[mn029]
Bardoseneticcube & Igor V. Petrov
The Perpetuum Mobile Space Vehicle
- Songong
- Patriot [ mp3 excerpt ]
- Shkapina St. [ mp3 excerpt ]
- Brownend
- One [ full-length mp3 ]
- Logosax
Total time: 42:20 min
Format: CD, digipak, 500 copies
Release date: July 25, 2006
Price: 12 €
Collaborative material from Bardoseneticcube's recording sessions with St. Petersburg-based saxophonist Igor V. Petrov. Definitely one of Bardoseneticcube's most singular and musical works, with a mixture of irradiated electronics, hazy lunar jazz, sedated drones and urban soundscapes. Artwork by STPo.
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Reviews
Vital Weekly (by Frans de Waard, August 08, 2006)
Alright: I admit right away I never heard of Bardoseneticcube and their website doesn't list that much information. On 'The Perpetuum Mobile Space Vehicle' they work together with a saxophone player from St. Petersburg Igor V. Petrov. I played it a couple of times, but it seems to be from space, or at least another planet than I am on. Jazz music, drones, up temp rock like pieces, electronica: everything seems to be passing by, but none of the six tracks make a genuine, solid impression on me. There isn't much homogeneity in this record, like they couldn't agree on what to play, or perhaps they agreed to try and do everything. Some of the moments are ok, but throughout, this wasn't well spend on me.
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Gothtronic (by TekNoir, August 29, 2006)
After being confronted with pianosounds, sampled found sounds and surrounding sounds of an urban soundscape you’ll notice in between this intricate sonic constellation all of a sudden a saxophone, that actually starts to sound like a saxophone. What a surprise. This sax is played by the Russian Igor V.Petrov. the saxophone sounds are further manipulated and sound very spacey. The music breathes an alienating yet pleasurable atmosphere that takes you into different sonic worlds in a sci-fi like surrounding where clearly still are lifesigns of man, but also of it’s decay can be spotted. The saxophone sounds are dressed even more with various electronic sounds, deep drones and dub effects. This is not an easy recording but a very musical one for BardosenticCube. Fans of avantgarde and electronic music in for a new experience with these Russian artists should definately check this.
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Neurozine (by John Wikström, September 01, 2006)
If I earlier have said that a record has been interesting, well, forget it. This time I really mean it. 'The Perpetuum Space Mobile Vehicle' is one of the year’s most exciting records. The music has held me spellbound for over four days now. It made my neighbours screaming baby silent in a few seconds, although my neighbour wasn't too impressed, but that's another story.
I think the music feels playful and ingenious; maybe it's because of the really beautiful cover I got this feeling. I don't know. However, this is a record that makes me feel joy when listening to it and it let's my fantasy flow.
With sounds, beats, noise and melodies Bardoseneticcube & Igor V. Petrov creates a complex music that is still very easy to listen to. I don't think this is music that suits everyone but I do think that most people can enjoy it if they get the chance to listen to it without being disturbed or distracted. I really hope that I will hear more of this in the future.
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NecroWeb (by Deathbringer, September 16, 2006)
Mit "The Perpetuum Mobile Space Vehicle" hat sich mal wieder reinster Experimental in CD-Form kristallisiert. Entstanden ist das Album aus einer Kollaboration der selbstbezeichneten Surrealisten Bardoseneticcube mit dem Saxophonisten Igor V. Petrov, dementsprechend ist das Werk auch jazzig angehaucht. Immer wieder schleicht sich das Saxophon aus dem Hintergrund in die Songs, die allesamt mit vielen Samples spielen und diese in den verschiedensten Variationen einbinden. Wer klare Rhythmen, Melodien und Strukturen sucht wird hier kaum fündig werden, denn die gibt es wie im Experimental üblich nur sehr selten zu hören. "Shkapina St." und "Logosax" sind da noch am nähesten an gewöhnlichen Konventionen und könnten mit ihrer im Vergleich zum Rest des Albums elektronischeren Ausrichtung durchaus einem etwas breiterem, aber dennoch zwingend aufgeschlossenem Publikum gefallen. Dennoch sollte man mit den musikalischen Mittel von Dark Ambient und Industrial/Noise wie Drones in verschiedensten Varianten zurechtkommen, auch wenn diese hier natürlich wesentlich zurückhaltender eingesetzt werden.
Auf "The Perpetuum Mobile Space Vehicle" muß man sich einlassen und es auf sich wirken lassen können. Wie beim Surrealismus steht eben auch hier die Wirkung im Vordergrund und nicht das Wie oder Warum. Je nach persönlicher Präferenz kann diese Wirkung von Verstörung bis zu Entspannung anders ausehen. Wie beim Surrealismus passen eben auch nicht immer alle Elemente zusammen, doch genau diese Disharmonien machen den Reiz des Stils aus. Entweder man mag es, oder eben nicht. Nichtsdestoweniger, interessant ist diese CD allemal.
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Connexion Bizarre (by Dutton Hauhart, September 18, 2006)
"The Perpetuum Mobile Space Vehicle" is the latest eclectic release from Mechanoise Labs, a peculiar collaboration of long-standing St. Petersburg industrial/noise project Bardoseneticcube (Igor Potsukailo and Sergey Matveev) with local saxophonist Igor V. Petrov. Bardoseneticcube is often defined by musical surrealism. Thus it is unsurprising that "Songong," the opening track, rapidly devolves from a brisk piano cadence into a menagerie of environmental noise, including such elements as splashing water, the muffled sounds of children playing, an electronic beep like a life support machine, and what might be a dental drill. It is exactly this highly textured palette of discordant found sounds, combined with a ghostly saxophone (at times almost obscured by the opacity of dissonance), that best exemplifies "The Perpetuum Mobile Space Vehicle."
There exists a well-conceived opposition between harsh and mellow in Bardoseneticcube's work. Interjections of recognizable instruments, such as piano and saxophone, contrast with machined drones, electronic distortion and various vocal recordings. At about forty-two minutes, "The Perpetuum Mobile Space Vehicle" has a relatively short duration, but in that time the album effectively creates a dark, intangible film noir atmosphere. The experimental jazz undercurrent of Petrov's spectral saxophone certainly develops a significant portion of this classic, claustrophobic genre essence. For instance, the mournful blues articulated by him in "Patriot" play counterpoint to what seems like television or radio background chatter from the neighboring apartment, buried within layers of noise.
Similarly, "Shkapina St." is full of the bustle and hum of urban sounds - it is restless with clicking percussion, laughing and singing voices, flowing water, calling birds, plush bass and twitchy electronics. Comparing the blasting fanfares of buzzing static and chiming bells in "Brownend" with the aggressive drones and palpable tension of "One," Bardoseneticcube can be declared both surreal and unsettling. Finally, the metronomic plodding of the closing "Logosax" instills apprehension, even as melancholic saxophone notes drift through like calming ether. "The Perpetuum Mobile Space Vehicle" (which, incidentally, has nicely rendered and imaginative cover art) thrives on abstract sonic collage and sketches cinematic contrasts of deep shadows and raking light.
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Der Medienkonverter (by Veit, October 09, 2006)
Wer hasst es nicht, das Geräusch des Bohrers beim Zahnarzt? Was soll man nun von enem Album halten, das genau mit diesen Tönen beginnt? Genau, entweder handelt es sich dabei um etwas richtig fieses oder um etwas total absonderliches. Im Falle Duo von Igor Potsukailo und Sergey Matveev aka Bardoseneticcube trifft wohl eher letzteres zu. Das St. Petersburger hat sich mit dem Saxophonisten Igor V. Petrov zusammengetan, um mit ihm gemeinsam an ihren surrealistischen Klangcollagen zu arbeiten. Dabei variiert das Trio Free Jazz, Ambient und Experimental zu einem melancholisch-abgedrehten Gesamtkonzept.
Der Name des auf 500 Stück limitierten Albums gibt eigentlich schon gut die Richtung vor: "The Perpetuum Mobile Space Vehicle". Was hat man sich darunter vorzustellen? Ein Blick auf das Cover gibt erneut Aufschluss. Skurrile und surreale Welten gilt es zu durchqueren, ungewöhnliches zu entdecken. Sprachsamples, Saxophon, Klavier, Drones, helle Glocken, Kinderstimmen und noch allerhand mehr nutzen Bardoseneticcube, um ihre exotische Welt zu beschreiben. Losgelöst von herkömmlichen Songstrukturen bewegen sie sich vollkommen frei im musikalischen Raum.
Bardoseneticcube sind ja auch bekannt für ihre avantgardistische Ausrichtung. Auf jeden Fall ist "The Perpetuum Mobile Space Vehicle" ein Album, das aufgrund seiner Vielzahl an künstlichen und natürlichen Tönen sehr verwirrend ist und damit auch etwas sperrig. Es ist, als ob man viele Filme zusammenschneiden und im Zeitraffer ablaufen lassen würde. Nichts für den schnellen Konsum, eher etwas für den extravaganten Nachmittag oder den späten Abend.
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Sonidobscuro (by Isis, November 01, 2006)
Mechanoise Labs nos trae el nuevo trabajo de Bardoseneticcube & Igor V.Petrov. 'The Perpetuum Mobile Space Vehicle' es un disco temático, construido aleatoriamente en seis cortes, que nos presenta un mundo lleno de imágenes fabricadas a través de ruidos, samplers, percusión y palabras vocoderizadas. La idea que propone el disco es la del movimiento de una nave que navega a través de diferentes mundos o diferentes capas del mismo mundo. Sin embargo, las relaciones que puede hacer cada uno con los sonidos que nos presentan son tan amplias que no están para nada obligadas a formar parte de la imaginería original. De hecho, su música tiene una doble calidad realmente llamativa. Por una parte presentan unos temas en los que uno puede verse inmerso y transportado. A la vez cuentan con una condición que hace posible la completa abstracción de una escucha consciente, convirtiendo su sonido en un lugar en el subconsciente.
Uno de los factores más interesantes del trabajo de Bardoseneticcube y su colaboración con el saxofonista Igor V.Petrov es que, con una escucha superficial, da la impresión de estar oyendo una recopilación de ruidos, sonidos sugerentes, el runrún de la vida cotidiana atravesado de zumbidos y chirridos. Pero a través de una escucha algo más atenta uno descubre que cada corte está hilado con una fina colección de sonidos analógicos: piano, campanillas, líneas de bajo, golpes de percusión. Es una construcción libre, muy jazzistica a la vez que experimental, pero que presenta una estructura aparentemente libre pero altamente estudiada y trabajada. En contra de algunas otras producciones experimentales o postindustriales, en que la distribución de un corte se extiende casi como la escritura automática; con imágenes que se suceden en una especie de entramado subconsciente, en 'The Perpetuum Mobile Space Vehicle' es interesante descubrir la ordenación yacente bajo la colección de sonidos en cada tema.
Sonidos tribales, pájaros, palabras, melodías vocales, secuencias pesadas enfrentados a sonidos limpios y cristalinos son los ingredientes que edifican cada uno de los temas de 'The Perpetuum Mobile Space Vehicle': un fascinante trabajo de atmósferas y fluidos. Quedáis invitados a participar en este viaje a través de este espacio lleno de sonidos.
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Kronic.it (by Aldo Volpe, November 01, 2006)
La città incantata
La copertina è bellissima. Sembra di ammirare un sogno onirico del maestro Miyazaki, un mostro dalle fattezze bonarie che non mancherà di arricchirti umanamente con azzeccati quanto saggi discorsi filosofici. Neanche a dirlo, la musica riflette alla perfezione l’assurdità visiva del lavoro grafico. Urbano, lunare, sognante, aurale. Un spirale ipnotica dove convergono le menti dei Bardoseneticcube e i virtuosismi di stampo jazz del sassofonista russo Igor. V. Petrov.
La collaborazione è molto rarefatta, il sound viene dilatato e reso onirico dall’incontro dell’ambient con i suoni, per certi versi, epilettici del jazz. Un viaggio ricco di appigli e sfumature sonore, un tappeto caldo in equilibrio precario tra rovine industriali e torpori ambient picchiato dalla presenza lugubre di Petrov (Browned). “One” si districa in territori ben più oscuri, un denso tappeto ambient noise su cui faranno capolino occasionali clangori e samples vocali cavernosi e poco rassicuranti. Tenebrosa l’outro “Logosax”, una performance buia e pregna di ricordi nebbiosi e corrosi dalla pioggia, più morbida l’intro “Songong” che ha il pregio di partire con dolcezza per proseguire con ruvidezza in un sentiero di soffocato ambient noise.
Un lavoro che sfugge da ogni catalogazione per addentrarsi in territori unici e di grande interesse sonoro.
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Blood Ties (by xdementia, July 06, 2007)
The Perpetuum Mobile Space Vehicle is a bizarre mixture of electronica-influenced rhythms and spaced out jazz with a heavy dose of musique conrete and experimental sounds pervading the persistent rhythms. Even after repeated listens it still leaves me just as puzzled as I am when looking at the outer artwork trying to make sense of it all. I mean this in a good way of course because the release is so drenched with layers and details galore that repeated listens just sink me deeper into it's desirable embrace.
The opener “Songong” is my least favorite track because it's different elements don't really mesh to well, starting with a kind of up-beat piano line accompanied by drill sounds and ending with a sparse, cheap sounding drum beat which just doesn't do much for me. Thankfully the sounds that follow are more consistent and a bit deeper in terms of feeling and consistency.
On my first few initial listens I had a difficult time looking past the jazzy electronica elements but after exposing myself to the unique atmosphere for an extended period of time, it actually started to morph into much more of an industrial sound, as I let go, and stopped focusing on the details and let the larger structure pull me in. The last three excellent tracks present this side a bit more with “Brownend” featuring long lulls filled with beautiful drones, noisy interludes and the ever-pervading meandering saxophone which is subtle enough to work.
Everything comes together the most effectively in “One” a glassy drone with swashes of white noise, disembodies chants and samples, and heavier industrial sounds on the fringes. This is one of those occurrences where I find the album artwork to work quite well with the sounds which is funny given how perplexed I was with it at first. But now it all becomes so clear the strange, pseudo-natural space vehicle surrounded by the decaying organic matter of this deep dank forest definitely portrays the amalgamation of the blended assault of (what I assume is) Igor Petrov's heavily sampled concrete sounds and Bardoseneticcube's spacey sax and beat driven electronica.
This is a unique outing with a very crisp and clear sound that lies somewhere in between jazz, electronica and experimental. Taking a gander I'd say that influences might include Contagious Orgasm, Jaga Jazzist, and Autechre and I can say with confidence that “The Perpetuum Mobile Space Vehicle”is most definitely worth venturing beyond the realms of noise to explore.The Perpetuum Mobile Space Vehicle is a bizarre mixture of electronica-influenced rhythms and spaced out jazz with a heavy dose of musique conrete and experimental sounds pervading the persistent rhythms. Even after repeated listens it still leaves me just as puzzled as I am when looking at the outer artwork trying to make sense of it all. I mean this in a good way of course because the release is so drenched with layers and details galore that repeated listens just sink me deeper into it's desirable embrace.
The opener “Songong” is my least favorite track because it's different elements don't really mesh to well, starting with a kind of up-beat piano line accompanied by drill sounds and ending with a sparse, cheap sounding drum beat which just doesn't do much for me. Thankfully the sounds that follow are more consistent and a bit deeper in terms of feeling and consistency.
On my first few initial listens I had a difficult time looking past the jazzy electronica elements but after exposing myself to the unique atmosphere for an extended period of time, it actually started to morph into much more of an industrial sound, as I let go, and stopped focusing on the details and let the larger structure pull me in. The last three excellent tracks present this side a bit more with “Brownend” featuring long lulls filled with beautiful drones, noisy interludes and the ever-pervading meandering saxophone which is subtle enough to work.
Everything comes together the most effectively in “One” a glassy drone with swashes of white noise, disembodies chants and samples, and heavier industrial sounds on the fringes. This is one of those occurrences where I find the album artwork to work quite well with the sounds which is funny given how perplexed I was with it at first. But now it all becomes so clear the strange, pseudo-natural space vehicle surrounded by the decaying organic matter of this deep dank forest definitely portrays the amalgamation of the blended assault of (what I assume is) Igor Petrov's heavily sampled concrete sounds and Bardoseneticcube's spacey sax and beat driven electronica.
This is a unique outing with a very crisp and clear sound that lies somewhere in between jazz, electronica and experimental. Taking a gander I'd say that influences might include Contagious Orgasm, Jaga Jazzist, and Autechre and I can say with confidence that “The Perpetuum Mobile Space Vehicle”is most definitely worth venturing beyond the realms of noise to explore.
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Ikonen (by Daniel Novak, February 01, 2008)
Das Zusammenspiel von Industrial/Noise mit jazzig orientierten Musikern ist leider ein wenig in Vergessenheit geraten. Weder Jazzmusiker, noch Künstler im Post-Industrial scheinen an der Fusion der zwei, im Idealfall hoch experimentellen Musikrichtungen reges Interesse zu haben.
Das St. Petersburger Noiseprojekt mit dem eigentümlichen Namen BARDOSENETICCUBE arbeitet auf dieser CD mit einem Saxophonisten zusammen. Bekanntermaßen ist das Saxophon ein Instrument, das durch seinen vielseitigen Klang für derartige Experimente prädestiniert ist.
Bereits die Gestaltung der Verpackung läßt von Anfang an vermuten, dass man hier entschieden mit den Klischees des Noise-Genres brechen will: Ein insektoid-organisches Raumschiff in einem vernebelten Urwald paßt eher zu selbstgefälligem Progressive-Rock, denn zu der Attitude, die meist mit Noise transportiert wird.
So beginnt auch die CD mit untypischem Klaviersound, kurz darauf setzt begleitend eine Bohrmaschine ein, das Klavier wird monotoner im Spiel, und faded langsam aus, um einem hochfrequenten Pfeifen das Feld zu überlassen. Ganz leise im Hintergrund beginnt bereits das Saxophon, allerdings kippt das Ganze dann schlagartig wieder in ein sehr geräuschintensives Schnarren und Dröhnen um. Der Saxophonist setzt gerade zu duellant dazu ein, und schiebt eine verrückt melodische Klangwand gegen den Krach. Es ist einfach bemerkenswert wie gut dieses Unterfangen glückt. Man belässt es allerdings nicht beim Saxophon, auch jazzige Schlagzeugrhythmen werden eingewoben, man läßt nichts unversucht, um ein Maximum an Abwechslung zu ermöglichen.
Meist hört man jazzig oder Noise dominierte Passagen, die langsam ineinandergleiten.
Der Ideenreichtum der Musiker ist beachtlich, und läßt das Interesse des Zuhörers nie abebben. Immer wenn er sich gerade an eine Komposition gewöhnt hat wird diese verworfen und durch eine neue ersetzt. Auch Samples werden gezielt eingesetzt. Teils läßt sich nur erahnen worum es sich dabei handelt, teilweise werden die Stücke von russischen Texten fast dominiert. Es ist ein gewagtes Unterfangen. Vermutlich wird es Jazzfreunden zu krachig sein, und der dem Noise zugetane Hörer wird sich an den langen Jazzpassagen stoßen. Ein eigenwilliges Projekt, das sich simpler Kategorisierung verweigert. Eigentlich ist das etwas sehr Erfreuliches, diese CD besticht durch ihre guten Ideen, ihre technisch einwandfreie Umsetzung und ihren Neuigkeitswert.
Ein sehr gelungenes, echtes Experiment, schade dass es nur knapp 42 Minuten dauert.
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