius. Inmiddels ligt er weer nieuw werk van deze musicus die zich specialiseerde in elektronische muziek. In eigen beheer verscheen de Cd‘Amnesia’, terwijl Powdered Hearts Records de cassette ‘Sound & Spaces’ uitbracht.
‘Amnesia’, opgenomen in 2017, bestaat uit één lang stuk van drie kwartier, waarin Gintas K een bizar klanklandschap ontvouwt vol botsende interacties. Het is duidelijk dat de meester hier een groot aantal verschillende bronnen op zeer creatieve wijze door de mangel heeft gehaald. We horen flarden van melodieën en ritmes, stemmen, noise en synthesizer geluiden, maar dusdanig versneden dat iedere vorm van structuur volledig teniet is gedaan. Op ongeveer een kwart van het stuk lijkt er iets meer vorm te ontstaan, een vaag ritme en een vreemd melodisch kraakgeluid zetten hier letterlijk de toon. Het blijkt de opmaat tot een veelkleurig ritmische passage, met op de achtergrond een hoge pulserende noot, een ritme overigens dat langzaam maar zeker weer tot chaos uiteen valt. Bizarre klanken volgen, soms kunnen die zo als soundtrack bij een schietspelletje dienen, op andere momenten heeft de muziek veel weg van een soort van noise ambient. Wat echter blijft zijn de tegendraadse structuur, het toevallige element en de gelukkige vondsten.
Het uit zes naamloze delen bestaande ‘Sound & Spaces’ – alsmede een fragment met glasgerinkel tussen deel 1 en 2 en een ‘Prolonged’ aan het eind – waar Gintas K dit jaar de opnames voor maakte, kent een al even creatieve, kleurrijke klankwereld. Te midden van een eindeloze serie plopjes en bliepjes, vermengd met ongecompliceerde ruis en veldopnames, valt deel vijf nog het meest op vanwege de doordachte wijze waarop Gintas K het melodietje van een speeldoosje monteerde te midden van een noise stortbui. Het is één van de spaarzame momenten, de uitzondering die de regel bevestigt, van enige vorm structuur. Ook op deze cassette ontbreekt die verder nagenoeg. Van ritme is geen sprake, van melodie al helemaal niet. Integendeel, deze muziek – en velen zullen dit begrip voor deze composities zelfs in twijfel trekken – heeft nog het meest weg van een abstract schilderij waarin het toeval een allesbepalende rol speelt.
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GINTAS K "Amnesia" (2020 )
www.musicmap.it/recdischi/ordinaperr.asp?id=7925
“Amnesia” è il nuovo album di Gintas K, al secolo Gintas Kraptavicius, compositore e sound artist lituano attivo nel campo della musica sperimentale da oltre venticinque anni. La nuova vocazione di Gintas K è la sperimentazione digitale: negli ultimi lavori, rispetto ai quali “Amnesia” si colloca in perfetta continuità, l’artista lituano ha esplorato le potenzialità dei suoni elettroacustici, della sintesi granulare, dell'elettronica live e dei computer in generale, sviluppando quella che, nel settore, viene comunemente descritta come “hard digital music”. “Amnesia” si presenta come un unico brano che si ferma poco prima dei tre quarti d’ora, con un inizio di fatto in medias res, in cui suoni digitali granulosi sono accompagnati da un percuotere intenso, ma più rado col passare dei secondi. Intorno ai sei minuti, il percorso comincia a essere maggiormente segnato da suoni elettroacustici, che si ripuliscono un po’ rispetto ai primi minuti, anche al netto di un martellare caotico che testimonia quanto le due diverse anime coesistano pacificamente e sempre in simbiosi l’una con l’altra. Nella fase centrale, “Amnesia” si adagia un po’ e si fa decisamente più essenziale, riprendendo un po’ quanto già ascoltato nei primi minuti, ma per approdare verso soluzioni diverse, mentre nel finale confluiscono un po’ tutte le idee forti di questa fase artistica di Gintas K. “Amnesia” è certamente destinato a una nicchia: si tratta di un lavoro puramente sperimentale per tutta la sua durata e che, per tale ragione, si rivela non immediato e non sempre fluidissimo, ma il discorso generale convince per la sua capacità di legare indissolubilmente elementi apparentemente inconciliabili. (Piergiuseppe Lippolis)
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Vital Weekly # 1245 week 32.
GINTAS K – AMNESIA (CD by Gk Rec)
Lithuanian sound artist, composer and digital explorer Gintas K(raptavičius) has released a steady flow of works throughout the years, on labels as diverse as esc.rec, Attenuation Circuit, Bölt and Baskaru. His roaming and inquisitive ear for the new and uncharted in terms of aural or musical form has been a constant in his releases, ranging from pretty and rather hushed to densely layered and deeply immersive or even oppressive and invasive. And it all started with a boiling kettle, using an invitation for a cup of tea. Quite the way to set the sound art scene, so to speak. On Amnesia, his latest CD released on his own Gk Rec, Gintas K produces one track of close to 45 minutes of intense Warp-ish glitches, drums, noises and ambient synth washes with thick granular textures and space-age chromium melodic leads. By no means soothing, the ambiance of Amnesia is one of unease and disturbance, of jittery fragments of drum beats and nervous noise eruptions, of a place between Severed Heads, Autechre and Mark Fell, with the added bonus of an exquisite attention to aural detail, not unlike Nurse with Wound or Hafler Trio. Plus: a dash of pure power electronics, for good measure. Amnesia is a caress and a sledgehammer, all at once. A work of delicate beauty and brutal force. A piece of aural and musical construction redefining sound art, musique concrète and electronic composition all in one essentialist gesture of expertly executed noise control. And one of the best abstract works I've heard this year. (SSK)
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Gintas K: Amnesia
By Stuart Bruce (@) - Aug 03 2020
Artist: Gintas K
Title: Amnesia
Format: CD + Download
www.chaindlk.com/reviews/?id=11448
Long-established Lithuania-based sound artist Gintas K has offered up a single-track 44-minute work Amnesia, and it is experimental noise work that really demands the listener’s attention. A controlled chaos of glitches, squeaks, and distorted percussive sounds, played out on a bed of rumbling drones and slow creaks and with garnishes of high-pitched hisses and noise washes, it’s a soundscape with a great deal of texture, that draws you in to listen to the details.
It’s not without structure or form though, by any means, and the relatively violent opening could misrepresent some of the later movement. There are comparatively more measured sections, such as around the nine minute mark- I wouldn’t go so far as to call it ‘calm’, but everything’s relative by this stage. Particular mention is due to the bold drop around 27 minutes, which works as though the motor powering the melée is manually wound down, leaving a hollow ambient expanse which, when it winds back up again, feels consciously changed- more wooden, more mechanical but less of a metropolis.
Sometimes there’s pulsing and throbbing that offers up a rhythm, of sorts, though the other elements seem to go out of their way to avoid it (e.g. sixteen minutes in). There are moments that are alien, moments that are quasi-industrial, and at times it borders in the bizarre. The detuned honky-tonk piano sounds audible around six minutes in seem almost tongue-in-cheek, though later on it does contribute a more conventional abstract melodic element. The cut-up work around 37 minutes is expressive to the point of feeling vocal, one of several “how did they do that?” moments. The alarm clock tones just before the 40th minute are rather on-the-nose and signal the beginning of the final bookend of noise, providing a symmetry with the frantic opening. It’s not all gradual fades and progressions, either- with a little over one minute to go, the waveform drops off a cliff before a nearly-romantic postscript.
It’s a well-executed deep manoeuvre in experimental noise control, with a great deal of latent and hard-nosed beauty lurking under a noisy shell. It’s well worth cracking through that shell and exploring.
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www.thesoundprojector.com/2021/01/13/four-jujubes-from-july/
Latest record from Gintas K is Amnesia (GK REC) released on his own label; he continues to experiment with granular synthesis and electro-acoustic sounds, working extensively with the computer. He also continues to remain silent about his methods, and all we know about Amnesia is that some drum samples provided by Travis D. Johnston were used, though I’d be surprised if the entire 44:06 mins of the record were made from drum samples alone. After many years of hearing Gintas K’s music, I still struggle to connect with its highly abstracted and process-heavy fabric. Amnesia is very single-minded in pursuing its multi-layered, multi-dimensional streams of sound, most of which consist of highly atomised and miniature fragments spinning about, rotating, and bumping into each other in a non-specific environment. Gintas is intent on executing reprocessing tasks inside his machines, but he declines to give the listener anything useful we can hang on to – a steady pulse, a melody, a continual drone, or a recognisable sounds. This may be why I have the impression of a flow of disconnected ideas, about subject matter I don’t understand, and uttered in an audio language that it is well-nigh impossible to decode. (30/07/2020)
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7/30/2020
Gintas K — Amnesia
www.datawv.com/2020/07/gintas-k-amnesia.html
Here is a new album by Lithuanian composer Gintas Kraptavicius, more known to the world of experimental music as Gintas K. The title of the album that consists of just one long track is Amnesia which means partial or complete loss of memory. This symptom or effect is oddly specific and weird to my mind. And it is difficult to imagine anyone who would lose their memories in order to record music. What would that kind of thing result into?
I hope that Gintas does not have amnesia himself. I can only guess his intention was to associatively reproduce the state of mind one experiences due to amnesia. And the result of his experiment is rather intriguing. Being a true virtuoso of digital processing, Gintas created an impressive collage of radical and sometimes aggressive sounds, partly supported by atmospheric clusters, fragmental piano, electronic keyboards and modulars, elements of concrete music etc.
This album is quite different from Gintas's other works. This time around we got a lot of noise, glitch and industrial; at times the album sounds like an improvised set, recorded in real time. On the other hand, this work could be described as a symphony that consists of different parts, different moods, dynamics and densities, carefully structured and processed.
In any case, Amnesia by Gintas K is another great work of the outstanding composer and sound producer.
Author: Alexei Borisov
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July 23, 2020 www.nitestylez.de/2020/07/gintas-k-amnesia-gk-rec-003.html
Gintas K – Amnesia [GK Rec. 003]
Coming in straight from Lithuania these days is “Amnesia”, the new longplay outing released by the ever active experimental composer Gintas Kraptavicius a.k.a. Gintas K as cat.no. 003 of his very own label GK Rec.. Put on the circuit on July 14th, 2k20 as a limited edition run of 300 copies worldwide the 44 minutes spanning one track album sees the artist exploring the most hyperdigital realm within experimental electronic music composition, fusing an ever buzzing array of greyscale Noize eruptions, unsettling low-end rumblings alongside constantly morphing, well nervous – and for some: nerve-wrecking – glitches with soft, ethereal background harmonies as well as ground up, broken down remainders of melodic events, pure HarshNoize / DigiNoize sequences, space bleeps, uncanny rhythm signatures and a general feel of a total sonic information overload. If genres like Clicks’n’Cuts and creative programming environments like Max/MSP are close to your heart, this album might appeal to your tastes even though providing a well demanding and challenging experience even for deeply schooled listeners of advanced electronic music.

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Gintas K. Amnesia (2020). Review. What did we forget?
Mindaugas Peleckis
2020 m. Liepos 24 d., 07:11
www.radikaliai.lt/garsas-sound/4793-gintas-k-amnesia-2020-review-what-did-we-forget.html
Another great album of experimental music expert from Lithuania, Gintas K. This time, it’s a one track album lasting more than 44 minutes, and giving us space and time to think about, it seems, such a trivial thing – our memory. You can watch a lot of TV series which almost all contain the subject of amnesia. But, philosophically, what is amnesia? How does it sound?
Cover of the album by Indra Kraptavičiūtė.
Personally, I especially like when Gintas K’s music turns to be meditative, and this is the case. Even though the music is very complex as always, here you can find your own meditative, philosophical space, and think about what we could have lost in our time.
Those who have listened to at least several albums from big discography of Gintas K, will recognize his musical movements, starting from quiet ones and going to almost noise-like / chaos-like ones.
This time, Gintas K tell us an interesting story, which only can be heard. No additional notes available. If you are lucky, you can get a CD copy (300 of those available) or listen to the music here: gintask.bandcamp.com/album/amnesia-gk-rec-2020.
It should be noted that the artwork of the album (minimalist, as always) is made by daughter of Gintas K, Indra Kraptavičiūtė. All music composed by Gintas K / Computer / 2017. Used drum samples by Travis D. Johnson. Released by gk rec.#03 / 2020.
Something more about the album. It really shows the capabilities of the composer. While being minimal, as earlier, he can turn to a sage who is telling a story using power electronics, ambient and other styles of experimental, electronic music. Gintas K’s music is getting better and better. Let’s wait for another new album while listening to this one. As American novelist Tom Robbins put it, “Amnesia is not knowing who one is and wanting desperately to find out. Euphoria is not knowing who one is and not caring. Ecstasy is knowing exactly who one is – and still not caring.” Let’s find it out. Only the music has the answer.
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auralaggravation.com/2020/07/20/gintas-k-amnesia/
Gintas K – Amnesia
Posted: 20 July 2020 in Albums
Tags: Album Review, Ambient, Amnesia, electronica, Experimental, Gintas K, Gintas Kraptavičius, minimal, Power Electronics, textures
gk rec.
Christopher Nosnibor
This makes for quite a refreshing change: it feels like about two-thirds of my reviews in recent months have been marked by a compulsion to comment on artists going into creative overdrive during lockdown and whacking out releases of new material because they’re not currently touring or working their day-jobs. But for Lithuanian electronic experimentalist Gintas Kraptavičius, it’s business as usual, with a steady flow of output over recent years, and with Amnesia being his second release of 2020.
One of the things I personally admire about Gintas as an artist is how broadly he explores the field of electronic music, with works ranging from minimal ambience to deep dives into microtonal territory, and a whole lot in between. Amnesia conforms to no genre or form, and instead spreads its myriad suggestions from across a host of conceptual spaces to create something wonderfully vague, and also vaguely wonderful.
The release comes with no information whatsoever about its concept or purpose or recording, beyond the fact that it uses drum samples by Travis D. Johnson. Those samples aren’t neatly assembled to form looped rhythm tracks and solid structural foundations for a work with an overt linear trajectory or other sense of solid form.
Amnesia contains a single track which spans a massive forty-four minutes, and begins with crackling, interweaving synths waves which crackle and fizz with distortion, while thumping clatters that sound more like shuffling, clumping footfalls than drums crash sporadically and arrhythmically.
There are some crescendos or swirling noise and shrill, trilling feedback notes that whistle and screech over churning blasts of bilious noise, violent sonic storms. There are segments of laser bleeps and skittering short, sharp toppy notes fire into a swirling morass of mid-range extranea.
A delicate piano tinkles in a nuclear storm and a stammering clanking rattles and clangs behind and alongside. This is a dominant feature of Amnesia: there is always a background and a foreground and a significant degree of contrast between the two, which is both textural and tonal. Harsh top and midrange are laced against softer, more gloopy lower spectrum sounds.
Time slips, drips, dribbles and cascades through a shifting sonic multiverse that’s often uncomfortable, at times undemanding, as the track transitions between ambience and abrasion, and towards the end it takes a turn towards synapse-collapsing early 80s power electronics.
What do you do with this? Where do you take it? What is it all about? There is no clear message, no distinct or decisive form, resulting in a longform composition that meanders and swerves in all directions but ultimately leads nowhere and articulates little – and that’s more than ok: Amnesia is not about sequence and making a bar, but about capturing a sense of vagueness and a certain lack of purpose, of point, and it does so magnificently.

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released July 15, 2020

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gintas k Lithuania

Gintas K (Gintas Kraptavičius) a sound artist, composer exploring digital, live, computer music, granular synthesis sound aesthetics. Participant of Transmediale.05, Transmediale.07, ISEA2015, ISSTA2016, IRCAM forum workshop 2017, xCoAx 2018, ICMC2018, ICMC-NYCEMF 2019, NYCEMF 2020, Ars Electronica Festival 2020. Winner of Broadcasting Art 2010, Spain; 2019 USF International Call for Scores, USA ... more

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