A quick search for reviews of Grundik Kasyansky’s Creative Sources Recordings release “Light and Roundchair” will provide little more than links to writers attempting to describe the delicate aural fabric that comprises this inscrutable work. Like everyone else; I find myself drawn to the slivers of sound that you can feel in the back of your throat, the dense layering of saturated static, disembodied radio voices, and threads of noise that present themselves end on. But it is what hasn’t been said that is possibly the most intriguing aspect of “Light and Roundchair”– out of the thousands of transmissions and signals within this album, not a one is directed at us.
Throughout “Light and Roundchair” Kasyansky primarily makes use of feedback synthesizer and radios for his sound sources. All but a handful of events bear the distinct sound of transmission and communication. Sounds of radio tuning, interference, radio shadows, ghost signals, and wave refraction are all present here; often interacting to suggest something like awareness of each other. Some sounds compete in opposite ears, while others appear to fight to survive strangulation by another. Like plant growth, the delicate and superfically-static nature of these works belies the almost violent activity occurring.
In terms of communication, listening to “Light and Roundchair” is a little like being in a removed, but privileged, state of eavesdropping; something like an operator or a spy. But whereas most albums assume a listener at the final end of the chain of communication, “Light and Roundchair” doesn’t seem to. With some unease, you may find yourself wondering– in the end– if this “conversation” is occuring when you’re no longer listening.
Ironically, Kasyansky’s “Live Journal 12.28.2005 (from the Argentinian label Rruido) doesn’t seem to have as much of this “eavesdropping” quality. Recorded before the final day of the “Light and Roundchair” sessions, the 19-minute minidisc features a solo feedback synth recording. While the recording quality is very nearly the same, I have an amateur impression that the final product could use some tweaking. Whereas “Light and Roundchair” is very well balanced throughout, “Live Journal” has more of an immediate, unpolished feel. Perhaps this is to be expected from a journal. As a document of ideas and moments in time, it certainly holds my interest.