grubus kompinis NONOP recenzijos vertimas i anglu kalba. bent jau suprasti galima apie ka sneka :)
Cituoti:
If one thinks of music from Litauen, GIRNU GIESMES are and perhaps WEJDAS surely the in music changeable DONIS not far beside KULGRINDA. In its music the multi-instrument valleyist DONATAS connects BIELKAUSKAS traditional and modernized litauische sounds and folklore with elements of contemporary electronic music. Which comes out thereby, is most different: Thus to that Deinana with its Synthesizermelodien „,“ eingesampelten nature noises and Gloeckchenklaengen adheres to 1998 published album nevertheless quite strongly the synthetic charm of a new Ages Meditationsalbums. This character loses itself however fortunately with the progressing of the time. Together with the colleagues of KULGRINDA 2003 with Sotvaras „“ a magically seeming album with archaischem flair, which tones traditional winter sun turning singing, developed, which tells the history of the magic origin of the earth with a broad pallet of folkloristischen instruments. With „Vacuum“ one year came out later a pure Ambientalbum, which was however already taken up 1997. If one regards parallel to it „the Deinana“material, one may hardly believe that both comes from the same musical head. „Vacuum“ consists of only one, 65-minuetigen TRACK, a journey into a deeply roaring, black emptiness, of which completely black opening of CD and packing carry calculation. „Bite Lingo“ from the year 2006 strikes then again the folkloristisch electronic way – thank-worth-proves without 90's the Esoterik Touch, for it by sections nearly dancable -, before it goes with the current „album“Alexandreia, which is to employ us here more near, on completely different way.
And DONATAS puts BIELKAUSKAS geographically a considerable jump down, because these new banks lie in the antique Greece – a surprising development for volume, which verwurzelt in the past so strongly in the own national folklore was. To leave a development, from which much courage speaks, the old-familiar paths and in music to be received linguistically and conceptionally an unusual synthesis. On instrumentaler level the repertoire of traditional litauischer instruments extends such as Birbyne (a kind of flute), Duda (Baltic Dudelsack) and Zvanguliai (bells) by a Caucasian Duduki (likewise a flute). Over an electronically generated underground the different flutes lie, easily of BIELKAUSKAS and the speech singing of guest singer ALVYDA STEPAVICIUTE, which rezitiert verses of the Greek poet KONSTANTIN KAVAFI (also KONSTANTINOS PETROU KAVAFIS, – 1863 1933).
This applies beside KOSTIS PALAMAS and GIANNIS RITSOS as one of the most important Greek poets of the modern times and ranks besides among the few Greek authors, who found their place in the world literature. 1930 were located to KAVAFI in intensive contact with FILIPPO TOMMASO MARIENTTI; its verses departed from the language of the Fin de Siècle, coined/shaped the language of the modern poem and are for their part coined/shaped by the Greek people language dêmotikê, into which KAVAFI inserted courses of the older language form as archaisierendes element consciously katharevousa. Contentwise its lyric poetry turns around the Greek Antique ones, the Byzantine age and the brightistic past of the eastern Mediterranean area. Beside a philosophical and a historical there is also a pronounced sinnlich erotische component. Its poems are today transferred into different languages, lose thereby however necessarily at language beauty and klanglicher peculiarity.
ALVYDA STEPAVICIUTE rezitiert KAVAFI in „Alexandreia“, „Ionia“, „Sparta“ and „Troja“ in the source language, and if one did not know that it concerns modern lyric poetry, could one feel tried to assume in the sounds of the strangely seeming language ritual words of an antique Hohepriesterin. Who must think NYMPHE on with these Gaensehautstimme and the entire musical arrangement DAEMONIA, lies (probably not of approximate) correctly: Voice, sound and Feeling of „Alexandreia“ remind astonishing of the Greeks around SPYROS GIASAFAKIS and EVI STERGIOU, without coming however to a unity unity copy. DONIS are altogether calmer, the Percussion are more economical, and are missing the reconstructions of antique Greek instruments, which NIKOS BRASS contributes too DAEMONIA NYMPHE. The felt similarity is not to be pointed nevertheless from the hand to.
Warm, calm sounds, easy Ethno Percussion, bells, piano and flutes - and in the background the siren singing of JOANNE SPIRICHEVA, for a further musical guest, the one gegenpunkt sets to the warm however sometimes also working voice of ALVYDA, quite harsh in the speech singing. Who can be carried off from such gladly, is well advised when this publication from the house AUTARKEIA. Also who likes DAEMONIA NYMPHE, nothing makes wrongly. A pleasant, klanglich warm and round album, which surprises with an interesting new combination: The northeast of Europe meets the south, an predominantly Baltic instrumenting a Greek topic - and in this case that is a quite successful experiment, after which one cannot after-say to the project of the Litauers now finally any longer, it steps on the place.
