An apocalyptic event is taking place – we can certainly discuss which music genre fits the scenario better than post-club, but for now, let’s take this for granted. Whether you’re thinking of explosions or all sorts of colliding systems, Fantasy Violence may help at figuring out the missing details needed to complete the picture.
Russian composer Konstantin Knerik released their debut album under the moniker LIGH TN ING, via the Vienna based label Ashida Park. It can be explored following two key concepts. First, the representation of the fantastic aspect, as in the title, is delegated to the ethereal palette of a synthesizer orchestra and sparse vocals. On the other hand, it’s conceived as a sound collage where we can find all kinds of insertions, from siren alarms to metallic clashes. It’s those physical qualities of field recordings timbres that recall a certain familiarity with the ordinary; so that, combined with lower frequencies, they ultimately introduce tangible violence to the narrative.
The result is a glitchy, virtually alive ecosystem, and it’s interesting to notice how further their profession may have influenced the way of composing music. In fact, being also a videogame sound designer, it’s like they became the author of a worldbuilding process, entirely described by sound waves. As stated by the press, this record is the result of a reworking of several past projects, slowly put together within two years. But despite ending up forming a unity, it still allows the ear to sketchily recognize the single elements of its composite reality. While this being a limit in outdated videogames resolution, here it takes the form of a stylistic intent instead. To make a visual example, it does the exact same effect as observing a gloomy map in Minecraft.
The decision to adopt club-oriented rhythms and trance-like melodies appears to be a great expedient, used as a bombastic glue that drags the episodes of the narrative and softens their edges. Fantasy Violence is a ten-track body of work which finds its place halfway between the dancefloor and an imaginary dimension of evolving aesthetic relations.