ab & xmz: THE PIANO AND OTHER SOUNDS

by Andrei Turusinov, REZULTATY magazine, July 2008

 

Nikolai Dmitriev introduced Anton Batagov to Ilya Khmyz in 2004 when the piece Tetractys recorded by Tatiana Grindenko’s ensemble Opus Posth was being prepared for mixing. An academic approach wouldn’t have suited such apparently simple music that held so much more within. It was necessary to look at it with a fresh vision. As is now known, such a “view” of Batagov’s music has been realised. If you have any doubts, please listen to the disk Tetractys (CDLA 04064).

During the work on Tetractys appeared the idea of a collaboration in which Ilya and Anton would work as equals, and not differentiate themselves as “sound engineer” and “composer”. An excellent and unpretentious conception, although it must be said that it was quite a new idea for the Russian musicians involved, or even, as far as I know, any Westerners. As a rule, there are clear distinctions – there is academic music and academic performance, or on the other side, popular music, jazz, and free improvisation. The division is well established, even though there might be some argument about the work of Nigel Kennedy or the Kronos Quartet. To be honest, however, their efforts do not manifest equality between genres, but either adapt classical music for a rock audience, or alternatively, rock music for classical adherents.

We would never have heard this disk had Batagov been suchwise prejudiced. On the one hand, the result gives us a wonderful simplicity and beauty in the piano improvisations, and on the other, excellent sound, atmosphere, and space. The disk’s title “The Piano and Other Sounds” very well reflects the essence of the recording. The sounds are truly “different”, but even more so “other”, in that they are neither the sounds of musical instruments nor those of the classical piano. Not one or the other voices compete, but rather take part in the formation of a musical space in a singular flow. And this is, you must agree, a rarity in our time.

For me, the atmosphere of this album reminds me of Brian Eno, although not when he worked with Robert Fripp, but rather if he had produced an album with Terry Riley. Thankfully, however, this never took place, otherwise we would have never heard NoPussyfooting or Evening Star…

In sum – a fantastic recording! The sleeve photos are excellent as well! If you are curious, you can find an MP3 link through Ilya Khmiz’ LiveJournal page. If you do so, I’m sure you’ll immediately want to get hold of the recording in real, physical CD form.

It’s worth it. No doubt.