I am not sure how
this came to me - iii records are based in Japan, and
Ogogo
is Igor (guitars, though there seems to be other instruments) and the album
is
Linden.
It is based around 12 paintings by Ron Linden that are reproduced in the
quality booklet. The paintings are flat
semiabstract
images, painted with muted colours. Some feature curved diamond shapes, that
the final image,
USSUR,
confirms are eyes. Some represent three-dimensional cubist still lives,
others flat compositions or almost calligraphic or musical notations of the
eyes and stave
bars.
Anyway, on the whole non-figurative and a big ask to create a musical
interpretation. While I can see some trends in the music, I am not sure my
reading of the music/image relationship is the same as Ogogo's
- but that is irrelevant as it is the music which counts. There are four
'styles' that I can identify on the album.
The first three
tracks (Eye
spring,
Flygel
and
Pidgin)
follow a pattern that seems common of putting the most confronting music
first. These comprise extremely choppy
D'n'B
percussion with guitar pulses and sorties together with some found
sounds, but also with patches of calm. Initially these are not inviting
tracks, but repeated playing provides more access. The style crops up
again later in the album -
Murdrus
dueluct
is another that
is fast and distorted.
OK, my second
category is
electronica:
comes in both fast and restrained, and takes the guitar/percussion mix
and adding other instruments and more samples.
Sabbatarian is
full on with water sounds, choppy organ and a skittering guitar and has
voice samples in near the end, the crackles,
wargame
tones and abstract noises of
Preplay
actually
reflect the images.
Shem the Penman
is fast
distorted and
chopped/cut,
changing density (and neither image nor music recall
Finnegans
Wake to me), and more chopping eruptions on
Ussur.
Strangely
classified by me as musical, or perhaps simple would be better:
Eroscope
features a
slightly distorted keyboard melody, which is varied and modified with
subtle restraint,
Ohfey
is a
guitar
solo with some gentle
electrobacking.
Finally more
structured pieces:
Obdura
moves through a
solid rhythm loop and burr, a voice and plane sample, peacock calling, a
mower the rhythm returns, peacock returns then drum and voice and
finally a crushing crackle in the last half minute. My favourite
The K
is a long piece
featuring
a goose, rhythm guitar and a baroque like melody which weave in and out
through each other. A beautiful light touch in this almost 9 minutes
(any track featuring a goose has my vote, and an album with peacock is
furtehr ahead!).
Two additional
tracks:
Eroscope
vs Eye spring (dance remix)
puts the rhythm of the first under the musicality of the second, to good
effect, while the
TRS
remix of
Pidgin
is a reasonable
reinterpretation but not at all radical.
On the album
these tracks, other than the last two and the bursting of the first
three, are mixed and shuffled together. The sequence works pretty well,
and the elements which flow through (sirens, bird sounds) give the whole
some coherence. Definitely an album that gives you access to its
complexity and pleasures after a few
listenings
have got you in tune with the aesthetic. Not one to relax to but rather
stimulating.
Experimentelle Klangmalerei
VÖ: 2008 Label: III Records
Genre: Experimentell, Jazz, Noise
Diese Publikation “OGOGO – OGOGO/ Linden” fördert folgende multikulturelle Begebenheit ans Tageslicht: “Ein russischer Künstler, wohnhaft in Amerika, veröffentlicht auf einem japanischen Label einen Tonträger mit musikalischen Bildbeschreibungen!”. Diese vorher angesprochene Tatsache offeriert alleine schon beim Lesen einen gewissen Reiz, der sich auch durch das komplette Gesamtkunstwerk zieht, welcher im Besonderen Individuen ansprechen dürfte, die sich ausschließlich höchst experimentelle Releases oder puren Free Style Jazz “reinschrauben”. Denjenigen, die stringente Arbeiten bevorzugen, sei von diesem Werk strengstens abgeraten, ansonsten droht der Fehlkauf des Lebens!
Der aus Russland stammende Komponist und ausgebildete Musiker Igor Ogogo gehört zu der Klientel Protagonisten, welche nur so vor Extravaganz und Avantgarde strotzt. In den überwiegenden Fällen entstehen seine Releases ausschließlich durch den Einsatz von Gitarre und Gesang, die bisher schon in Russland, Deutschland und Großbritannien das Licht der Welt erblickten. Diese Bildvertonungen unter dem Titel “OGOGO/ Linden” erschienen auf der in Japan ansässigen Tonträgermanufaktur “III Records”, welche nur “durchgeknallte” Medien mit Jazzeinschlag auflegt. Igor OGOGO nahm als Grundlage bzw. Inspiration Bilder des surrealistischen Malers Ron Linden, der schon in unzähligen namhaften Galerien ausstellte, einige Preise einheimste und an Kunsthochschulen lehrt(e). Im Booklet bekommt die Konsumentin bzw. der Konsument zu allen Stücken das passende Bild gereicht, weshalb sich die Tonkonstruktionen von Igor OGOGO besser (gut) nachvollziehen lassen, wenn sie bzw. er sich damit vernünftig auseinandersetzt.
Die zu vernehmenden musikalischen Darbietungen des Igor OGOGO müssen als schräg bzw. entgegen jeder Konvention betitelt werden. Die 14 Tracks auf “OGOGO/ Linden” spielte der Tonakrobat komplett ohne Mithilfe ein, das “Hauptohrenmerk” liegt vordergründig definitiv auf unterschiedlichsten Gitarrenklängen, welche das Spektrum zwischen richtigen Riffs bis hin zu puren Krachphasen bedienen. Im Hintergrund ereilen die Rezipientin bzw. den Rezipienten elektronische Collagen die einem Wechselbad aus Noise und Ambient gleichen. Stringenz existiert in keiner Sekunde der Gesamtspielzeit, aber dafür regiert das Chaos in Reinkultur, wodurch leider ein wenig der Wiedererkennungswert unter den einzelnen Songs verloren geht. Echte “Krachfetischistinnen” & “Krachfetischisten” werden diese Arbeit loben und preisen, hingegen der Rest dürfte fluchtartig zum Abspielgerät laufen, um dem Horrorszenario ein Ende zu bereiten. Zum Glück lässt sich über Geschmack nicht streiten (oder doch?) und unter dem Aspekt der Innovation offenbart Igor OGOGO mit diesem Oeuvre ein echtes Schmankerl für Persönlichkeiten, die jeglichem Mainstream entsagen und wenig Wert auf klare Strukturen legen. Der Anspieltipp des Albums “The K” gleicht einer verrückten Melange aus kitschigem Kinderlied und verzerrten Gitarrensolos, welche sich dauerhaft zum Ohrwurm entwickelt.
Fazit:
Wer von experimenteller Kunst nicht genug bekommen kann und vielleicht ein neues Extrem für seine Sammlung sucht, sollte sich unbedingt “OGOGO/ Linden” zulegen, aber bitte auf eigene Gefahr (für eventuelle Nebenwirkungen übernimmt meine Wenigkeit keine Haftung!). Free Style Jazzspezialisten können mal eine Hörprobe nehmen, um diese “Kiste” zu evaluieren, aber bitte mit Vorsicht! Unter den Aspekten “musikalisches Experiment”, “Freigeistigkeit” & “ungeeignet für Mehrheiten” bestimmt ein helles Licht am “Musikhimmel”, aber ansonsten … (Entscheiden Sie selbst!).
Hörbeispiele und weitere Informationen zu Igor OGOGO finden Sie unter folgendem Link:
http://www.myspace.com/ogogoigor
http://igorogogo.com
OGOGO/LINDEN -
Dark Room Magazine - Italy
(III Records) Time: (48:69)
Se la musica diventa supporto per le tele di un pittore astrattista, è vincolata a mantenere le melodie schematiche o può permettersi di rompere gli schemi per seguire le concettualità di un artista immaginifico? Igor Ogogo ha scelto la seconda ipotesi, e duella con l'artista Ron Linden nella distruzione percettiva e canonica dell'arte. Non è questione d'intelligenza o meno il capire queste particolari forme d'espressione raffinata, bensì di porsi all'ascolto in maniera radicalmente libera facendo sì che sia l'iconscio a percepire i messaggi, così se foste davanti ad un quadro di Linden dovreste aprire gli schemi mentali, estraniarvi dal reale e lasciare che i colori, le forme ed i materiali entrino in voi in maniera subliminale: allora estetica fine a sé stessa e piacere di visione prevarranno sul raziocinio materiale. Inconscio sonoro ed onirico passeggiano insieme irrazionali in noi, anche se difficilmente ci soffermiamo a valutarlo. Così come quei piccoli momenti di magia del mattino al risveglio, quando ancora il cervello è libero dai conformismi che assumerà durante il giorno e si concede gli ultimi sprazzi di dimensione parallela, le immagini sono captate in modo schizofrenico e senza percezione apparente, ma il tutto appartiene alla dimensione inconscia del piccolo patrimonio anarchico e senza regole apparente del nostro inconscio. Igor Ogogo, nato a Mosca (dove tra l'altro ha compiuto studi importanti di chitarra con il maestro Michael Esacoff), cresce artisticamente a Los Angeles. È evidente quanto abbia assorbito dalla cerebrotica sensorialità artistica avant-garde moscovita amalgamandola con l'ossessivo esistere californiano, pieno di nevrosi, opportunità, norme di libertà concettuale. Giunto al sesto progetto con III Records, il Nostro vanta una produzione discografica di 23 album, collaborando con artisti e musicisti di ogni parte del mondo, dall'America all'Italia, fino al Giappone. Tutte le 14 tracce del disco sono un inno al tutto ed al nulla: riff di chitarre violente ed industriali s'inseriscono senza metrica tra i synth e le basi campionate, uccelli e grida d'oche improvvise 'passano' tra i solchi durante il suono di una sirena, come se la masterizzazione del disco fosse stata effetuata a finestre aperte, come se il mondo reale volesse entrare in quell'astratto musicale di Ogogo o nelle tele di Linden. Il mondo che cerca una porta: la porta è in noi, e se lasciamo che i suoni di "Pidgin", della folle "Sabbatarian", dell'ipnotica "Ussur" o della metropolitana "Obdura" entrino, è stupendo scoprire come si possono rompere compendi per poi ricucirli. Lunghissima suite (oltre gli otto minuti), "The K" è un concentrato di musica per il corpo e per riflettere sulla condizione metropolitana ed urbana, slegata nell'insieme ma legata nell'esprimere una summa di disagio, ed anche di nuove estetiche. È fondamentale nell'arte la rottura: senza di ciò non ci sarebbe la creazione del nuovo, l'ordine figlio del caos; penso al futurismo, a tutta l'avanguardia espressiva e teatrale, apparentemente senza senso ma fondamentale nel riformare e nel partorire il novello... la Bauhaus cos'era, se non ciò? Allora la sfida che lancio è questa: nell'era del personal computer cercate le opere del maestro Linden nella rete, mettetele a risoluzione tutto schermo sul vostro pc, estraniate il vostro raziocinio dal reale e fate in modo che le piccole, insensate (apparentemente) alchimie di Ogogo comincino a mescolare suoni, forme e colori con le tele...
Nicola Tenani
http://www.igorogogo.com/
http://www.iiirecords.com/
Igor Ogogo CD - Ogogo + Linden by
toxicpete.co.uk
Play 90 second soundbite of 'Eye Spring' @ 'CD quality'
Time to don those experimental heads again folks as Igor Ogogo once again sharpens his pointing stick and pokes it straight into that grey matter.
'Ogogo + Linden' is a wonderfully angular album of contemporary art-music based on, and inspired by, the paintings of Ron Linden.
Beautifully packaged, 'Ogogo + Linden' comes with sleeve notes showing twelve Linden 'reproduction' paintings the titles of which are used as 'song' titles - get it? Ok, so Ogogo stamps his indelible impressionist mark here with a selection of vibrant, if rather industrial sounding, tracks that rely to an extent on heavily percussive 'beats' of one kind or another 'orchestrated' with great swathes of tangentially slashing guitar and various essentially juxtaposed electro rings, chimes and other avant-garde 'notes'. 'Ogogo + Linden' is something of a living tapestry or 'canvas' in its own right; carrying with it a very free-form organic feel that will probably never quite reach stand-still, rather it'll continue to evolve, develop and grow with time and understanding.
What Ogogo does isn't new of course, many have taken the more convoluted path to music making, some achieved success, other only fell by the wayside. Ogogo seems to have a much firmer grip on the whole ethos of organic avant-garde music; he doesn't seem to lose control of reality and therefore his music doesn't ever become self-indulgent, an easy trap to fall foul of when it comes to musical experimentation. Think of Ogogo's work as a sensual and arousing trip born of sound rather than artificial chemical intake. Think of Ogogo actually planning his work as he studies the art-work closely looking for inspiration and direction. Try to feel what the composer felt during the gestation period of his musical baby.
If you can't let go of your own inhibitions then perhaps Igor Ogogo's experimental musical transgressions aren't for you - but, if you're open to the bold, brash and brave and like to be tested then maybe 'Ogogo + Linden' will give you food for thought. Ogogo gives you the basis for his 'overtures' by providing reproductions of the inspirational images; look into his mind and see if you see what he sees - can you identify with the music and the artistry - does any of it make sense to you? Igor Ogogo's music cannot be pigeonholed in terms of being a specific genre; contemporary experimentalism will always be very much in the eye and ear of the creator and you, the listener, can only try to associate and/or try to find some sort of empathy - you won't actually have walked in Ogogo's moccasins but you may be able to at least try them on for size.
'Ogogo + Linden' is an exciting modern work of some distinction; Igor Ogogo gives you all the 'keys' here to be able to unlock the 'door' and enter his uniquely artistic world and join with him in celebrating the art of Ron Linden. If you take his offered help and use it wisely there's a chance you might enjoy and educate yourself through Ogogo's eyes and ears. If you like a challenge and think you're up to this one, please try 'Ogogo + Linden' by the diversely original Igor Ogogo - I know I've gained something from it and I shall continue to drink from Ogogo's colourful and rewarding cup of musical plenty. Not your everyday music this - testing but absolutely absorbing!
Igor - OGOGO + LINDEN
from
IMPROVIJAZZATION Nation
Issue #
85
This fantastic set of improvised 21st Century works features an artist
I'm surprised I'd not heard from before... a decidedly jazz "flavor", yet his
guitar reminds me of 2 artists I'm exceedingly familiar with... Bret Hart's
early works and my long-time improvising friend Davey Williams (who was one of
the first guitarists I ever improvised with). The "difference" is that
Igor has matured his own style and (musically) paints his own aural images for
your braincase... you will never be "the same" after your exposure to
this adventurous and entertaining CD! All originals, with reproductions of
the Ron Linden paintings that inspired many of the tunes. Clearly not
"just another wild improv", there is a definite sense of direction in his
playing/mixing, & I found myself listening back through several times in
order to grasp the sonic imagery he was laying down. It's true that a
listener who only goes for AM radio or other adventure-free music won't find
this terribly enjoyable - but those who read this 'zine regularly will "grok"
that the musical language Igor speaks in transcends all barriers erected by
those "blue meanie" types, & will perceive his vision immediately... this
album gets our MOST HIGHLY RECOMMENDED for listeners who want something
different, fresh & new! Get more information at www.iirecords.com/igor.htm
Rotcod Zzaj
