Boomkat Product Review:
Serpentine avant art-pop from “open-ended performance group” Katz Mulk, for Russian label Klammklang. Calls to mind everything from The Modern Institute to John Duncan and Laurie Tompkins
“Bringing joy and enormous amount of energy, the UK-based open-ended performance group Katz Mulk join Klammklang with their new full-length Vital Attachments, a documentation of their performances commissioned for the 2019 editions of the Counterflows and Experimentica festivals. Katz Mulk are a many headed hydra, working with sound, voice, movement, sculpture and more, transgressing it into vigorous and multifaceted artworks on the margins of various genres and media.
"look at the space from a low angle and feel the floor" — says the graphic score for the performance. It seems important to follow the instructions so the peculiar sonic events reach your spine, skin, and bones through the floor surface. This music expects you to change your habitual vertical position, reconfigure your senses — to actually use all of them simultaneously while absurdly directing your gaze upwards. The graphic piece with lines and not-so-figurative pictures, despite being an artifact of the particular event, establishes space for participation; it weirdly welcomes everyone to enter the sonic space, explore it, and to see what is being heard at the moment.
The documentation is powerful in its totality — it is not only interesting to listen to, it also encourages on to watch it, dance it, touch it, smell it. Vital is pervasive, it is chaotic as well, but Katz Mulk’s chaos is somehow organized. Structured rhythms are trying to withhold restless sound improvisations and voices that are ready to burst from rapid changes, shifting from one ear to another. The structure reveals a mess. Altogether, dance patterns, vague fragments of narrative, raw vocals, graphic schemes, and instructions are giving hints, not a full picture and, for sure, not serenity. This music might have been a lucky finding fallen from outer space, with the sound of nature that is being unexpectedly mixed with very grounded music of our present in the stratosphere somewhere. It carries you to a state you have never thought you would end up in, an almost inhuman state in-between, but in the end the most human and lively one can imagine. As if this state uncovers parts of a human body that have been hidden, but, as vital and irreplaceable, are always there.”