Immanens

September 25, 2020
EIKONOISE
Eikonoise Records
Producer: Eikonoise (Bojan Miljančić)

 

 

Composed, arranged, recorded, mixed and mastered by Eikonoise (Bojan Miljančić)

“Fijolica” composed by Eikonoise & Maasej Kovačević

Design: Eikonoise

  • HOPE – 08:54
  • TRACE – 05:00
  • SUBLIMATION I – 06:22
  • TICA VUGA – 06:04
  • INSOMNIA – 06:34
  • LISTEK – 04:53
  • HORIZONS – 04:34
  • MURA – 05:38
  • SUBLIMATION II – 04:46
  • LONG SHADOWS – 07:09
  • FIJOLICA – 06:04
  • TOUCH – 03:31
  • REMINISCENCE – 05:52
  • COINCIDENCE – 10:08
  • REFLECTION – 07:54
  • POINT – 10:35
  • DEJ MI BOŽE – 10:17
  • IMMANENS – 04:45
  • DUDUK – 05:26

Duration: 02:04:28

 

Bojan Miljančić (Eikonoise) – synthesizers, piano, synth bass, duduk, conga, block flute, samples, loops, effects, DSP, electronics and programming (track: 1 to 19)

Maasej Kovačević – piano  (track: 11, 14, 15, 16)

Marko Lajtman – guitar  (track: 5, 12)

Krunoslav Lajtman – saxophone, guitar  (track: 5, 14)

Igor Hrustek – trumpet  (track: 13, 18)

Filip Krznar – drums  (track: 5, 8, 13, 18)

Neven Kolarić – cymbal  (track: 4, 19)

Matija Škvorc † – trombone  (track: 13)

Danijel Požgaj – tuba  (track: 13)

Krešimir Sušec – bass  (track: 5)

Tamara Korunek – vocal  (track: 6, 9, 18)

Nikolina Virgej Pintar – vocal  (track: 8)

 

If the word “music” is sacred and reserved for the instruments of the 18th and the 19th century, we can replace it with a much more meaningful term: THE ORGANIZATION OF SOUND. (J. Cage)

 Immanens is the conceptual title of a debut album by the project Eikonoise. The album comprises a series of 19 compositions that were created over a period of 15 years. The compositions are a product of a long-term collaboration of a number of artists from different domains of musical and visual expression. The title Immanens, which unites the 19 separate works, was chosen to depict that which is stylistically indefinable, specific, unique, original, and unrepeatable.

 By definition, immanence describes that which is intrinsic and inseparable; that which exists within the very essence of a particular thing. In this case, we speak of the immanence of sound. Sound as a sense of diversity, as a form that gives shape, as an embodiment of force and continuous action, sound as the elusiveness of the tonal structure that is aliquot and dynamic. In its quest for diversity, multi-layered sound design, and the openness of the work itself, Immanens doesn’t fit into any of the hybrid categories of contemporary music. It is hard to place this album into the confines of any musical genre, as it chooses sound itself, in the entirety of its immediacy and presence, as its expression, its main element, its paradigm, its unique stimulus and challenge, and as the beginning and the end of its creative process. Such approach reminds of (and leads to) experimental work and research, but with enough restrain to avoid experimentation for the sake of experimentation.

 It is essential to mention the affinities on which the aesthetic of Eikonoise has been built. These affinities directly describe some particular creative processes and principles of creation: Brian Eno and his ambient concept, collage, minimalism, and the factor of coincidence; Arvo Pärt and his extreme reduction of sound material, deep sense of enlightenment, timeless beauty, sacral minimalism, spiritual power, and “the love for each individual note”: Steve Reich and his technique of gentle phase shift, hypnotic repetitions of rhythmic patterns, emphasized meditative atmosphere and simplicity, guided by the motto of all minimalists – “more is less, and less is more”. Minimalism and graphic notation of John Cage, rhythmic structures of Igor Stravinski, “Intonarumori” and Luigi Russolo’s various deconstructions of classical instruments, Pierre Schaeffer’s collection and questioning of potential musical value of particular sounds by recording them with a tape recorder, and general fundamental changes in artistic practices, introduced by the numerous avant-garde movements of the 20th century. These changes were exhibited in both the technical and the aesthetic spheres of artistic activities, through the crossing of the borders set by harmonious and canonized music. An indispensable influence has been derived from the contemporary Scandinavian artists such as Eivind Aarset, Nils Petter Molvaer, Bugge Wesseltoft, Jan Bang, Arve Henriksen, and Erland Dahlen.

 Immanens is sound, in its immanent presence and absolute form, removed from routine and self-evidence, sound which enables us to create new experiences that haven’t already been prefigured by the usual and the familiar.

 

Ako je riječ ”glazba” sveta i rezervirana za instrumente 18. i 19. stoljeća, možemo je zamijeniti puno značajnijim pojmom: ORGANIZACIJA ZVUKA. (J. Cage)

Immanens je konceptualni naziv debitantskog albuma projekta Eikonoise. Album obuhvaća ciklus od 19 kompozicija nastalih u rasponu od petnaestak godina, kao produkt višegodišnje suradnje umjetnika iz različitih područja muzičkog i vizualnog izraza. U odabiru naziva Immanens, koji objedinjuje 19. zasebnih cjelina, očituje se ono nešto stilski neodredivo, specifično, samosvojno, unikatno, originalno i neponovljivo.

Imanentno je u svojem značenju urođeno, unutrašnje, neodvojivo; koje je u samoj stvari, u njezinoj naravi, a to je u ovom slučaju ono zvukovno, imanentnost zvuka. Zvuk kao osjet raznolikosti, kao forma koja se oblikuje, utjelovljenje sile, neprekinute radnje, zvuk kao neuhvatljivost alikvotne i dinamičke strukture tonova. Immanens u svojoj težnji prema otvorenosti samog djela, raznolikosti i slojevitosti zvukovnog oblikovanja ne upada u šablonu današnjih hibridnih muzičkih okvira. Stoga je album teško smjestiti u bilo kakav jasan stil u smislu glazbenih žanrova, jer u svojem pristupu prvenstveno odabire sam zvuk kao izraz, u svojoj neposrednosti i prezentnosti, kao glavni element, kao paradigmu, jedinstveni poticaj i izazov, početak i kraj oblikovnog procesa. Takav pristup podsjeća i vodi prema eksperimentalnom načinu rada i istraživanja, ali umjereno i u granicama eksperimenta koji ne postaje samome sebi svrhom.

Neophodno je spomenuti afinitete na kojima se od samih početaka gradila estetika Eikonoise-a i koji najneposrednije opisuju neke od stvaralačkih principa i načela oblikovanja, a to su: Brian Eno i negov ambijentalni koncept, kolažiranje, minimalizam i faktor slučajnosti; Arvo Pärt i ekstremna redukcija zvukovnog materijala, duboka produhovljenost, bezvremenska ljepota, sakralni minimalizam, duhovna moć i “ljubav za svaku notu”; Steve Reich s tehnikom nježnih faznih pomaka, hipnotičkim ponavljanjem ritamskih uzoraka, naglašenim meditativnim ozračjem i jednostavnošću, pod geslom svih minimalista “više je manje, manje je više”. Minimalizam i grafičke notacije Johna Cagea, ritmičke strukture Igora Stravinskog,  “Intonarumori” i razne dekonstrukcije klasičnih instrumenata Luigija Russola, sakupljanje i propitivanje potencijalnih muzičkih vrijednosti konkretnih zvukova snimanjem na magnetofonsku vrpcu Pierrea Schaeffera i općenito temeljne promjene umjetničkih praksi koje donose brojni avangardni stilovi 20. stoljeća u proširenim umjetničkim aktivnostima na tehničkom i estetskom polju, prelaženjima granica harmonične i kanonizirane glazbe. Neizostavno je stvaralaštvo i utjecaj suvremenih umjetnika skandinavskog zvuka  a to su: Eivind Aarset, Nils Petter Molvær, Bugge Wesseltoft, Jan Bang, Arve Henriksen, Erland Dahlen, i dr.

Immanens je zvuk u svojoj imanentnoj pojavnosti i apsolutnosti forme, izdvojen iz onoga svakodnevnog i samorazumljivog, koji nam otvara mogućnosti da stvaramo nova iskustva koja nisu već prefigurirana u uobičajenome i poznatome.