Andrey Kiritchenko ~ True Delusion
Part of the short
text on the inside cover of this beautifully packaged fifth release Spekk
declares “There are events and occurrences that are the same in essence
and yet have their own conceptual notion when placed in a certain context...
without having an access to the information about the context... a man ...
gradually comes under the influence of illusions that begin to change his
life.” Whether or not True Delusion will change listeners’ lives,
it does create a contemplative space tinged with a degree of mystery. Track
titles such as Good Of Bad, Kind In Malice and Both Of My Sides further demarcate
the conceptual space delineated by the liner note.
A swell of harmonic overtones provides a backdrop to muffled scrabbling as an acoustic guitar sounds out pendant notes in a patient, repeated motif. The scrabbling might be the manipulation of a shortwave radio or the amplified mastication of a distant hermit. The sum effect is of a brooding significance, of a period of waiting for something awfully inevitable to happen. There is a sense of the filmic here, the suggestion of an open plain under blistering sunlight. Scope Of My Perception feels as though it might stretch forever, lambent, still and rich with foreboding. The acoustic guitar on Both My Sides brushes a path forward. Overdriven hums and clatters litter the way. Again, the sense of waiting becomes the thing itself, but then reaches out with a roiling tension to transfigure briefly before an abrupt end. The music hovers at a point triangulated between, but not limited by Eno and Budd’s two collaborations, Ry Cooder’s soundtrack to Paris, Texas and Simon Fisher Turner’s soundtrack for the Derek Jarman film, Caravaggio. With the chirrup of a cicada, True Delusion comes into focus. Mood and event meld to form a soundworld constructed by the listener as much as by Kiritchenko himself. As the note is understood to indicate, the artist’s intention hovers at a point somewhere between the two parties while the received truth gradually accretes, ultimately beyond his reach.
A swell of harmonic overtones provides a backdrop to muffled scrabbling as an acoustic guitar sounds out pendant notes in a patient, repeated motif. The scrabbling might be the manipulation of a shortwave radio or the amplified mastication of a distant hermit. The sum effect is of a brooding significance, of a period of waiting for something awfully inevitable to happen. There is a sense of the filmic here, the suggestion of an open plain under blistering sunlight. Scope Of My Perception feels as though it might stretch forever, lambent, still and rich with foreboding. The acoustic guitar on Both My Sides brushes a path forward. Overdriven hums and clatters litter the way. Again, the sense of waiting becomes the thing itself, but then reaches out with a roiling tension to transfigure briefly before an abrupt end. The music hovers at a point triangulated between, but not limited by Eno and Budd’s two collaborations, Ry Cooder’s soundtrack to Paris, Texas and Simon Fisher Turner’s soundtrack for the Derek Jarman film, Caravaggio. With the chirrup of a cicada, True Delusion comes into focus. Mood and event meld to form a soundworld constructed by the listener as much as by Kiritchenko himself. As the note is understood to indicate, the artist’s intention hovers at a point somewhere between the two parties while the received truth gradually accretes, ultimately beyond his reach.
Colin Buttimer
September 2005