Chris Carter, an outstanding musician whose immeasurable contribution to electronic music has already earned him a place in history years ago, returns with
Kadaitcha is a creative symbiosis of Yuri Samson (Biblioteka Prospero, Starless) and Andrei Kozhukhar (Fogscape, Kojoohar) from Nova Kakhovka, Ukraine. The project has already been crystallized for a while but it took some time before coming to the first LP – and the second in the near future, hopefully. This album appears to be a significant event for the local scene as even old ukrainian label Quasi Pop (well-known before for being the center of ukrainian experimental music of any kind) has come alive again to release the limited Corpus Caeli cassette. We must also admit that album looks like promising exportable stuff, too.
The working process seemed to become an important challenge for musicians themselves as they were looking for Ariadne’s thread in a labyrinth of outwardly disparate fragments that finally has come together to form an unpredictable sound mosaic. “We’ve discussed a lot, sometimes tinkering with a momentary details; we’ve fancied some stone wheels, wind, gargoyles, iron and bones working together”, – tells Samson, giving us a main clue to understanding the album – a presence in the thin layers of extreme ambivalent states where nothing is true and only listeners’ complexity and sensibility really matter.
The most redeeming is Kadaitcha’s inner disengagement from specific images, genres and sound parameters. Though the term experimental has been diffused a lot with the invention of modern practical instruments and the lack of formerly inescapable electronic DIY, Corpus Caeli appears to be a very essence of experimental electronic music with the inherent value of discrete elements and intentional eclecticity of the entire. This strange collage made of instrumental improvisations, drum machines, field recordings, voice samples and mismatched noise textures serves as particular form of industrial meditation that drives the listener out of any verbal concepts, logical constructions and common sense overall, into the realm of pure chaos, altered states and ritual itself, where any individual element needs no explanation, but all together they form a natural syncretic whole.
It’s interesting to watch the balance between the general and the particular in Kadaitcha’s release, noticing an uncompromising expressiveness of the details. Harsh, fleshy and harmonically rich guitar streaming dissonantly into insane polyphony of unsynchronized pulsation and contrasting patterns. Defiantly discordant but surprisingly natural mixture of electronic pads, nervous saxophone improvisations and mechanistic rhythmic structures. Music doesn’t tend to warm the listener up, but throws him immediately either into the eye of the dust storm, surrounded by the frightening grind of metalworks, or into an intersection of radio interferences flowing together from every side. That’s what modern sound shamanism supposed to be, capable of driving the listener into the electrized information worlds, so cold, sparkling and omnipresent.
Listening the album at high volume or in your headphones can cause strong intellectual and sensory overpressures comparable to a stroboscope effect or dynamic space trainers – and in the diluted modern post-postindustrial era of half-measures and half-words it’s an asset. Corpus Caeli can turn out really tough even for experienced listener with its extremely abstract expression but it’s still a high-quality, intriguing and noteworthy release. Take it curiously but carefully.