MichaÅ‚ KÄ™dziora’s project Noiko has a dry docked ship on the front cover with the illusion of it generating smoke out of a chimney that is not actually part of the ship. Take what you like from that, I am guessing that it is a ship yard, possibly Gdansk. However this sonic vessel starts with a faux horn, or perhaps a wryly askew field recording as it moves into static and hiss, the oblique clatter, glockenspiel and double bass. Elsewhere there are indications of piano, guitar, drums, clarinet and other instruments that could be either virtual or real. It is hard, or even impossible to separate the virtual, the sample from the real and I will not even endeavor with this redundant exercise. Needless to say this is a studio album that may not find itself replicated in a live setting, however giving it’s heavy leanings towards jazz, compositionally, aesthetically and it’s choice of instrumentation, then it could be adjusted to meet the demand. It is also an electrosacoustic album, and seeks to convey a lo-fi sensibility but it’s leanings are way too accomplished and even polished to really give justice to garage origins. It bespeaks of well honed ears of seasoned musicians with both compositional knowledge and a depth of interest in experimental music history, especially towards concrete music which I suspect when mixed with acoustic instruments begets the term electroacoustic. They even list that the mastering was performed “by Krzysztof Orluk with his analogue equipment. One of them is the prototype tube saturator constructed by Andrzej Starzyk, a Polish engineer and designer of the recording studio gear.†Such statements are indicators of the performers serious nature and geekish tendencies as well as being the qualities that find this Polish musicians album on rotation in my environ along with it’s rootless mix of sampling, jazz, minimal piano, electronic ephemera and field recordings.
Innerversitysound
