artist: KOSTIS KILYMIS
title: .Accumulated
label: Organized Music From Thessaloniki
country: Greece
format: CDR
title: .Accumulated
label: Organized Music From Thessaloniki
country: Greece
format: CDR
Sounds, recordings & processing by Kostis Kilymis (2006-2007).
1. Wave
2. Film
3. Ascension
4. Across the water
5. Into film
Field recordings, sine waves, feedback, discrete processing & re-recording construct a
brief exploration through the mutation of audible phenomena. The material was originally
created during the same period as that used in 'Thessaloniki 1963, A Diary From B To C'
[t01], though used here for different intents & purposes. A more affirmative answer to the
question once eloquently mumbled by Jim Jarmusch: "Why am I here?"
(Organized Music From Thessaloniki)
"Some weeks ago, in Vital Weekly 604 we reviewed a CD by Thessaloniki 1963, a project
by Kostis Kilymis although it was hard to decipher. Maybe it was after all just under his
own name. This new release is more clear. Five pieces of music by Kilymis, who offers
some highly dynamic music. Let's say if you wanted to hear the softest bit on the CD, the
loudest bit would be ear piercing loud. I compared his previous work with Meelkop,
Behrens and Chartier, here he seems to be finding more of his own voice in music. Still
based on field recordings and such like, there is a bigger deal of feedback employed here
(the ear piercing aspect), and more crude and raw than before. His music is made of
amplifying his surrounding and let the unwanted sounds - feedback and hiss - inside. Quite
a well made release once again." (Frans de Waard - Vital Weekly)
"Difficult to remain captured by microsounds, controlled feedback and environmental
recordings nowadays if one doesn't know the exact measure of their gatherer's seriousness.
Yet Kilymis has found a way to sustain attention by depicting simple views with even
simpler means, his music nearly tending to what once was called 'reductionism', at least
in spurts. What distinguishes this from other similar offers is the efficacy of the source
placement process set in action by the Greek artist, who puts all eventualities in the most
accurate contexts by forcing disturbances and natural emissions to live together in
harmony, as Stevie and Paul would say. Penetrating squeals sound like the most obvious
occurrence in a regular world, modified granular complexities leaving room to strange
tones and farting bleeps while we hear background activities, either from a street or from
the room itself where all these things happen. In the last track an electric guitar manifests
its presence more clearly, but it’s instantly forgotten because of the growing stratification
of hiss and feedback that constitutes the main foundation of the piece, until the “white
noise wind” at the end. Both enigmatic and analyzable in the tiniest detail, this is a very
interesting record which at 32 minutes of duration leaves the listeners in the hands of a
blemished perplexity, bordering on admiration." (Massimo Ricci - Touching Extremes)
1. Wave
2. Film
3. Ascension
4. Across the water
5. Into film
Field recordings, sine waves, feedback, discrete processing & re-recording construct a
brief exploration through the mutation of audible phenomena. The material was originally
created during the same period as that used in 'Thessaloniki 1963, A Diary From B To C'
[t01], though used here for different intents & purposes. A more affirmative answer to the
question once eloquently mumbled by Jim Jarmusch: "Why am I here?"
(Organized Music From Thessaloniki)
"Some weeks ago, in Vital Weekly 604 we reviewed a CD by Thessaloniki 1963, a project
by Kostis Kilymis although it was hard to decipher. Maybe it was after all just under his
own name. This new release is more clear. Five pieces of music by Kilymis, who offers
some highly dynamic music. Let's say if you wanted to hear the softest bit on the CD, the
loudest bit would be ear piercing loud. I compared his previous work with Meelkop,
Behrens and Chartier, here he seems to be finding more of his own voice in music. Still
based on field recordings and such like, there is a bigger deal of feedback employed here
(the ear piercing aspect), and more crude and raw than before. His music is made of
amplifying his surrounding and let the unwanted sounds - feedback and hiss - inside. Quite
a well made release once again." (Frans de Waard - Vital Weekly)
"Difficult to remain captured by microsounds, controlled feedback and environmental
recordings nowadays if one doesn't know the exact measure of their gatherer's seriousness.
Yet Kilymis has found a way to sustain attention by depicting simple views with even
simpler means, his music nearly tending to what once was called 'reductionism', at least
in spurts. What distinguishes this from other similar offers is the efficacy of the source
placement process set in action by the Greek artist, who puts all eventualities in the most
accurate contexts by forcing disturbances and natural emissions to live together in
harmony, as Stevie and Paul would say. Penetrating squeals sound like the most obvious
occurrence in a regular world, modified granular complexities leaving room to strange
tones and farting bleeps while we hear background activities, either from a street or from
the room itself where all these things happen. In the last track an electric guitar manifests
its presence more clearly, but it’s instantly forgotten because of the growing stratification
of hiss and feedback that constitutes the main foundation of the piece, until the “white
noise wind” at the end. Both enigmatic and analyzable in the tiniest detail, this is a very
interesting record which at 32 minutes of duration leaves the listeners in the hands of a
blemished perplexity, bordering on admiration." (Massimo Ricci - Touching Extremes)