Patrick Belaga
Blutt
Boomkat Product Review:
Tranquil and crystalline beatless cello and synth transfusions for difficult times. Heady and personal but never self-serious; for fans of Richard Skelton, Arve Henriksen, Laurel Halo.
'Blutt' strikes a delicate balance, manipulating heady ideas and alchemical compositional formulas to fabricate distinctly personal, light-hearted and vulnerable tone clouds. Cellist and composer Patrick Belaga is no newcomer, having spent the last few years touring incessantly and collaborating with and impressive list of innovators, from Lafawndah (he played on her brilliant "Ancestor Boy" LP) and Asma Maroof to Wu Tsang and Ioanna Gika. "Blutt" follows his 2017 debut "Groundswell", and was conceptualized on an Italian adventure as he wandered around small towns hearing muffled jazz and classical music in the distance. The result is a disarming commingling of classical instrumentation and electronic manipulation, where the core elements - cello, vocals, synth, pan pipes, field recordings - dissolve into one another lysurgically, mirroring the confusing, alluring architecture of a dream.
Belaga has plenty of experience scoring for movies and television, but to pass "Blutt" off as simply cinematic would do it a disservice. The album isn't so much evocative of a particular narrative as it is a set of emotions or neurological triggers. As he allows cello scrapes to dematerialize into a blurred haze or vocals to disintegrate, Grouper-style, into dense reverb trails, it's moods that spring to mind rather than visuals. That feeling of walking around a new place, awed by its history and fascinated by the capacity for stories; the sense that people are dreaming, loving, scheming, living around you at an incomprehensible level. Belaga reflects this by never overcomplicating his productions, deceptively simple recipes of few ingredients expertly cooked to perfection. Fleeting cello melodies, faded pads, dissociated drones - each track is sparse but refuses to leave you wanting. Our brain fills in the gaps, allowing each of us to build our own unique relationship with the music.
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Boomkat Product Review:
Tranquil and crystalline beatless cello and synth transfusions for difficult times. Heady and personal but never self-serious; for fans of Richard Skelton, Arve Henriksen, Laurel Halo.
'Blutt' strikes a delicate balance, manipulating heady ideas and alchemical compositional formulas to fabricate distinctly personal, light-hearted and vulnerable tone clouds. Cellist and composer Patrick Belaga is no newcomer, having spent the last few years touring incessantly and collaborating with and impressive list of innovators, from Lafawndah (he played on her brilliant "Ancestor Boy" LP) and Asma Maroof to Wu Tsang and Ioanna Gika. "Blutt" follows his 2017 debut "Groundswell", and was conceptualized on an Italian adventure as he wandered around small towns hearing muffled jazz and classical music in the distance. The result is a disarming commingling of classical instrumentation and electronic manipulation, where the core elements - cello, vocals, synth, pan pipes, field recordings - dissolve into one another lysurgically, mirroring the confusing, alluring architecture of a dream.
Belaga has plenty of experience scoring for movies and television, but to pass "Blutt" off as simply cinematic would do it a disservice. The album isn't so much evocative of a particular narrative as it is a set of emotions or neurological triggers. As he allows cello scrapes to dematerialize into a blurred haze or vocals to disintegrate, Grouper-style, into dense reverb trails, it's moods that spring to mind rather than visuals. That feeling of walking around a new place, awed by its history and fascinated by the capacity for stories; the sense that people are dreaming, loving, scheming, living around you at an incomprehensible level. Belaga reflects this by never overcomplicating his productions, deceptively simple recipes of few ingredients expertly cooked to perfection. Fleeting cello melodies, faded pads, dissociated drones - each track is sparse but refuses to leave you wanting. Our brain fills in the gaps, allowing each of us to build our own unique relationship with the music.
Boomkat Product Review:
Tranquil and crystalline beatless cello and synth transfusions for difficult times. Heady and personal but never self-serious; for fans of Richard Skelton, Arve Henriksen, Laurel Halo.
'Blutt' strikes a delicate balance, manipulating heady ideas and alchemical compositional formulas to fabricate distinctly personal, light-hearted and vulnerable tone clouds. Cellist and composer Patrick Belaga is no newcomer, having spent the last few years touring incessantly and collaborating with and impressive list of innovators, from Lafawndah (he played on her brilliant "Ancestor Boy" LP) and Asma Maroof to Wu Tsang and Ioanna Gika. "Blutt" follows his 2017 debut "Groundswell", and was conceptualized on an Italian adventure as he wandered around small towns hearing muffled jazz and classical music in the distance. The result is a disarming commingling of classical instrumentation and electronic manipulation, where the core elements - cello, vocals, synth, pan pipes, field recordings - dissolve into one another lysurgically, mirroring the confusing, alluring architecture of a dream.
Belaga has plenty of experience scoring for movies and television, but to pass "Blutt" off as simply cinematic would do it a disservice. The album isn't so much evocative of a particular narrative as it is a set of emotions or neurological triggers. As he allows cello scrapes to dematerialize into a blurred haze or vocals to disintegrate, Grouper-style, into dense reverb trails, it's moods that spring to mind rather than visuals. That feeling of walking around a new place, awed by its history and fascinated by the capacity for stories; the sense that people are dreaming, loving, scheming, living around you at an incomprehensible level. Belaga reflects this by never overcomplicating his productions, deceptively simple recipes of few ingredients expertly cooked to perfection. Fleeting cello melodies, faded pads, dissociated drones - each track is sparse but refuses to leave you wanting. Our brain fills in the gaps, allowing each of us to build our own unique relationship with the music.
Boomkat Product Review:
Tranquil and crystalline beatless cello and synth transfusions for difficult times. Heady and personal but never self-serious; for fans of Richard Skelton, Arve Henriksen, Laurel Halo.
'Blutt' strikes a delicate balance, manipulating heady ideas and alchemical compositional formulas to fabricate distinctly personal, light-hearted and vulnerable tone clouds. Cellist and composer Patrick Belaga is no newcomer, having spent the last few years touring incessantly and collaborating with and impressive list of innovators, from Lafawndah (he played on her brilliant "Ancestor Boy" LP) and Asma Maroof to Wu Tsang and Ioanna Gika. "Blutt" follows his 2017 debut "Groundswell", and was conceptualized on an Italian adventure as he wandered around small towns hearing muffled jazz and classical music in the distance. The result is a disarming commingling of classical instrumentation and electronic manipulation, where the core elements - cello, vocals, synth, pan pipes, field recordings - dissolve into one another lysurgically, mirroring the confusing, alluring architecture of a dream.
Belaga has plenty of experience scoring for movies and television, but to pass "Blutt" off as simply cinematic would do it a disservice. The album isn't so much evocative of a particular narrative as it is a set of emotions or neurological triggers. As he allows cello scrapes to dematerialize into a blurred haze or vocals to disintegrate, Grouper-style, into dense reverb trails, it's moods that spring to mind rather than visuals. That feeling of walking around a new place, awed by its history and fascinated by the capacity for stories; the sense that people are dreaming, loving, scheming, living around you at an incomprehensible level. Belaga reflects this by never overcomplicating his productions, deceptively simple recipes of few ingredients expertly cooked to perfection. Fleeting cello melodies, faded pads, dissociated drones - each track is sparse but refuses to leave you wanting. Our brain fills in the gaps, allowing each of us to build our own unique relationship with the music.
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Boomkat Product Review:
Tranquil and crystalline beatless cello and synth transfusions for difficult times. Heady and personal but never self-serious; for fans of Richard Skelton, Arve Henriksen, Laurel Halo.
'Blutt' strikes a delicate balance, manipulating heady ideas and alchemical compositional formulas to fabricate distinctly personal, light-hearted and vulnerable tone clouds. Cellist and composer Patrick Belaga is no newcomer, having spent the last few years touring incessantly and collaborating with and impressive list of innovators, from Lafawndah (he played on her brilliant "Ancestor Boy" LP) and Asma Maroof to Wu Tsang and Ioanna Gika. "Blutt" follows his 2017 debut "Groundswell", and was conceptualized on an Italian adventure as he wandered around small towns hearing muffled jazz and classical music in the distance. The result is a disarming commingling of classical instrumentation and electronic manipulation, where the core elements - cello, vocals, synth, pan pipes, field recordings - dissolve into one another lysurgically, mirroring the confusing, alluring architecture of a dream.
Belaga has plenty of experience scoring for movies and television, but to pass "Blutt" off as simply cinematic would do it a disservice. The album isn't so much evocative of a particular narrative as it is a set of emotions or neurological triggers. As he allows cello scrapes to dematerialize into a blurred haze or vocals to disintegrate, Grouper-style, into dense reverb trails, it's moods that spring to mind rather than visuals. That feeling of walking around a new place, awed by its history and fascinated by the capacity for stories; the sense that people are dreaming, loving, scheming, living around you at an incomprehensible level. Belaga reflects this by never overcomplicating his productions, deceptively simple recipes of few ingredients expertly cooked to perfection. Fleeting cello melodies, faded pads, dissociated drones - each track is sparse but refuses to leave you wanting. Our brain fills in the gaps, allowing each of us to build our own unique relationship with the music.
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