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  • Record/Vinyl + Digital Album

    Vinyl version of album Bio, Industrial Acoustica (green) with beautiful design and good print.

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Side B, track 4 on LP Bio, Industrial Acoustica (green):

Between music and sound
This especially written text carries a title that immediately, but still in a very general way, marks the contents of the majority of Perovšek's works. However, already in the very next step I will focus on [b] side of his current album, which represents a selection of his music - which could according to its origin, content and intent be defined as film music - and this will significantly narrow down our discussion, its basic intent and meaning. Only with such premeditated limitation will I dare to expand upon my initial thoughts. As a film practitioner I need to remain concrete, almost on an elementary level. I need to know how to draw a clear division between the basic film elements, which present a necessary and sufficient condition for making and experiencing a film, i.e. for it to become established as well as for its entire and summarising effect.

Basically, we are dealing with moving pictures and sound. However, in contrast to picture we do not need to add the adjective moving to sound, for movement is one of its main characteristics which per definitionem places it into true duration, while the picture is a priori still and not conditioned by time. Pictures become moving and time-defined only when they are set into a visual series and reproduced in a typical film paradigm.
There are no intermediate forms between sound and picture that would hypothetically or practically lead to a point at which we should conclude that we are watching and listening to simultaneous sound and picture. In opposition to what is impossible to achieve in the sound-picture relation, i.e. an intermediate form or even concurrence – this simultaneous is taken for granted in the sound-music relation. Music in itself is sound, and some have reduced and simplified its definition to the point at which they state that music is in fact merely organised noise. Regardless of the fact whether we have something to add to this or not, I should state that the aesthetics of the 20th century music invention often more or less conceptually consistently moves within the area of this broad definition. I have to immediately add that film enables a certain concurrence of sound and picture. This is a necessary concurrence in the reliving of the experience. It is only when sound and picture skilfully merge that we become aware that we also heard music in the film sound layer. However, while reliving the experience - which is a result of the fusion between the visual and sound effects – the music has surpassed itself and shut itself down for the sake of a more general feeling and in support of the overall narrative flow. Due to the original proximity to the original sounds Perovšek's film music makes this even more possible.
(Marjan Frankovič)

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from Bio, Industrial Acoustica (Green), released February 23, 2016

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Bostjan Perovsek Slovenia

musician, composer and soundscape artist, composes experimental, electro acoustic music. He specialises in creating bio- acoustic music based on the sounds of animals, especially insects. He also creates music for film, theatre, performances and multimedia installations, as well as soundscapes for museums and galleries. He works also as sound engineer for film and video. ... more

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