Lina Filipovich
BFHC
Boomkat Product Review:
On her second full-length, Belarusian producer Lina Filipovich deconstructs baroque music, turning familiar compositions from Bach, Handel, Frescobaldi, Carleton and Couperin into tweaky, neo-electronic symphonies.
Driven by her memories of playing baroque music as a child, Filipovich decided to develop a suite of interpretations, deconstructing and re-interpreting pieces to "push the limits of performing classical music in the traditional way." The first example we have of this is 'BWV 534 Prelude Fugue in F Minor', an attempt to wrangle Bach into a glitchy 4/4 framework that's a hair's breadth away from early Murcof. But where Murcof used classical sounds to suggest space and darkness, Filipovich appears to have more of an interest in electroplating organ sounds and evoking a ghostly future-ancient tenor.
She approaches each track with vastly different energy, tempering Frescobaldi's 'Toccata decima' with filtered frequency fuckery and leaving little of the original composition untouched. Her version of 'Alle Menschen müssen sterben BWV 643' boils Bach into gaseous traces, filtering identifiable organ loops into blots of booming bass and vibrating oscillators. Most memorable is Filipovich's take on Handel's 'Sarabande' - widely known for its usage in Kubrick's iconic "Barry Lyndon" - where she dissolves the organ theme with crunchy overdrive and rolling synth scratches.
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Boomkat Product Review:
On her second full-length, Belarusian producer Lina Filipovich deconstructs baroque music, turning familiar compositions from Bach, Handel, Frescobaldi, Carleton and Couperin into tweaky, neo-electronic symphonies.
Driven by her memories of playing baroque music as a child, Filipovich decided to develop a suite of interpretations, deconstructing and re-interpreting pieces to "push the limits of performing classical music in the traditional way." The first example we have of this is 'BWV 534 Prelude Fugue in F Minor', an attempt to wrangle Bach into a glitchy 4/4 framework that's a hair's breadth away from early Murcof. But where Murcof used classical sounds to suggest space and darkness, Filipovich appears to have more of an interest in electroplating organ sounds and evoking a ghostly future-ancient tenor.
She approaches each track with vastly different energy, tempering Frescobaldi's 'Toccata decima' with filtered frequency fuckery and leaving little of the original composition untouched. Her version of 'Alle Menschen müssen sterben BWV 643' boils Bach into gaseous traces, filtering identifiable organ loops into blots of booming bass and vibrating oscillators. Most memorable is Filipovich's take on Handel's 'Sarabande' - widely known for its usage in Kubrick's iconic "Barry Lyndon" - where she dissolves the organ theme with crunchy overdrive and rolling synth scratches.
Boomkat Product Review:
On her second full-length, Belarusian producer Lina Filipovich deconstructs baroque music, turning familiar compositions from Bach, Handel, Frescobaldi, Carleton and Couperin into tweaky, neo-electronic symphonies.
Driven by her memories of playing baroque music as a child, Filipovich decided to develop a suite of interpretations, deconstructing and re-interpreting pieces to "push the limits of performing classical music in the traditional way." The first example we have of this is 'BWV 534 Prelude Fugue in F Minor', an attempt to wrangle Bach into a glitchy 4/4 framework that's a hair's breadth away from early Murcof. But where Murcof used classical sounds to suggest space and darkness, Filipovich appears to have more of an interest in electroplating organ sounds and evoking a ghostly future-ancient tenor.
She approaches each track with vastly different energy, tempering Frescobaldi's 'Toccata decima' with filtered frequency fuckery and leaving little of the original composition untouched. Her version of 'Alle Menschen müssen sterben BWV 643' boils Bach into gaseous traces, filtering identifiable organ loops into blots of booming bass and vibrating oscillators. Most memorable is Filipovich's take on Handel's 'Sarabande' - widely known for its usage in Kubrick's iconic "Barry Lyndon" - where she dissolves the organ theme with crunchy overdrive and rolling synth scratches.
Boomkat Product Review:
On her second full-length, Belarusian producer Lina Filipovich deconstructs baroque music, turning familiar compositions from Bach, Handel, Frescobaldi, Carleton and Couperin into tweaky, neo-electronic symphonies.
Driven by her memories of playing baroque music as a child, Filipovich decided to develop a suite of interpretations, deconstructing and re-interpreting pieces to "push the limits of performing classical music in the traditional way." The first example we have of this is 'BWV 534 Prelude Fugue in F Minor', an attempt to wrangle Bach into a glitchy 4/4 framework that's a hair's breadth away from early Murcof. But where Murcof used classical sounds to suggest space and darkness, Filipovich appears to have more of an interest in electroplating organ sounds and evoking a ghostly future-ancient tenor.
She approaches each track with vastly different energy, tempering Frescobaldi's 'Toccata decima' with filtered frequency fuckery and leaving little of the original composition untouched. Her version of 'Alle Menschen müssen sterben BWV 643' boils Bach into gaseous traces, filtering identifiable organ loops into blots of booming bass and vibrating oscillators. Most memorable is Filipovich's take on Handel's 'Sarabande' - widely known for its usage in Kubrick's iconic "Barry Lyndon" - where she dissolves the organ theme with crunchy overdrive and rolling synth scratches.
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Boomkat Product Review:
On her second full-length, Belarusian producer Lina Filipovich deconstructs baroque music, turning familiar compositions from Bach, Handel, Frescobaldi, Carleton and Couperin into tweaky, neo-electronic symphonies.
Driven by her memories of playing baroque music as a child, Filipovich decided to develop a suite of interpretations, deconstructing and re-interpreting pieces to "push the limits of performing classical music in the traditional way." The first example we have of this is 'BWV 534 Prelude Fugue in F Minor', an attempt to wrangle Bach into a glitchy 4/4 framework that's a hair's breadth away from early Murcof. But where Murcof used classical sounds to suggest space and darkness, Filipovich appears to have more of an interest in electroplating organ sounds and evoking a ghostly future-ancient tenor.
She approaches each track with vastly different energy, tempering Frescobaldi's 'Toccata decima' with filtered frequency fuckery and leaving little of the original composition untouched. Her version of 'Alle Menschen müssen sterben BWV 643' boils Bach into gaseous traces, filtering identifiable organ loops into blots of booming bass and vibrating oscillators. Most memorable is Filipovich's take on Handel's 'Sarabande' - widely known for its usage in Kubrick's iconic "Barry Lyndon" - where she dissolves the organ theme with crunchy overdrive and rolling synth scratches.
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