“DUST” is a visual/sound work, a collaboration with visual artist Mariska De Groot. Based on the concept of optical sound (old technique of capturing sound on film also used at the first synthesizers) and influenced from lots of different aesthetics (first soviet films to post-industrial age) the work consists on projections, on screen as well as on loudspeakers, of basic shapes and on different forms occurring from their interaction with light-flickering. Sounds were recorded using Mariska’s specially designed “tonewheels” and a score made forming a short story. My goal was to use the projected sounds of certain shapes in a narrative way, amplifying the “character” of abstract forms and leading to different mental states and emotions. Visuals and sounds in fluence each other in all their aspects, in such a level that they also work perfactly autonomous.
.::. .::. .::. [DUST] [short version] from Mariska de Groot on Vimeo.
Yiannis Tsirikoglou based in The Hague, the Netherlands. He is student at the Institute of Sonology in the Hague, – a famous school for electronic music. He is also a member of the Thessaloniki-based critically acclaimed experimental band Eventless Plot.
This is a limited edition mini-cdr of 120 copies.
BMP/BPM ~ Light Synth from Mariska de Groot on Vimeo.
This one lasts just 11 minutes but is also quite nice. Tsirikoglou worked with visual artist Mariska De Groot, interacting (primarily via laptop, I suppose) with a series of projections of shapes intertwined with mechanisms of flickering lights. There’s a whole explanation of the process on the label’s website, please check it. In any case I’m mostly interested in the sonic aspect, and that doesn’t let down: ear-and-brain zapping computer music, gently inauspicious or coldly obstructive according to the composer’s organization (chosen for the physical release – live it was different). Play it loud and be surprised: no commonplace in sight, which is almost incredible nowadays. [Massimo Ricci]
On pourrait voir dans Dust une sorte d’écho à Lacunae de mpld, dans la mesure où il s’agit encore d’une étroite interaction entre vidéo et musique. En effet, le principe de ce très court CD (une dizaine de minutes) est une collaboration entre le musicien Tsirikoglou et la vidéaste Mariska de Groot. Captation sonore directe de la lumière projetée par la vidéaste, Dust est une suite de miniatures à tendance narrative où le son provient d’une synthèse des phénomènes optiques. Contre toute attente, les couleurs n’ont rien de très nouveau, mais l’ambiance est assez originale, entre SF et schizophrénie (parfaite pour accompagner la lecture d’un Philip K. Dick). A mon avis, le gros problème de ce disque est la durée de ces miniatures, beaucoup trop courtes pour qu’on ait le temps d’intégrer l’atmosphère et de s’immerger dans ces univers pourtant évocateurs, riches et originaux. Un peu décevant à cause de la durée, Tsirikoglou reste quand même prometteur, et j’attendrais plutôt la sortie d’un disque plus long. [Julien Héraud]
Stranger is the release by Yiannis Tsirikoglou, which has six tracks but last only eleven minutes. Before the word ‘[dust]’ there are some dots, hard to reprint. The liner notes are hard to read, but there are also on the website of the label. Tsirikoglou lives in The Hague and works here with visual artist Mariska de Groot, using optical sound – “old technique of capturing sound on film also used at the first synthesizers” – and uses projections and loudspeakers. There is a narrative here at work, but its hard to say what. These six pieces reminded me of early, abstract electronic music, maybe both from the execution of these small pieces and the description of the project. Without images it still works quite well. Perhaps its a pity that this is all so/too brief and its hard to make up ones mind about it. Here I could have easily enjoyed the time range of a 3″ – twenty-one minutes wouldn’t have hurt. (FdW)
break a plate
Black panel and multiple hatches. Unwieldy frequencies and the bell cuts in an uneven course… Circular reapproach and iron and wooden surfaces shed on the middle base. The crank with fast moves mimics all the dark passages in the Hitchcock’ s polygonal dream… A pleasant neon breeze and chemical soundscapes in industrial mode… It easily vitalizes and at the same time breaks every imitating microelement… From whichever acoustic angle you see it, it shivers and carrys along abstract cracks in the circular game and the tonal horizon is long… (fragile balloon)