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Sound & Spaces #2 (Love Earth Music 2023)

by gintas k

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Total time: 45 min.15 sec

All music played, recorded live, at once without any overdub; using computer, midi keyboard & controller.
Gintas K / autumn 2020
gintask.puslapiai.lt
Released by LEM (Love Earth Music) LEM289 www.loveearthmusic.com

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www.squidco.com/miva/merchant.mvc
With albums on Creative Sources, Bolt and esc.rec., &c., Lithuanian sound artist working in the digital electronic realm Gintas K. releases a solo album of nine compositions for computer, midi keyboard & controller, using glitch, oddly punctuated rhythmic elements and alien sound sources for an oddly compelling album of slippery electronics and strange sonic environments.

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Gintas K – Resonances / Fluxus +/- / Sound & Spaces #2
Posted: 4 May 2023
auralaggravation.com/2023/05/04/gintas-k-resonances-fluxus-sound-spaces-2
Christopher Nosnibor
‘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.

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released April 24, 2023

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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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