IANUREK 5.0 X 100
50’00”

KAEBA, IT

CD + DIGITAL RELEASE
CATALOGUE: F90105
EDITION: 500 COPIES
RELEASED AUGUST 24, 2010

1. X1
2. X2
3. X3
4. X4
5. X5
6. X6
7.  X7
8. X8
9. X9

The Album “Ianurek 5.0 x 100″ represents a metaphysical world made to interact with the listener. Shapes and colors fill the mind, bringing the listener towards a condition where contours are outlined by various points of union between the tracks. The record was born from a subject/form focused in the foreground, characterized by a plasma contortion. This movement becomes the pulsating heart of the tracks, and the concept needs to be found between the interaction of the sounds, exactly like the final coordinate 5.0 x 100, which when associated to the eternal passage of time, shows how the imperfection of the machines makes the duration of this record highly subjective and relative.
credits

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Gianclaudio H. Moniri aka Kaeba is born in Rome in 1985. The moniker comes from the union of two religious words in use during the ancient Egypt "Ka" and "Ba", terms used to express the point of union between life and death, "when we are everything and nothing at the same time". Kaeba's sound takes shape from this total relativism creating abstract visions devoid of structural conventions, but at the same time outlined by a precise form that is developed through the use of rich and deep sounds. Co-founder in 2008 along with Giuseppe Carlini of the duo Plaster, which led him to perform in internationals clubs and festivals as
well releasing music with renowned European labels.

PAOLO MICELI / KOMAKINO ‘ZINE

Kaeba is Gianclaudio Hashem Moniri, Rome-based italian-persian sound architect, we might say. Glitch music is His impure key element for the nine tracks of this electronic scenario, meticulously altered and elegantly produced, beeping through electric hums, brilliant and pulsating like pulsars in the night sky.From the corrupetd experimental dub session of x7 to the living fractals of x5until the lysergic after-death swell of x3, sometimes even esoteric and shaman (the chants in x1), Kaeba signs coordinates of an abstract map of micro sounds that would make the day of every fan of Autechre as well Alva Noto.A perfect company for reading a book having a good glass of wine. Or also to be swallowed into the bed.

 

WONDERFUL WOODEN REASONS

This is my first exposure to the music of Kaeba or Gianclaudio Hashem Moniri as he’s known to his mum. His music is a melting pot of sounds and textures twisted and turned to create a set of elusively introspective compositions. There’s no real narrative running through this album as it constantly waxes and wanes, occasionally an abstract soundfield of harsh, spitting textures, occasionally a sumptuous synthesized string swell, occasionally a beeping, bleeping sci-fi panorama.

It’s extremely well made and shows a real flair for sonic assemblage but does feel a little too remote. I’m finding it hard to connect with the music on anything other than a practical level. I’m envious of his mixing skills but I’m feeling very little emotional attachment to the music. It feels a little too clinical and coldly academic for my tastes. Don’t misunderstand, I’ve played this a few times recently and enjoyed it every time but each time it’s been chosen because I know it makes for a nicely coloured environment for when I’m engrossed in work and that is a recommendation.

 

ANDREA FERRARIS / SODAPOP

Proprio l’altro giorno pensavo a quanto questo Paese di “vecchi” (sia chiaro: per forma mentis e non per età!) e di superficial-giovani (alla base della cui educazione, comunque, presiedono direttamente o indirettamente dei “vecchi del cazzo”), trovare del talento così smaccato come in questo disco sorprende ed esalta. Tanto da far tenere le dita incrociate perché questo poco-più-che-ventenne non si bruci e non scompaia nel vuoto. Si tratta di un disco di elettronica più o meno sperimentale, a suo modo quasi ambientale e che ricorda alcuni lavori su questo stile assemblati da gente uscita dal giro IDM e riciclata nella sound art più morbida. Il fatto è proprio che al di là dei bellissimi suoni, dei giochi che dimostrano una perizia nell’uso dei loop e dei macchinari, quello che resta ben impresso del disco di Kaeba è la melodia ed il vostro Dio sia lodato perché finalmente rincomincia a venire fuori qualcuno che al di là delle strutture, dei suoni super ricercati, si ricorda che un pezzo può ancora essere melodico anche se in un contesto smaccatamente elettronico-sperimentale. Ciò non impedisce che questo ragazzo tagli in modo improvviso tappeti che altri trascinerebbero fino alla fine, li riporta in gioco, li sostituisce con melodie digitali o paesaggi da dopo Pan Sonic o roba da post-techno scandinava. Nonostante i giochi di suono quindi vengono ad alleggerire delle voci etere da Signore Degli Anelli (e ricordiamolo che coinvolta nell’operazione c’era anche Lisa Gerrard dei Dead Can Dance), dei synth e dei tappeti che riportano alle compilation del primo periodo Warp ed ai Seefeel, delle melodie aperte ma simili shoegaze e quindi fra estasi e viaggio psichedelico. I giochi melodici ed i tappeti digitali degni di alcune cose di Richard Chartier & Taylor Deupree comunque non smentiscono un’impressione che ho sempre avuto e cioè che l’elettronica europea mediamente è una spanna sopra quella americana (certo è una generalizzazione e lascia un po’ il tempo che trova). Una delle cose belle di questo disco è che nonostante la ricerca del suono ed il piglio sperimentale è rimasta una forte impronta da Intelligent Dance Music degenerata; se sia voluta o un’influenza presa di seconda mano poco importa, quello che conta realmente è che regala una certa ascoltabilità ad un disco che altrimenti non sarebbe certo dei più semplici. Un tempo un lavoro del genere non sarebbe uscito su Warp, ma sarebbe sicuramente sbarcato su Sub Rosa, in un certo senso mi ha anche ricordato l’eclettismo elettronico e la capacità di fare dei minestroni particolari di certi giapponesi che operavano in questa strana terra di mezzo tecnologica. Se Retina/Resina, Martuscello, Teardo, Ielasi, Massimo (che molti non ricordano, ma che si sparò un disco su Mego ed uno su Staalplaat in tempi non sospetti) e gente del genere in passato hanno raccolto più consenso all’estero di qui in Italia (strano… non capita mai), c’è da sperare che il futuro, o meglio, il presente sia nelle mani di un ragazzo di poco più di vent’anni e non di un “vecchio del cazzo” come me e come te che stai storcendo il naso.

 

FRANS DE WAARD / VITAL WEEKLY #749

In the Egyptian language ‘Ka’ and ‘Ba’ represent the union point between life and death, the moment where we are all and nothing. Its also the name used by Gianclaudio Hashem Moniri from Italy. He studied sound engineering and midi programming and forms the duo Plaster with Giuseppe Carlini. His album “represents a metaphysical world made for interact with the listener. Shapes and colors fill the mind, bringing the listener in a condition where the contours are outlined by the various points of union between the tracks. The record born from a subject/form focused in the foreground, characterized by a plasma contortion. This movement becomes the pulsating heart of the tracks, and the concept need to be found between the interaction of the sounds, exactly like the final coordinate 5.0 x 100 that if is associated to the eternal passage of time, shows how the imperfection of the machines makes the duration of this record highly subjective and relative.” Sorry about that long quote, but its not easy to summarize, I guess. Given his background, its not difficult to see Kaeba as a laptop artist. All the usual suspects of crackles, hiss, bass rumble and high pitched sounds are present and walk in line through the wall of plug ins. Kaeba however also uses a bit field recordings (nothing new there), but also at times, far away, voice material from a classical nature. That sets his work somewhat apart from the usual pack of microsound artists. Not in a big way, but just a little bit. Kaeba seems to me influenced mainly by Alva Noto, but without the crisp clear transparency. He likes his sound to be repetitive, based on loops, but also a bit muddy. Now that is not a negative thing, since it sort of adds a mysterious feel to the music. The odd ball track is the last one, with a melodic piano line and chirping insects towards the end. Not earth shattering new, but very decent music all along.