Album „Resonances“ was recorded live, using computer, midi keyboard & controller on Autumn 2021
released by Sloow Tapes - CS 44 70 copies.
Gintas K, once part of the first Lithuanian industrial band Modus but since over two decades he dedicates himself to electronic music, more specific granular synths and live electronics where he takes fractions of notes and moulds the sounds through speeding/slowing down and other obscure alchemical processes into new abstract configurations of space debris with remnants of drones, hums and bleeps.
Inner Ear: Lithuanian Music For June Reviewed By Jakub Knera
Jakub Knera , May 31st, 2023 09:35
Gintas Kraptavičius was once a member of the industrial band Modus, and afterimages of their music can often be heard in the cold, metallic nature of his solo work. Resonances comes from a live session where he used a computer, a midi keyboard, and a controller. He modulates sounds, slows down and speeds up the layers, and sinks into sound waves and musical constellations. At the same time, he keeps an eye on structures – the compositions are relatively short, apart from two which reach eight minutes. Overpowering drones rumble from one side, a mass of noise and interweaving atmospheric layers from the other – an impressively constructed mesh of sonic sketches.
Gintas K – Resonances / Fluxus +/- / Sound & Spaces #2
Posted: 4 May 2023
‘I’m sorry, I’ve been busy’. We’ve probably all heard it: and most of us have probably spoken the phrase. I’m guilty, too, and hate myself for it. Everyone is fucking busy. Too busy to text, to open a message even, too busy to reply to emails, catch up with friends, too busy to fucking live. What is everyone so busy doing, and why is it that in a time when technology was supposed to make our lives easier, and in supposedly affluent western cultures, people are both fiscally porr and time-poor?
Naturally, I blame the current strain of capitalism: keep everyone too busy to live, to breathe, and too skint, and they’re not going to be protesting, they’re going to be too busy wondering where the next meal is coming from to fuck shit up. After everything, they’ve only got the juice to be ‘busy’ bingeing Netflix or the new season of The Mandalorian.
Admittedly, I have been genuinely busy parenting, publishing stuff, and writing a review a day while battling through an evermore overwhelming volume of submissions, but is that really a reason, or just an excuse? Right now, I’m not sorry either way. I keep myself to myself and I write when I can when I’m not doing laundry or cleaning or paying bills or feeding the cat
Gintas K is always busy, and he’s been having albums released at a ratee beyond that at which I can even download them, let alone listen and digest. And so it is that March and April have seen the release of three – yes, three – albums by the prodigious Lithuanian.
I must have been absolutely nuts to have set myself the task of reviewing all three together. The idea was to soak it all in with an evening of electronica, and report on what I expected to be an immersive experience. But knowing Gintas K’s work over the years, this was, in hindsight, an unlikely outcome. The headline here is that there is no overarching theme, there’ s no evolutionary trajectory, and nothing to really take hold of. But that in itself is K’s selling point: his work is exploratory, varied, sometimes playful, and often difficult.
Resonances, the first of these, ‘was recorded live, using computer, midi keyboard & controller on Autumn 2021’ and has been released by Sloow Tapes in an edition of 70 copies. It spins slow-swirling vortices around hovering hums and low-humming drones over the course of its ten, comparatively short (only a couple extend beyond four minutes), ponderous tracks. It’s perhaps one of his more varied works, both sonically and atmospherically – and Resonances really does explore atmospheres and cavernous swampy echoes.
Fluxus +/- is a split collaborative release, which finds him working with Kommissar Hjuler Und Frau on a longform track, while a piece by Wolfgang Kindermann & PAAK occupies the other, and what we get here is just shy of eighteen minutes of really weird shit, bubbling swampy noise and loose collage layering of all sorts of snippets and a mish-mash of all kinds of everything that’s not easy to digest.
And then April saw the arrival of Sound & Spaces #2, which is perhaps more Gintas K’s standard fare of bubbling, foamy froth and stuttering, stammering glitch-heavy sonic mayhem. It stutters and scuffs, bleeps and wibbles, and at times sounds like the speakers are shredding, the cones torn and flapping in the blasts of random noise bursts, while at others… well, at times it’s a foaming froth and as others, it’s really not very much at all. The pieces run into one another to create a continuous stream of crackling distortion and bibbling trickles of tweeting and twittering, and while the effect is the most incomprehensible and difficult to digest, it’s by far the most quintessentially K. If it’s what I’d expected, then what this trio of releases demonstrates is that Gintas K continues to defy expectations and to produce work that’s different and diverse.
Vital Weekly number 1377
Gintas K has been on these pages a lot of times. I must admit that, despite not knowing Sloow Tapes all too well, I am a bit surprised to see his work. I always think of him as a serious operator of laptop music, which seems not to be the home at Sloow Tapes. He creates ten pieces of music using his computer, midi keyboard and controller, but as this is a cassette (the label has no Bandcamp), I found it hard to tell where a track starts and stops. This cassette could very well contain one track per side. Oddly, perhaps, there is also an element of free play in Gintas K's music. Other than what I think is his stricter approach to composing, these pieces arrive in a free-flowing modus. Sounds drop in, quite uneventful, but are just 'there' and change in form, may grow, or reduce or simply, as unexpectedly disappear again. Yet there is never silence because there are many sounds, each fighting for our attention. It never becomes chaotic, as Gintas K manages to control the proceedings, which he does quite well. A certain psychedelic, ambient quality is part of this music, and I can see why Sloow Tapes found this to be an interesting addition to their catalogue. (FdW)
released March 20, 2023