Label: Sublime Retreat

モジュラーシステムのみで作られたコンクレート作品!!主にモジュラーを用い独自の実験サウンド創作に勤しむInnovative Landscapes LaboratoryことTaras Opanasiukの2024年アルバム。音の探求、遊び、驚き、発見をテーマに、多くのサンプルと電子音を使い長時間の即興を試みた興味深い記録で、何より作品としての完成度が非常に素晴らしい。感覚的でありながらも、どこか緻密に作り込まれた秀逸ミュージック・コンクレート。マスタリングはGiuseppe Ielasi。





• Glass-mastered CD
• Mini-LP sleeve
• Printed outer and inner sleeves with matt finish
• Artwork by Evan Crankshaw

This album is about sound exploration, playfulness, surprises and discoveries. It is a product of improvisation using modular synthesizers and an experimental approach to composition.

It all started with long hours of playing on my eurorack modular system, combining samples and electronic sounds. The process was completely intuitive, where I avoided any guesswork and just went with the flow, in the spirit of free improvisation. When I later analyzed these recordings, I was surprised to find many inspiring passages and ideas that I would never have come up with deliberately. It seemed that there were sound worlds that spontaneously appeared out of nothing, and I was going to explore them. That's how the idea for the record came about, not from an overarching musical concept, but from the sound itself.

The next stage was a long and meticulous compositional process in which I combined all the parts of the live sessions together and created connecting sections, often by transforming the sound material. During this process, I pretended that I was not creating these pieces, but rather that I was a pioneer on some kind of exploratory expedition to unknown sound worlds. I let the sound lead me, looking for elements that could influence a new section, like hidden dimensions in sound that reveal themselves. My goal was to create interesting narratives for the listener, to make their imaginary journeys as engaging as my composing process.

When I was composing a new part, I often used modular synthesizers again to create sounds and then brought them back to the DAW for editing to keep the elements of playfulness and unpredictability. In fact, a lot of new material and even entire new compositions were created in this way, but I often returned to the original sessions for inspiration, especially when I had writer's block.

Sometimes, when I had doubts about certain sections and wanted to go a step further in this game of removing the composer's ego from the process, I would turn to my electroacoustic composition teacher, Yannis Patoukas, and ask him to make some suggestions. I am very grateful for his input and support during the creation of these tracks.

I invited Evan Crankshaw to collaborate on the album cover artwork. Interestingly, Evan initially chose a variety of elements for his cover idea, but the original images he cut them from fell into a pile that began to suggest a new composition that eventually became the cover. Thus, it brought another spontaneous dimension to the visual aspect of the album.