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Tag: K Markov

K Markov: Interactivity

Interactivity

Interactivity

K Markov: Interactivity
Released: 24 September 2019
www.synphaera.com/exosphere

In playing Interactivity (65’33”) you are agreeing to listen to K Markov‘s story. Expressing a mood, an atmosphere, a tone, in a numberless variety of subtle sonic shadings, he travels through space like a rocketeer blasting past planets. Polished, rigorous and sober this release is influenced by the 1970s Berlin-School, yet it narrates from the present. Each of its five tracks emerge in a slow gathering of ominous growls – putting the audience inside the action. The amorphous texture of Interactivity initially fills out our space with dense forms. These timbre experiments provide an unexpected excursion. As drifting drones roll out their charged current, the potent, primitive force of sound itself expresses power. Above a storm of sequencer patterns, rushing synthesizer chords mix with lead lines and bristle with electrical current. These pulsing passages are spirited performances of melodic and rhythmic flight. Slow melodies hold forth above a venting mass, while echoing note cycles peal out amidst animated keyboard leads. With electronic harmonies rising and falling in passages of light and dark, an unexpected beauty emerges. Beneath the enigmatic cool of a deep space traveler, this musician generates heat. When tonal content melts into a muted metallic ringing, modulated effects bring on a darkening chill. Here too Markov captures angelic harmonies, amid mined subterranean frequencies. The structure of Interactivity sets the pace of thought. Out past the storms of Jupiter, the rings of Saturn, and the other gas giants, past where the planets end, we may find – among the stars – that there is a meaning to this work. It urges us to be more, not to just want more. Animated by the power of music to convey emotions it stands strong against the cynicism that tears at the fabric of modern life.

Chuck van Zyl/STAR’S END26 September 2019

K Markov: High Voltage

High Voltage

High Voltage

K Markov: High Voltage
Released: 1 February 2019
kmarkov.bandcamp.com

From a realm of sonic wonder comes High Voltage (49’02”) by K Markov. This release and its like are not a retreat from the world, but rather a re-imagining of what can be. Drawn in by a vivid imagination and high spirit, we find something cool, real and sudden. Each of the three tracks found on High Voltage have been designed to flow as a whole, gradually infusing our listening space with Markov’s sense of wonder at existence. The music is absorbed before we even know we have heard it. As thrilling contrasts move between the poles of chaos and order, the composer steps outside himself to dream up new realities. Upon the workings of some powerful engine sequencer patterns emerge and echo through the purple dusk of twilight into a perfect pitch dark night. Passing the control of known forces sputtering sparks heat the circuits of our brains while consonant synth melodies foretell the destination of dreams. With all reference points left behind we enter new space, guided only by a refined artistic sensibility. There is no one way to play this music, and so at each new outing we find new things about sound, mood, atmosphere and texture. Attracting the ear and stirring the mind we again find Spacemusic to be the only genre that can support a thousand ideas all in one performance. K Markov is a persistent and prolific composer, proof that music is an urgent calling. On High Voltage he touches the untamed forces of our internal lives, and weaves these themes into a striking album – to help us focus on our won truth. Such imaginative work shows people there are other ways to create and live, as it trains our thoughts. Markov’s condition is as with many who have come before him, as he stands in wonder at the unfailing stars.

Chuck van Zyl/STAR’S END – 21 March 2019

K Markov: Soul Keeper

Soul Keeper

Soul Keeper

K Markov: Soul Keeper
Released: 13 June 2017
kmarkov.bandcamp.com

The music of K Markov continues to take the listener to new places. His release Soul Keeper (61’29”) seizes our ears and our imaginations. The virtues of lucidity, concision and unity exemplify the refreshing clarity of Markov’s imaginative thinking. At times graceful and consonant, at times angular and dissonant, Soul Keeper has a broad atmospheric range. As we are drawn into a musical experience of larger proportions we find that the impulse for this work is overtly electronic. Throwing off sparks in a superb heedlessness and wild ferocity an intricate geometry of sequencer patterns run like a secret engine. Cast in three pieces the rhythmic buoyancy and variation of Soul Keeper reflects the innate quality of Markov’s creative gift. Patterns of minimalist complexion cycle and vary notes, length and key, in the still driving force of this music’s mesmerizing pulse. Its abstract structures are more overtly coloristic and varied in their expressive range, while textures are diversified to fascinating degrees. In a slow burn of quiet energy a dark sonic mass rustles sleeping shadows, as this album generates heat against a cool cosmic background. Coherent synth lead lines thread through multiple intersections – where ideas, memories and emotions connect and reconnect in myriad combinations. Spookily vacant passages recede within heroic synthesizer themes. Under these building chords we find that a heart still beats. Ultimately, the greater feeling of weight and power on Soul Keeper resolves into a suitable concluding section – an ending hopeful yet credible. So many currents have contributed to this music. While technology and contemporary life hold their high positions, we find Markov himself as the immovable center. He is a planet builder. His music generates worlds where we cannot feel the decay of ours.

Chuck van Zyl/STAR’S END19 October 2017

K Markov: Organic

Organic

Organic

K Markov: Organic
Released: 18 September 2015
kmarkov.bandcamp.com

As we listen to the works of K Markov, we inhabit a temperament somewhere just outside of everyday thought. His album Organic (60’09”) presents three Electronic Music tracks of a spare and striking kind – positioned somewhere between the legends of the Berlin-School and today’s ornamental world of computer control. Organic opens with Markov’s questing lead melodies winding out above a churning, echo laden synth arpeggio. Compressing and then expanding space this propulsive mechanism provides more than enough pleasures for the strictest Spacemusic fan. While the energetic sequencer works are engaging and diverting, for some of us the center piece will be the most spacey dynamic abstraction. Within this atmosphere zone we find a realization meant to awaken, not dull our consciousness. Elsewhere, the seamless fusion of bold patterning pivots in a crisp advancing narrative. Adagio quality strings call our attention, as chords hold and shift in cerebral sonic drama. Glittering modulations and swirling figures bestow a sense of depth, as the juxtaposition of tones reveal the inner life of sound. This album possesses a great diversity of moods and textures. The only thing Markov cannot program into Organic is the listener’s reaction. So he hopes that we come to his work with an open imagination and ready to travel – anywhere. There is nothing more exciting than music that takes you by surprise. Yet, when we ask people what kind of music they want, they will tell us only of what they have already heard. We listen to music for certitude, an order. Organic moves at a fast pace, turning quickly left, then right. In a show of compositional dexterity Markov produces a novel musical contour – which at first challenges, then rewards, and ultimately goes beyond our anticipations.

(Chuck van Zyl/STAR’S END14 October 2015)

K Markov: The Mist

The Mist

The Mist

The Mist by K Markov Released: 2 November 2014 kmarkov.bandcamp.com

The Mist (66’42”) connects instantly with the listener. Showing remarkable cohesion this album’s three tracks never stand still. Embracing simplicity, sleekness and space we wander behind K Markov through the adventurous vaporous realm of his three impressive +20 minute tracks. Beginning with a lilting keyboard solo The Mist almost immediately gains velocity – running up and down scales and arpeggios, improvising tunes and repeating interlocking patterns. The penetrating psychological drama rises, falls and moves agilely in interesting directions. Advancing with purpose – from delicate chords and twinkling chimes, to multi-layered mathematical-mechanical clockwork, over to an indistinct density of melodic disintegration – Markov’s sound sense places the listener briefly amidst the mists of the past. Developing quickly each track uniquely rises out of the fog and into passages of heightened expression, then recede back down into a haze of satisfying resolutions. Markov’s music is form moving in sound. It may be of lesser clarity than poetry, but certainly of finer shades and deeper effect. Weaving together two worlds The Mist demonstrates Markov’s technical attributes and philosophical abilities – as is the case with all top level Space Musicians. He embodies both the history of Spacemusic, and its future.

(Chuck van Zyl/STAR’S END25 December 2014)