Lee Patterson / Samo Kutin – The Universal Veil That Hangs Together Like A Skin

 

1. The Rising Path (6:47)
2. Stirring The Pot Of Fire (6:19)
3. The Universal Veil… (7:12)
4. Glass Bridge (3:12)
5. Mantis (6:39)
6. Travelling Hopefully, Which Is Better Than To Arrive (8:37)

 

· Lee Patterson: amplified devices, chemical and mechanical synthesis
· Samo Kutin: hurdy-gurdies, objects, acoustic resonators

 

All music by Lee Patterson & Samo Kutin
Recorded by Jernej Babnik Romaniuk at KUD Mreža’s Studio Asylum, Ljubljana on 1-2 April 2019
Mixed and mastered by Jernej Babnik Romaniuk
Liner notes by David Toop
Cover and label paintings by Rachael Elwell
Photo by Jan Prpič
Graphic design by László Szakács
Executive producer: Nataša Serec
Associate producer: László Juhász
Special thanks to Mauricio Valdés San Emeterio

 

A rising creature spreads its shadow over hushed land. In the moment of folding its wings, all air leaves the world. All things now operate by friction, stridulation, rough surfaces in contact with abrasion, materials unlike silk or plastic, the working of ground teeth and jaw bones.

In the blacksmith’s forge, an alchemist sits away from the fire in a clouded spot, observing those transforming states that move from hard to soft, from dull to radiant. From trees a presence emanates, as thick as wet moss and mud. Birds move within it, their shapes only visible with closed eyes.

At night, people sleep with covered ears, their dreams haunted by the footsteps of giants, the slow movement of hills, cracks opening in the earth to unleash insect clouds. Houses lack windows, yet light penetrates, if only to mark daily transitions between stillness and movement, heat to cold. If there are bells, they are heard only in memory, as if buried under silt on the bed of a fathomless pond. To sit quietly is rewarded. A shout is impossible.

Every month a door is opened, simply to change the air. This opening may take many hours, the door hinges resistant, anguished, uttering secret words that only the very old and very young can understand. At each opening, a wooden cart enters, another leaves. The ox that pulls one cart looks sideways at the horse that pulls the other, their gaze as deep as the silence through which they pass. As the trembling of the ground subsides, the world returns to itself.

David Toop
June 2020

 

Released: October 2020 / first edition of 300 lps & 300 cds
Direct purchase: Bandcamp / Discogs

 

 


 

GALLERY ↓

 


 

REVIEWS ↓

 

“Ustvarjalno sodelovanje Leeja Pattersona, rezidenčnega umetnika KUD-a Mreža, ter hurdy-gurdista in improvizatorja Sama Kutina lahko razumemo kot skupni preboj dveh veščih laborantov zvokov iz okolja, ki jim avtorja pridružujeta inštrumentalne. Tako Lee Patterson kot Samo Kutin se ne obotavljata iskati naprej, iščeta nove spoje zvočnih virov ter brišeta meje med inštrumentalnim in naravnim ali umetnim zvokom, uporabljata jih kot vir inspiracije in ustvarjata trenutke, v katerih se naključno druži z iskanim.

Če se Kutin pri tem vrača k svojemu izbranemu inštrumentu hurdy-gurdyu, je Patterson bolj disperzen in raziskuje v več smereh. Pri tem je bistveno, da se ne čutita omejena, marveč prisluškujeta različnim šumom, pokom in drugim zvokom, ki jih družita na vedno nov in neponovljiv način. Plošča The Universal Veil That Hangs Together Like A Skin je dobrodošla za vse ljubitelje zvočnih okušanj in raziskovanj. Lee Patterson je znan po rabi ozvočenih predmetov in postopkov, zato nam je njegovo ustvarjalno druženje s Samom Kutinom ljubo, saj oba izhajata iz tendenc po novem, po presenečenjih in nepričakovanih interakcijah. Sobivanje ali mehko konfrontiranje posameznih zvočil med seboj povzroča vedno nove zvočne svetove kot sinteze druženja šumov, pokov, zvenov…

Skladba The Universal Veil je eksperimentalno zvočenje, ponavljajoč se vzorec z nekaj spremembami, ki pa ne vplivajo na potek in ritem dela. Spremljajoči šumi, trki, pokljanje razbijajo linearnost melodičnega zvoka in mu dajejo poseben akcent. Glass Bridge zveni kot gašperček in curljanje vode hkrati, ki ustvarjata zvočni kontekst, ob zvoku nekakšnega trobila. Mehko sozvočje vseh zvokov se izpoje v inštrumentalni solo in se zaključi kot neke vrste zvočna alkimija. Mantis spominja na pravo zvočno škržatenje in klopotanje ter udarjanje po kovini. Vsi ti zvoki se izmenično ujemajo v umirjen zvočni krogotok, v katerem lahko spremljamo zvoke kot celoto ali pa jih raziskujemo posamič. The Rising Path je najbolj monokromna skladba. Zvok hurdy-gurdya ustvarja utečeno osnovo, ob kateri vzporedno potekajo drugi linearni zvoki. Celota nekoliko spominja na abstrahirano minimalistično glasbo. Travelling Hopefully, Which Is Better Than To Arrive nas spomni na parnik, ki trobi, ko zapušča pristanišče. Iz začetnih signalov se vzpostavi kontinuirani zvočni tok, ki deluje industrijsko opresivno, hkrati pa nas utiri v notranjost zvočnega toka, da mu prisluhnemo in sledimo njegovemu razvoju. Masa zvočnih impulzov se napaja z lastno energijo in si z minimalnimi transformacijami odpira pot v čas in prostor, zajame nas in nas v celoti prežame s specifičnim vzdušjem.

Glede na to, da sta umetnika profilirana improvizatorja in zvočna raziskovalca, lahko rečemo, da je rezultat njunega skupnega udejstvovanja izvirno zvočno zorenje, ki se odraža v raznolikih skladbah, v katerih zasledimo razpon od improvizacije do zvočnih poskusov in druženja posameznih zvočnih entitet. Zato sta zgoščenka in LP dobrodošla zlasti za tiste poslušalce, ki tako druženje cenijo in zmorejo spontano slediti osvobajajočim novim zvočnim paralelnim svetovom.” / Marina B. Žlender, SIGIC – Odzven, 26 October 2020

 

“Sama Kutina najbolje poznamo kot tretjino ustroja domače zasedbe »namišljenega folka« Širom, vendar to še zdaleč ni edini ventil njegovih glasbenih pajdašenj. Tokrat v navezi s priznanim zvočnim raziskovalcem Leejem Pattersonom ohlapno, prosto, dromljajoče, zračno, minimalistično, čudaško, ambientalno in komaj kdaj ritmično vleče počasne odtenke elektroakustike. To je glasba, ki ni zares glasba, ampak bolj improvizacija v nizih oglašanja virov zvoka in počasnem razvoju tonov. Album, na katerem so tehnike ozvočevanja in ojačevanja pomembnejše od kompozicije. Gvišno povsem nišno.” / Borka, Mladina, 30 October 2020

 

“Only an authentically experimental approach to musical instruments and, more generally, to the means of sound production can allow us to overcome or even elude their universally recognized identity, the experiential and synaesthetic memory connected to them. And it’s only after having established such a relationship of ingenuous and ingenious curiosity that the audio document can authentically return to be an acousmatic device, the place of a complete and unfathomable abstraction aimed at fraying, as far as possible, any tie with the mimesis of the real.

In this sense, the improvised session by Lee Patterson and Samo Kutin is a formidable act of sonic dissimulation, the intransigent exercise of an expressive tabula rasa whose discrete elements, even if detectable in nature, could hardly be reproduced except in its serendipitous and epiphanic encounter through experimental manipulation. The advantage of the unprecedented English-Slovenian duo is undoubtedly the use of an uncommon and heterodox instrumentation which over time has respectively forged their distinctive features.

Patterson, poet of the inaudible, investigates the acoustic potential of places and the objects that inhabit them, using a wide range of contact microphones, hydrophones, and amplified devices on which he acts manually or by breath. Kutin, on the other hand, has dismembered the wooden body of the hurdy-gurdy to transform it, in parallel with the operation of the crank, into a working table of ever-new preparations and material interactions.

This sort of framework can therefore disclose infinite executional variations while, once filtered into the audio medium, retaining the secret of their concrete origin, clearing the field of imagination for the listener who may be more or less informed about the recording’s practical preconditions. That said, much of the vigorous resonance is probably attributable to Kutin’s chordophone which, amidst rough metallic frictions and delicate juxtapositions of other apparatuses, is able to embrace a timbral variety that extends from a vibrant monodic chant to the most piercing screeching.

Even with such a stimulating potential at hand, the duo maintains a coherent stylistic balance, relating on the level of a drone music rich in spontaneous microtonal inflections, labored heaves and sinister industrial clangs: a sample of fleeting presences and acoustic veinings in filigree to an amorphous but incredibly tangible scenario, aided by the cobbling, chirping and bubbling through which Patterson outlines his own eccentric elemental synthesis.

The Universal Veil That Hangs Together Like A Skin is a subtle and penetrating surge of sonic otherness, the visionary and happily unclassifiable outcome of an alliance based on the ability and sensitivity of listening beyond contingent reality to tune in to the unstable frequencies of the possible. It is starting from these coordinates that, at the end of the golden age of pure electronics, the art of soundscaping may be re-founded.” / Michele Palozzo, Esoteros, 4 November 2020

 

“Samo Kutin woont in Ljubljana en bespeelt de draailier op een tamelijk ongewone manier – hij onderzoekt alle mogelijkheden van het instrument en zoekt daarmee de grenzen van de muzikale mogelijkheden duidelijk op. We kenden hem ook al van de ongewone folkband Širom waarin hij overigens nog heel wat meer instrumenten bespeelde.

Lee Patterson woont in Manchester en maakt experimentele muziekinstrumenten, waarmee hij geluiden produceert die op zijn zachtst gezegd ongewoon klinken.

Deze twee muzikale avonturiers hebben elkaar gevonden en samen een uniek album opgenomen waar ik met open mond naar heb zitten luisteren. In twee dagen tijd opgenomen in een studio in Ljubljana op 1 en 2 april 2019. Geluiden op de grens van muziek. Aftasten, wanneer zijn het geluiden die gewoon interessant of fascinerend zijn en wanneer wordt het muziek? Doe dat er nog toe als je merkt dat je geïntrigeerd zit te luisteren?

Muziek die je als luisteraar scherp houdt, daar hou ik wel van, en dat doet deze muziek zeker. Niet voor luie luisteraars.” / Holly Moors, Moors Magazine, 5 November 2020

 


 

RADIO PLAYS ↓

 

· Anatomija Zvuka at OP BH Radio 1, Sarajevo, 3 November 2020
· Glasni Novi Svet at ARS – 3. Program Radia Slovenija, Ljubljana, 11 November 2020
· Idealna Godba at Radio Študent, Ljubljana, 15 November 2020
· 100 Decibelov at Radio Študent, Ljubljana, 1 December 2020