When it comes to her studies, there are at least two important facts in Egidija Medekšaitė’s (b. 1979) biography: firstly, she completed her composition studies under Rytis Mažulis at the Lithuanian Academy of Music and Theatre; secondly, she graduated in textile design from the Kaunas University of Technology. She is organically linked to her composition mentor through her research into the microdimensions of music and the ‘digital’ principle, pointing to both the way the compositions are calculated and the use of digital media, while her textile studies have given a strong ideological and structural impulse to her music. The structures of Indian music often find their way into Medekšaitė’s post-minimalist work. All the same, in listening to her music it does not seem that it is constructed on strict structuralist principles, rather, it sounds like an hypnotic, ambient flow of sounds, flowing through forms in space.
The compositions on this CD reflect the composer’s two long-standing creative interests – the connection between textile patterns and musical structures, as well as a focus on the ideas of classical Indian culture, the sounds, modes and states of its music. Practically all of Medekšaitė’s compositions written after 2005 are grounded in the technique she discovered of mapping textile patterns onto musical parameters. The initial formula is fixed in the form of geometric textile patterns; the white and black grid cells (the warp and the weft) determine sound parameters like pitch, duration, dynamics or timbre. Later, this principle of the mapping of patterns is combined with various other compositional techniques, like, for example, serialism, minimalism, microtonality or stochastic composition. The composer says that almost all of her compositions can be titled ‘textile’ – even those that have been given a more individualistic name. As mentioned, the composer not infrequently draws on Hindustani musical traditions for her aesthetic and technological inspiration – this is evidenced by the names of her compositions (often using the name of a specific raga), invoking modes or the colouring of this music recreated using Western instrumentation, such as characteristic drones.
The composer's work goes beyond the borders of the term microtonics. The musical term ambient hits the clearest note, automatically marking a somewhat different approach to sound that microtonics. Besides that, post-minimalism also makes its presence felt. However, ambient-type music can hardly be called maximal. It is true that there is an aesthetic paradox here - a small number of sounds fills up the space maximally. The situation is best described by the phrase 'less is more.'
Asta Pakarklytė, Linas Paulauskis, Povilas Vaitkevičius
credits
released January 1, 2017
Liner notes - Asta Pakarklytė, Linas Paulauskis, Povilas Vaitkevičius
Translation - Romas Kinka
Recording and mastering - Arūnas Zujus
Design and layout - Vilius Šiaulys
Executive producer - Gailė Griciūtė
. . .
Supported by the Lithuanian Council for Culture and the Ministry of Culture of the Republic of Lithuania
These gracious, spellbinding pieces from composer and sound artist antxnio graz reflect on the ideas of rest and community care. Bandcamp New & Notable Nov 29, 2022
The aptly-named Hauntings write songs that are sinister and moody—the seconds in a horror film right before the jump scare. Bandcamp New & Notable Apr 3, 2023