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Hajsch, "1992"
Sonig
Like many current serious artists, Hajsch—who's work lies somewherebetween experimental electronic, electro-acoustic and musicconcrete—tries to break free from categorization. This remasteredreissue of two limited vinyl only albums originally released in 1992 (Nagual and PFN - Hajsch and collaborators)on his own Quiet Artworks label sound both contemporary andchallenging, thirteen years later. "Akasa" is a quiet but intenseopener: a 16 minute journey starting off with concrete sounds,synthesizers and field recordings which build up an electrifyingatmosphere slowly that finally reaches it's peak when an almostorchestral ensemble of viola, cello and clarinet appears. "Nagual (Part1)" takes use of sharp contrasts, with sparkling water morning birds,bound in a nearly dream-like atmosphere. Parts one and two consistmainly of sounds taken from a bicycle, melodica, and a hardlyrecognizable guitar. In "Nagual (Part 2)" the mood changes to a moreunsettling ambience. For those who've read Carlos Castaneda,this shouldn't be unexpected, as the concept of Nagual stands contraryto Tonal, that represents all our known territory, material andimmaterial. "Nagual (Part 3)" is an otherworldly, nearly harmonic shortappendix created only with synth and samples. "Für Cleo" is a pleasantcinema-like closer where a quiet guitar drone meets a melancholicsaxophone. Hajsch's music requests close attention and throws thelistener in an aural environmentof great clarity. His strength lies with the careful arrangement ofseldom heard sounds in the purposeful use of volume and timing. Thefact that these recordings are over 10 years old doesn't matter much,as 1992is stimulating, serious, and strong evidence that some music can betimeless no matter how styles and technical possibilities change.
Like many current serious artists, Hajsch—who's work lies somewherebetween experimental electronic, electro-acoustic and musicconcrete—tries to break free from categorization. This remasteredreissue of two limited vinyl only albums originally released in 1992 (Nagual and PFN - Hajsch and collaborators)on his own Quiet Artworks label sound both contemporary andchallenging, thirteen years later. "Akasa" is a quiet but intenseopener: a 16 minute journey starting off with concrete sounds,synthesizers and field recordings which build up an electrifyingatmosphere slowly that finally reaches it's peak when an almostorchestral ensemble of viola, cello and clarinet appears. "Nagual (Part1)" takes use of sharp contrasts, with sparkling water morning birds,bound in a nearly dream-like atmosphere. Parts one and two consistmainly of sounds taken from a bicycle, melodica, and a hardlyrecognizable guitar. In "Nagual (Part 2)" the mood changes to a moreunsettling ambience. For those who've read Carlos Castaneda,this shouldn't be unexpected, as the concept of Nagual stands contraryto Tonal, that represents all our known territory, material andimmaterial. "Nagual (Part 3)" is an otherworldly, nearly harmonic shortappendix created only with synth and samples. "Für Cleo" is a pleasantcinema-like closer where a quiet guitar drone meets a melancholicsaxophone. Hajsch's music requests close attention and throws thelistener in an aural environmentof great clarity. His strength lies with the careful arrangement ofseldom heard sounds in the purposeful use of volume and timing. Thefact that these recordings are over 10 years old doesn't matter much,as 1992is stimulating, serious, and strong evidence that some music can betimeless no matter how styles and technical possibilities change.
