Info Lngtché Music for an untitled film by T. Zärkkof 
"Music for an untitled film by T. Zarkkof"
by Lngtche
Etude Records (ETUDE012)
"Music for an untitled film by T. Zarkkof"
"Music for an untitled film by T. Zarkkof (2nd excerpt)"
"Music for an untitled film by T. Zarkkof (3rd excerpt)"

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fn issue October 2011
'N-Plants' - Biosphere
'Sky Snails' - The Electric Golem
'Echo Park' - Willamette
'Gramophone Transmissions' - Broken Harbour
'Negative Space' - Blue Sausage Infant
'Home Patterning' - compilation
'Polychromatic Integers' - Richard Lainhart
'Generate Records' - compilation
'Sung In Broken Symmetry' - Aquarelle



Lngtché's Music for an untitled film by T. Zärkkof is a continuous, evolving drone whose myriad parts revolve around each other like a mobile. A superb example of dark drone music, Music... is one 44-minute track, clearly divided into two loud, reverberent sections, separated by several minutes of quiet, ambient noise. The work uses long, metallic tones, without any semblance of melody, almost like feedback, to create an unsettled feeling and withholding any sense of resolution. Lngtché also scrupulously avoids any sense of a pulse, preferring a slow sonic evolution. The feedback is almost always in combination with some kind of deep bass drone and several quiet layers of noise. Occasionally Lngtché will include some glimmer of sound which one can trace to an instrument in the real world. A couple of the sounds could have originated on an electric guitar, and occasionally one hears some kind of ritual percussion, but most often his work shows no signs of the elements from which it was constructed. The layered construction gives the work considerable depth, illuminating successive listenings from the hidden details.

The various sections of the work move seamlessly from one to the next. One of the thematic elements in the first part of the piece is water, whose occasional appearance and disappearance is one of the few sudden transitions in the piece. In the second half, an ominous bass tone appears like a call of some kind of weird, subterranean creature, expanding with white noise to fill the entire audible spectrum, leaving only slight hints of something else going on just underneath the surface. The piece concludes with an abrupt transition to very quiet white noise, almost as if the listener started changing the channel on the radio and settled for the ghost noise between the stations, with only an occasional digital heartbeat to signal any kind of motion.

Lngtché is a project of the Spanish composer Pau Torres, and the work appears on Etude Records, a small label from Barcelona. Although the project is named for the Chinese execution method of death by a thousand cuts, one of the more gruesome tortures ever devised, the piece never veers into anything equivalently harsh. We also get no clue about the film for which the music is the soundtrack because all of the cover art is by Seldon Hunt, an artist who has done numerous covers for various doom metal groups such as sunn0))). Divorced from any external context, the listener is left with the sounds as they are, slowly revolving and dreaming through time.

Review by Caleb Deupree

 

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