| Sturqen "Piranha" | ||||
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kvitnu 8
Heathen Harvest The unknown will inherit the earth. There is nothing that can anticipate the fortune to find something quite like Sturqen, a band with not much propaganda or merchandising behind it, surviving in the war zone from laptop music and with just one album as general curriculum. That just makes me think that sometimes the lesser known are the chosen ones, the less expected become the heroes and the bringers of distinctive fortunes of solid sound creation. These debutants from Portugal, on the recently discovered Ukrainian label Kvitnu will take you with their highly experimental rhythmic industrial blended in acidic techno and extremely unstable energetic power. “Piranha” is a predatory album, dedicated to exploit rhythm above melody but with distinctive preference for energetic textures, fragmenting the electro synthesis into fierce distortions and paralleling Industrial sequences with the acidic blend of some kind of defaced Techno, evil, noisy, and painfully psychedelic. Since there are no melodies but progressive textures sequenced it’s the powerful and almighty beat what will command the record from start to finish. Magnetically driven, these set of beats augmented by the ever pulsating core of beeps and hard trance distortions will engulf the listener’s mind into a raisin in the end. But while it happens the general meltdown will occur with the extreme transitions of acid trance. The work starts rather calmly, slowly peaking on “Vyk” where it will deploy part of its more raw resonance, consider a groovy techno side melted with Old school industrials ending their fusion in a noisey, dirty and psychedelic compost and then taking the definitive wild ride on “Tul” where the cerebral synapses start to fail in its daily deliveries when the storm of antenna like pulsations and odd chopped breaks blend together. The muscular rhythms takes the listener into the dance floor and smash his head with mind bugging loops and distortions. As general tactic, the tracks start from a massive hooking beat that gets abused by all kind of synthesis adding high frequencies that really disturb the ear and transforming its simple play intercourse into really weird breaks, fragmented rhythmic pieces and noise blasts while the twisted background made of groovy analogues morph like the round of fortune. “47” presents a more Industrial approach with a locked rhythm that circulates till it gets like a mechanic progression but preserving that provocative set of analogue groovyness around it. Now if you want to get mad get rapidly into “K2n” and “Facce” where mechanic industrials meet delicious Trance sequences and a company of powerful rhythmic noise blasts and you’ll pretty much peak out with the highly intoxicated acid quality from “Alk” grinding with its high frequency sequences and completely rumbling everything over with its repetitive rhythmic hooks. Clearly a mad album, seems like a phase of experimentation made without restrictions, with an intent to pervert the listener with its mad abrasions and fierce rhythm practice. Its original foundation made of rhythm transmuted into Industrial power and noise burns over an unstable transition of Trance analogues is really mind altering and really interesting. They achieved two things basically, to move the listener’s bones through its intrepid and volatile rhythms and to melt down his brain with the lights and colors. Sturqen is a band that will give a lot to talk about with this album, they have paved the way for massive admiration. Thumbs up! (Jack The Ripper) Daghiesha Altra splendida release della Kvitnu – non fosse altro per la curiosa geometria del cartonato in cui è inserito il disco – che questa volta ha spinto la sua ricerca fino al Portogallo. Sturqen è artista detito ad un industrial sperimentale con uno spiccato ascendente rhythmic noise. Nelle sue deviazioni c'è la passione per la tecnica e la pulizia del genere ma anche un'indole violenta che frattura più che volentieri le linee melodiche lanciate dalle macchine a sua disposizione. IDM, trance, ambient oscura improvvisamente attraversata da fasci di luce accecanti, solitudine, atroce distacco. Questi gli elementi che contraddistinguono il viaggio di 'Piranha' tra rumore e silenzio. Non vi fate ingannare dai primi brani che non sembrano tanto il risultato di un processo compositivo spontaneo quanto esercizi di stile perché col passare dei minuti l'album cresce a dismisura. '47' il pezzo chiave, quello che trascina l'ascoltatore verso 'K2n', 'Facce' e 'Parkus' corpo significativo di un impianto sonoro che richiede un'analisi profonda e non vi deluderà. Der Medienkonverter Ein recht extravagantes Cover, ein Band-Name, der mir absolut nichts sagt, und ein Label, das mir ebenso unbekannt ist: Der Reiz des Unbekannten! Leider ist kein Promo-Sheet zu finden und die Online-Recherche ist auch nicht sonderlich fruchtbar, Informationen sind spärlich gesät. Letztendlich kann ich nur festhalten, dass Sturqen von den beiden Portugiesen César Rodrigues und David Arantes gebildet wird, die mit "Piranha" auf dem ukrainischen Label Kvitnu, Hort experimentellerer elektronischer Musik, ihr Debut präsentieren. Ihr Sound lässt sich als minimalistischer Rhythmic Noise mit leichten IDM-Einflüssen beschreiben. Das Album startet mit dem 40 sekündigen "Xwartz", dass mich zunächst etwas an den vertrackten Sound von incite/ erinnert, bevor in den letzten 10 Sekunden alles von einer Art synthetischer Lo-Fi-Turbine begraben wird. "T7" bedient mit einem Breakbeat-ähnlichen Rhythmus, der als Loop durchläuft, und in seiner Struktur zwar so gut wie unverändert bleibt, jedoch in Bezug auf den Klang einer ständigen, graduellen Modifikation unterliegt, d.h. der Grad der Verzerrung oder die Frequenzband-Filter variieren nahezu kontinuierlich. Das Beat-Gerüst wird erweitert mit einem weichen, weissen Rauschen und Störgeräuschen aus den höheren Frequenzbereichen, die teilweise wie Rückkopplungs-Effekte klingen. Dieses Muster zeigt sich mehr oder weniger stark auch in allen folgenden Stücken. Die sehr unterschiedlichen Rhythmen sind grösstenteils als Loop angelegt und die verschiedenen Varianten an Noise-Sounds (Rauschen Knistern, Fiepen u.ä.) erfüllen auch eher eine percussive Funktion. Auf Melodien verzichten Sturqen, und kommen damit dem Nahe, was ich mit dem Begriff "Industrial" assoziiere, denn Maschinen singen nicht, sozusagen. Dies wird unterstützt durch den gelegentlichen Eindruck (z.B. K2N), dass das Lied vorbei ist bevor man es erwartet bzw. bevor man einen Höhepunkt erreicht hat, den man nunmal aus dem weitverbreiteten, konventionellen Aufbau eines Liedes gewohnt ist. Das kann man positiv oder negativ bewerten, in Anbetracht der relativen Monotonie und dem deutlichen Minimalismus wird es intendiert sein und der Effekt somit erwünscht. Es passt in das Konzept. Sturqen spenden jedoch auch hin und wieder ein wenig Abwechslung innerhalb der Stücke, so bspw. in "VYK", wo der zunächst ungewohnte Rhythmus nach 1 Minute gekonnt in einen 4-to-the-floor Beat umgewandelt wird. Zusammen mit dem wummernden Bass ist hier Kopfnicken im Takt nahezu unausweichlich. Das schon erwähnte "K2N" hat bei mir mit den stärksten Eindruck hinterlassen und ist gekennzeichnet durch gallopierenden Beat, rücksichtsloser, effektvoll eingesetzter Frequenzfolter (im positiven Sinn), und wabernder Bassline, die Assoziationen an den Anfang von Irreversible (im "Rectum") weckt. Der erwähnte, dieses Album mitprägende, Minimalismus der Arrangements äussert sich darin, dass sich hier nicht viel überlagert und die Lieder fast asketisch wirken, Sturqen besinnen sich sozusagen auf das Wesentliche. Der Rhythmus ist auf "Piranha" König und wird auch in vielfältiger Weise umgesetzt. Man kann davon ausgehen, dass die restliche Soundkulisse dementsprechend sorgsam zusammengesetzt wurde, denn jedes Geräusch sticht hervor, nichts geht hier unter, trotz der zahlreichen Noise-Eskapaden. Leider laufen die Stücke strukturell etwas ins Leere. Ein Album für Puristen, die Melodien nichts abgewinnen können und gelegentlich einfach mal in einer Fabrikhalle stehen bleiben, um dem Rhythmus der Maschinen zu lauschen. Geiger Skarpe kanter og tunge elektroniske stød på den portugisiske duos debut, men også lidt for meget tomgang, der dog reddes på målstregen af en mesterlig afslutning. Som lille var jeg vældig fascineret af piratfisk. Disse små, glubske dyr, der angiveligt kunne angribe i en stime og rippe et menneske for kød på få sekunder, så der kun var skelettet tilbage. Sturqen har opkaldt deres første album efter den blodtørstige flodfisk, og Piranha er da også en udgivelse, der hugger hårdt og hurtigt, og som møder én med skarpe kanter, der er til at skære sig på. Og samtidig en udgivelse, der er kold og ranglet som knoglerne, der er ladt tilbage efter piratfiskens angreb. Allerede indpakningen er opsigtsvækkende med et meget uortodokst format, der med spidse kanter signalerer, at der er fare på færde. Dermed lægger udgivelsen sig også i sin indpakning i forlængelse af de øvrige udgivelser fra selskabet Kvitnu, et selskab, der virkelig går til selve cd-indpakningen med stor kunstnerisk opfindsomhed, typisk anført af kunstneren Zavoloka, der også denne gang står bag designet. Sturqen er den første ikke-ukrainske udgivelse på det elektroniske label, men den portugisiske duo, der består af César Rodrigues og David Arantes, føjer sig ubesværet til familien med en musik, der udforsker et felt mellem techno, noise og breakcore med hidsige beats, tung bas og industrielle lydflader. Albummets 12 minimalistiske og sammenbidte konstruktioner har i hvert fald meget til fælles med Kvitnus to seneste udgivelser, Harmonic Ratio af v4w.enko samt Kotras Reset. Nok er Piranha i højere grad forankret i en rave-tradition end i de andres mere avantgardistiske rødder, men de mødes alligevel et sted på midten. Hvor Sturqen dog især adskiller sig, er i deres arbejde med mere udfoldede numre, hvor både Kotra og v4w.enko helst arbejder med ultrakorte forløb. De længere sekvenser, Sturqen byder på, gør også pladen mere umiddelbart indbydende i en rave-kontekst, og mange af numrene vil uden tvivl gøre lykke på et dansegulv, hvis man ellers ikke lader sig afskrække af det mørke, kolde og skurrende lydunivers. Numre som ”K2N” og ”FACCE” er helt indlysende skabt med tanke på kroppe i bevægelse, men man kan også sagtens nyde den som lyttemusik og lade sig inspirere af den begavede rytmik og den skeletagtige lydarkitektur. Det må dog siges, at pladen helt klart er bedst, når Sturqen findyrker den dystre, kantede og aggressive æstetik. Det gør de desværre lidt for lidt på denne plade, der især mod slutningen i numrene ”H14” og ”PARCUS” går i kedelig breakbeat-tomgang. Til alt held gemmer Sturqen en godbid til allersidst, nemlig pladens allerbedste numre ”ALK”, der virkelig viser projektet, når det er mest konsekvent nådesløst, og dermed også demonstrerer det store potentiale. Dystert rumlende horror-musik, der fint kunne passe til en David Lynch-film, møder knitrende elektronisk støj, inden nummeret rives ind i en malstrøm af forvrængede beats, der lyder som futuristisk death metal. Stærkt. Og der måtte meget gerne være mere af den slags. Det kan så forhåbentlig komme på efterfølgeren. (Rasmus Steffensen) Textura One naturally is first of all struck by the presentation of Piranha, which houses Sturqen's CD within a jagged fold-out sleeve whose points are as razor-sharp as the group's music. On the basis of the dozen tracks issued on this collection by the Ukrain-based label Kvitnu, Portugal duo César Rodrigues and David Arantes specialize in a raw and uncompromising brand of dark electronica tangentially rooted in dance rhythms. Largely bereft of melodic elements, a given Sturqen track writhes for a three-minute interval before the machinery re-sets and a different program of industrial patterns and gritty frequencies kicks into gear. “Vyk” elastically thumps and wheezes but then surreptitiously settles into a rather straight-ahead funk-techno pulse. “Unbu” mutates its head-banging squelch into the pulsating throb of “Tul,” after which “47” squeals like a butchered pig before turning ever more clangorous in its mix of low-burning frequencies and scabrous beats. Bulbous beats in “K2n” provide the forward thrust while a drilling noise mercilessly subjects the listener to what feels like a trepanning procedure, “Facce” opts for acidy noise convulsions and techno throb, and “Alk” caps the album with a wayward mix of hammering rhythms and granular showers. Most of the albums of this genre type I've heard are typically in the seventy-minute range. To their credit, Rodrigues and Arantes realize that less is—as it always is—more, and bring Piranha in at an efficient, thirty-nine-minute running time. It must also needs be said that while devotees of harsh industrial-techno and Pan sonic will gravitate in the direction of Sturqen's viral swarms, few listeners not already aficionados of the genre will choose to join them. Cracked When I was a kid Piranha were regarded as the most dangerous small fish in the world. Put your hand into a piranha infested river and a second later you draw it back out with not a single speck of flesh left on your bones. Piranha are able to devour a cow within thirty seconds. That sort of horror movie biology facts. Even though all of this is fascinatingly exaggerated, there are more facts in these sentences than are known about Sturquen. But who cares? In techno - and whatever you may say, techno is the musical genre this is closest to, which is still pretty far away – anonymity and mystery around personas are very important. So take it for what it is: beats. Heavy, deep, bass-ridden, synthetic beats, polished and reduced to the max and then put onto one another to form tracks that are both hypnotic in their driving force as they are disturbing in their sparseness. I bet this will drive reviewers in techno magazines crazy, as they are looking for ways to describe this in their minimalist range of possible expressions. Because, paradoxically, to the limited range of means used, the range of the outcome is spaceous. The music ranges from industrial to the good old Detroit crazyness to a warbling, distorted dub to a sort of 4/4 on the floor weirdness that would eradicate any rave dance floor. Don’t mistake this for a collection of rhythms for techno mixers, because even though the tracks themselves are quite short, they change and mutate quite a lot while they last. Which is another deadly sin in big rave hall techno. I think it is the spaces between the beats that is so important here and makes “piranha” outstanding. In regular techno these spaces are filled with layers of stupid keyboards or vocal samples going “oooh-aaah shake your butt” or something likewise dumb. Here, the only thing filling the vacuum is the echoes of the beats themselves. A lonely hi hat hit on the four is as close as it gets to a melodic fill. Yet, sometimes there is noise, but this is also used as a percussive element. And one more important thing: expectations – forget about them. As soon as you form one, Sturquen will add something to destroy your expectation. “K2N” for instance, gets as close to a regular techno beat as possible here, but the hi hat is somewhat out of sync with the 4/4 double bass and that destroys any headbanging quite easily. And moreover, the track constantly changes. Some words have to be lent to the excellent design of the cover. An odd-shaped, multi-folded cardboard with what seems to be self-evolving graphic elements that, when you look at them, start to move, split and dance with the beats of the music. Done by Zavoloka, who is probably programming her own music with these kinds of shapes. Something like this cannot be downloaded. And even while I am starting to digitalize my collection of CDs (because they are getting just too many to keep them all in their proper shape) and I am starting to think about the effect that it will have on my listening and perception of music, when it is stripped off all visual additions and is left to its plain impact on mp3, a cover like this will make think twice before giving it away. Neural Intricate rhythmic sequences, hovering techno-trance fascinations and noise attitudes are contaminated with an energetic and chaosmotic mood in "Piranha", the latest release by Sturqen. The recording is imbued with a dark, electronic feel, heavy with collisions that could be fitted to industrial dance contexts with no trouble at all. César Rodrigues and David Arantes, in just 39 minutes of recordings, make up a veritable sonic assault, congealed into bloated digital assemblies and throbbing interludes, acidic and stinging, never tame in their travel through multiple energetic textures and fragmented dissonances. Progressions reverberate in ever-changing hybrids, "muscular" and alien, redundant and powerful. A "war machine" which, though apparently far from Kvitnu's typical experimental drifts, still manages to thrill with an even more "conceptual" listening experience. In fact, the solid nature of this musical creation and its authentic deconstructions ensures that the work can be defined as appropriately radical but still multi-faceted, ambiguous and polymorphic. (Aurelio Cianciotta) Gothtronic Sturqen is the Portugese duo Cesar Rodrigues and David Arantes. An inaccessible and impenetrable thick layer of noise is on Piranha combined by Sturqen with glitch and cuts ‘n clicks sounds and heavy techno rhythms. Piranha is the debut album of Sturqen and it is released by the Ukrainian Kvitnu label. Despite the music sounds very minimal and is not really techno and neither industrial noise, it in some strange sort of hypnotic way also keeps the attention focused. The almost mathematical arranged sounds and rhythms at times even evolve into nice grooves. Piranha is a peculiar fusion of industrial noise and acid techno. EtherReal Nouvelle signature du label ukrainien, Sturqen est aussi la première formation signée chez Kvitnu a s’écarter des pays de l’est. Petite curiosité en effet puisque c’est un duo portugais composé de César Rodrigues et David Arantes qui se cache derrière ce projet hautement rythmique. Sturqen a beau venir d’un pays ensoleillé, la musique du duo, brute et aride, ne dépareille pas au milieu des productions de Kotra (le boss de Kvitnu) ou de v4w.enko, la précédente sortie du label. Un peu à l’image de ce dernier, Sturqen produit des morceaux plutôt courts pour le genre, 3mn en moyenne, une durée qui apparait finalement bien adaptée à l’aspect expérimental de leur musique. Comme v4w.enko encore, et certainement comme toute une veine influencée par Autechre, les morceaux portent tous des titres plus abscons les uns que les autres. On commence ainsi avec Xwartz une courte intro histoire de se mettre dans le bain, une pièce ultra rythmique aux sonorités brutes et agressives. Le son se durcit ensuite avec T7 et ses percussions techno flirtant avec l’indus, mécaniques, imperturbables, répétitives. L’ensemble de l’album est basé sur ce type de son, plus ou moins abrasif, sur lequel viennent se poser larsens, crissements numériques stridents (Unbu), variations créées par effets de filtre (47, K2n), drones lourds et vibrants, tout ces éléments particulièrement liés formant alors une sorte de magma sonore, riche et varié, un habillage mouvementé pour rythmiques carrées. Uniquement basée sur cet assemblage percussif et bruitiste, la musique du duo pourra paraitre relativement minimale. Aussi on s’amusera à apprécier l’éclectisme de leur travail rythmique parfois très orienté club, flirtant avec la hardtek sur Facce ou Tul, puis retournant à des abstractions expérimentales sur Parcus, s’essayant même parfois à une plus grande finesse comme sur Vyk qui trouverait logiquement sa place chez Raster Noton. A noter que c’est encore une fois l’artiste Zavoloka qui est responsable de l’incroyable et somptueux packaging en carton découpé qui énervera tous les maniaques du rangement. (Fabrice Allard) |
| Last Updated ( Tuesday, 09 March 2010 20:52 ) |