7 tracks / 30:08 min / 41.49 MB
My 'book of stones' started with an unarranged collection of different stones which were accidentally found or bought and kept as 'jewels'. The more the collection grew the wish boosted to bring them into a logical order, to catalogue them. But with each additional stone my assurance rose that it is impossible to summarize the endless variety of nature and its plentifulness. My fascination of stones based upon the awareness that this preciousness has an age of millions of years. Hidden in the ground beneath our feet doze crystalline forms of unbelievable colorful splendor. By their minimal, subtle nuances it is not possible to find two similar stones and so the desire increases to possess them all.
There is another, ruminant approach to stones: they are meant to have a balmy effect. Already in medieval times Hildegard von Bingen tried to sum up a book dealing with their different impacts on human body and spirit. In this context both mental interaction triggered by aesthetics of color and the mineralogical consistence of the stones should be able to heal men. Is it imaginable that e.g. 'Opal' can bring optimism, or 'Onyx' self-confidence, or 'Malachite' an intense dreaming? Is it true that 'Obsidian' prevents cold hands and feet? Perhaps it is only superstition but based on a deep, old knowledge which nowadays is nearly buried by the 'right' faith.
But, what could be the interaction between stones and music? A musically 'lapilibrium' shouldn't try to translate the inherent structures of different stones into sounds. And it is also questionable if it is possible to make the certain efficacy audible, which a stone may unfold. Nevertheless, the stone may be the lever or give impulse to enter into relation with it. Thus the way is open to avert the cognitive process of reflection which always is oriented on a fixed product. In doing so it becomes obvious that some stones affect us more than others and provide a better support of the free floating of creativity. Retrospection and introspection merge with prospection: a certain structure appears and slowly an atmosphere arises, but without following a known plan. After all: Who could be called mastermind of the result?
We always try to appropriate all the things nature endows in order to understand and to rule. As long as we are natural beings we stuck in the middle of the past and the future. From this actual midway it's only possible to reach a diminutive cutout of world. But the Chinese say: 'The little sage looks at drifting clouds, the middle sage enwraps in running water, but the highest sage meditates upon the immovable stones'.
Lomov (Axel Bergk) has releases on a few netlabels, such as Thinnerism, and Lapilibrium is his latest release. Inspired by a collection of stones, Bergk explores his personal philosophical concepts and aesthetic values, using very soft minimal chord stabs and subtle rhythm programming.
There’s a lot of filtered clicks bouncing around in Lapilibrium, somewhat reminding me of the sound stones actually make when you knock or rub them together. Hollow clicks morph into deep percussive sounds, slowly evolving throughout each track. I find Aquamarin, Rhodonit and Chrysopal the most enjoyable tracks, especially the way the notes occasionally change without retriggering in Rhodonit.
Lomov takes time with his ideas, and although some people may be put off by the concept album style, I like the consistency of Lapilibrium. Occasionally, the repetitiveness of the tracks makes them feel more ambient, drifting in and out of consciousness. Lomov doesn’t rely on any surprises as musical devices here, he allows the forms to stand for themselves, and I assume this was his intention judging by the elaborate write-up on Stadt Gruen’s site. Also, make sure you check out the additional artwork on the release page.
Alex Young / Homepage