Music Reviews

Artist: Slobodan Kajkut
Title: Terrible Fake
Format: 12"
Label: God Records (@)
Rated: *****
According to the linear notes by the label, this output by Slobodan Kajkut - the brilliant man behind GOD Records - "explores rhythmic relationships between drums and piano in the context of the somewhat crippled art of trip-hop". Maybe tagging it as "trip-hop" could be deceitful, but this exploration is somehow trippy. The very first seconds could perhaps resemble the exercises on piano (played by Anton Polk) and drums (hit by Istok Klemen) of someone who never played them before with a vague (almost unexisting) sense of rhythm and melody, but the deeper you get into it, the more pleasantly unsettling us the listening experience he offered. The above-sketched element - the supposed musical illiteracy of the composer - could be the very first fake one of this release, as Slobodan studied composition with quite a renown Austrian music theorists and academic teachers such as Clemens GadenstÄtter, Gerd Kühr, and Georg Friedrich Haas. The most genuinely controversial aspect lays in the fact he artificially unmatched piano and drums, which are considered two "harmonizing" instruments in a composition (their presence could let a listener perceive even a bunch of nonsensical noises as something appropriately musical). Piano and drums got turned into two entities, whose sparse and disarticulated voices seem to mirror the lack of communication as well as their intimate isolation. By reprising the explanatory linear notes about the first of the two 20-minutes lasting part of this release: "[Terrible Fake] is mostly based on irregular beats to create kind of fragmented groove. Different characters are also emphasized through mostly chromatic movements of the piano in various registers, producing either undefined tonal system or droning wall of sound". The presence of compositional elements in the second part, titled "terrible Dub", are even more rarefied, as it "is nevertheless a "dub" version of the piece which minimizes Terrible Fake to its fundamentals regarding time and pitch, where both parameters are stretched. A slow movement based on the core of dub music itself, which are bass and drums...". The crippling sense of detachment, which oozes out of the first part, is remarkably stressed in this second half by every single rarefied percussive or tonal blip to the extent that a listener could be not so sure these resounding entities could be accurately labeled as tones or beats.

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