[Reviewed by: Iaha Crax]
Some short time ago I had the pleasure to hear for the first time this project from Russia and their first album, “Lackluster”. Now Igor T. has signed a contract with the Norwegian netlabel Petroglyph Music and released “The Persecution Of Escapism”.
The trademark of his compositions is the use of the accordion played against concrete sounds that are processed in a sequencer. Perhaps the first song, which bears the album’s title, would be the most appropriate example to illustrate his approach to ambient music: sparse accordion notes with extended reverbs and feedbacks, processed sound sources from the natural environment, arranged and associated in order to construct a hazy atmosphere, where sounds lose their distinctiveness or their accuracy in favor of a symbolic result.
The next track, “An Unforgettable…” is quite an expression of what symbolism would mean in terms of ambient music, if it’s not too much to draw a comparison to what the music of Debussy meant for classical music. Of course here it’s not about a new tonality, but one can feel that Melodie Des Vergessens introduces a certain sensibility of its own.
“Drops Of Surreal Expressions”, the third song, also has this impressionist touch, with tones of music that dissipate and disintegrate. On this album, Igor T. uses blatant percussion and in this manner underlines the shades of the accordion with more empathy. Surrealist films or expressionist cinema explores weird juxtapositions or accidental significant meetings between objects, and in a way the music of Melodie Des Vergesssens is drawn upon this type of imagery in terms of sound textures. You’ll hear these interesting effects all the way through “The Persecution Of Escapism”, effects or reactions of one sound to another in a reversed mirror, intensifying the awkward feeling of irrationally developing forms and matter.
Thus, it is no surprise that the textures almost never have a defined shape; dimmed and unclear like on “Blurred Torches” or caricatural and infantile like those played on the next track “Frustration Of Convulsive Freedom”. This one in particular appears to be written from a clinical point of view, like when one narrates their dream to a psychoanalyst, making a dramatic effort to conjure up their visions into words.
Melodie Des Vergessens is not limited to the convulsive, surrealistic musical offering discussed above. The musician is in constant search for new musical textures that can convey his inner thoughts. His discourse on “Speech Of Little Death Is Like A Post-Intimate Dialogue” has changed into a more minimal ambiance, an evocative commentary upon life and death. The piece “Cranny” reiterates many of the album’s motifs: the extended notes, a pounding mechanical percussion and the eerie, oozing line of the accordion. The impression haunting me is that the sound flows out from a crevice, like a subterrestrial spring, receding just at the moment when it seemed capable to find a shape of its own.
On “The Persecution Of Escapism” the sound textures created by Melodie Des Vergessens, refuse to take on a distinct shape, elude definite matter and try to escape reality. You on the contrary shouldn’t escape this album, but take the chance to encounter these original melodies.