Povilas Voe
Bio
Writing has been part of my life since childhood. I create articles on culture, music, and humanities, as well as fiction, focusing on authenticity, vivid language, and engaging the reader from the first line.
Stories (3)
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Lithuanian Electronic / Experimental Music: An Inspirational Indefiniteness
Electronic / experimental music as a category encompasses a wider space than the meaning of the words that make up the term might suggest. For many composers an experimentally derived sound is not the goal they are striving towards. The concept of experimentalism here refers rather to a sound that is hard to categorise stylistically. After all, the very concept of experimental music in the present context of ‘total accessibility’ has led to the loss of its primary meaning. The other word here is ‘electronics’. Not infrequently this points towards sound technologies and the aesthetic associations arising from that. However, in this case the character of the corpus of sounds takes in – again – many much wider spaces. The semiotics of the term ‘electronic music’ directs our thoughts to more sterile, colder, more mathematical sounds, but in the context under discussion we also come across crunching drone-like flows of organic sound, spontaneous, rough rhythmic forms, and chaotic hornet’s-nest-like noise. That is why the musical character just as often arouses naturalistic associations with ‘organic sound’.
By Povilas Voe9 months ago in Art
Lithuanian Nonconventional Music Publishing: Ideas and Individualism
In this text, I will attempt to trace the contours of the phenomenon of Lithuanian experimental electronic music self-publishing. There are, of course, numerous vanishing borders and cases which resist concretisation, but some forms enveloped, as it were, in the mist can nevertheless be discerned. The discussed context is related more to nonconventional music, or the so-called ‘underground’. One of the reasons is that authors who are more active in the ‘academic’ sphere engage in self-publishing much less, because their releases mostly appear thanks to funding by the relevant state bodies. Another tendency discussed in this text is to focus on the physical format rather than on the online one, because the latter requires less actions pertaining to self-publishing. The information value of Internet-exclusive releases is unquestionable, but this article emphasises the tangible result. One more ‘parameter’ is the period, which began roughly in the early 1990s and continues to this day.
By Povilas Voe9 months ago in Art
Attention to Surrounding Experience
As economical as it is in grammatical sense, the title of the composer’s new digital release is directly linked to the character of music in this set. Here, the term ambient seems to indicate the relationship between the surrounding environment and the scope of sounds the composer employs rather than the genre of music. Clearly, the term as such points to the attentiveness to everything arround you, or the ambience, but the tracks on this release often maintain this type of “moral position” even when their structures drift away from the programmatic features attributable to ambient music. Describing the latter, I would cautiously speak of long and sustained tones suggesting the mood of lingering. It is the first and the last composition that correspond this description at the greatest extent. By opening and closing the content-space of this set, they (sur)round it, which brings our minds back to the semantic meaning of the word ambient. Moreover, the interplay between the two digits, 6 and 9, does not seem to be accidental either.
By Povilas Voe9 months ago in Art
