Vladislav Green. Saint Petersburg – Russia.
My electronic adventures started from experimental post-rock band Ned Hoper from Saint-Petersburg. My main instruments was electric baritone guitars and two huge pedalboards. On our latest album I decided to use something completely different. That’s how I started to work with Kyma system by Symbolic Sound. It’s capable of doing wonderful unreal sounds and I spent a couple of happy years learning it, creating sounds for movies I worked with as a sound engineer and finishing our work with Ned Hoper just to be ready to ask the next big question. Is it possible to create it all without computer? And after some basic research I quickly found an answer - the modular synthesis.
Assorted eurorack modules by Synthesis Technology, AJH, Xaoc Devices, WMD, Hexinverter, Mutable instruments, 4ms, Make Noise, Erica Synths and many others. Sequenced by Five12 Vector, Winter Modular Eloquencer and not sequencers at all.
Deckard’s Dream Synthesizer by Black Corporation.
Some guitar pedals. Recorded with old Neve 5422 console and Sound Device MixPreD.
TÆT returns with a newly patched modular set-up to create Twisted Static. Progressing in style as a logical continuation from his last album on Truth Table - ‘Life Detection System’ these new works map out the journey.
Each track is composed without a gap in time from the previous. TÆT brings a stream of consciousness moving effortlessly between his modular creations - an uninterrupted flow, a way to reach something.
Vlad reflected, “The process of working and equipment hadn't changed much but there was some interesting techniques I started to use. Basically it's about creating the static form and the general flow of the music and adding new scenes, branches, events and connections between them. Creating an internal flow of creative output.” The album’s cover perfectly illustrates this, “It feels like playing with static sound space and objects in an endlessly deep box.”
“Every time I ‘m working in the studio I am alone in a space. This impacts on the sounds and sequences I create. With progress I always notice the point when music and the sound system start to suggest directions and colours - a kind of dialogue - both sides catching ideas of each other forming the structure of the space they’re already in. It feels like an exchange of energy and sometimes it’s impossible to take a brake or even to make technical preparations for recording - so it must be made before you start, then you’re really free.
I think the LDS album is all about that feeling - you are raising your head and discovering new space, new life around you and wondering if you are actually alone here.”
Written, produced, performed: Vladislav Green - AKA TÆT.
Artwork & design: Jacek Doroszenko.
“Icer is brings together a collection of works derived from my sound experiments with eurorack modules, developing each one into a coherent narrative. It’s an organic way of working sounds, pulses, beats and textures melting into a flow and being channelled into audio stories. The creative process is like a lucid dream – time stands still while sound becomes fluid.
The possibilities of the patchwork eurorack and a Deckard’s Dream synthesizer allow me to create in the moment. I avoid using computers or multitrack recorders and try to record the whole piece in one take instead. Icer is the result of energy being creatively blended and frozen in time with the final recording.”
Written, produced, performed: Vladislav Green
Artwork & design: Jacek Doroszenko
No Eurorack modules were hurt in the making of Icer (so we think), yet they’ve been expertly collected by Saint Petersburg-based Vladislav Green (aka TÆT) in a 9-pack album for TruthTable. Each track maneuvering through low-end jolts and minute blips and bleeps as evidenced on “Gouache,” a rhythmic cacophony of modular flares. Icer sheds just as much IDM abstracts as it does darker industrial tones as featured on “Document 21″ where shuffling scratches and glitch flicker from all corners. TÆT continues to unravel exploratory acid tinkering also—”Vane” wiggles about like broken machines interacting with each other from another planet. “Document 28” expands and contracts via hundreds of microscopic synthesizer bits in an emotional sonic array. Where ambient noises drift in far away corridors, “Every Day I Lose My Mind” eventually busts open to reveal its crunchy analog drone where glitch slides across a dystopian landscape of scenic audible beauty. “Half Guesses,” a personal favorite, takes the above-mentioned details and carefully weaves them into one magical synth-based tapestry worth repeated listens to fully dissolve (echoes of early Arovane also bubble to the surface as this track closes.) Icer is a dynamic album that digs deep into the inner workings of downtempo electronics as raw beats, bass, and distortion merge into a synergetic patchwork. If TruthTable’s mission is “plugs, wires, midi cables, and mixing desks channelling inputs from analogue electronic instruments,” then they’ve more than succeeded with signing TÆT to their growing roster.
Vladislav Green aka TÆT multiplie les Eurorack, pour confectionner une musique gorgée de basses rapeuses et de sonorités superposées, donnant une impression de matière grésillante chargée d’onirisme futuriste.
La force d’Icer est de faire s’affronter des forces antinomiques, où la fragilité côtoie une force sauvage, sans pour autant se faire écraser. L’IDM s’engage sur des pentes de bass music poussant en avant des blocs atmosphériques aux nuages écrasants. TÆT expérimente constamment, enchainant les propositions et les oscillations, concassant les rythmiques sur des murs de machines aux parois métalliques, cassantes comme du verre, les mélodies prenant la fuite entre les lignes tumultueuses de cassures injectées dans les interstices de martialité binaire. Très fortement recommandé. Roland Torres