MOR KROM KINSKI III
Mor Krom Kinski III is unofficial art
mask which is used by Stipe Perisa, the striker of Croatian band named
Olovni Ples (in translation Lead Dance), one of lastest authentic
rock’n’roll heroes in South Slav neighborhood and one of most explosive
and expressive scenic performer in contemporary Croatian music.
The facepiece which he borrowed from pseudotic poet, esoteric and musician from beginning of 20th century, Perisa first time hooked on himself on album Rovovska akustika, which he signed not by his name, but with ’Olovni Ples’, but that was in several times his own author instalation. The record was dedicated to Mor Krom Kinski, one of war protagonists with lax historical cover and suspicious biografic lines, who allegedly disapeared in First World War, and whos name Periša adopted and started to use it and popularize in spirit of postmodernists who patiently uses creative underground streams and gradually builds Croatian
counterpart to Chapayev, Russian soldier and Red Army commander who’s one of the countless victims of soldiers eventually grew into a true cultural hero and the hero of many Soviet anecdotes.
Proclaiming now as grandson of Mor Krom Kinski, Perisa continued to sculpt and shape the myth of him as his closest family ancestor, suitable to that old doctrine that each generation of artists of your choice finds its own precursor, with important artistic personalities always invent themselves, give birth , foster, foster in killing and resurrecting again. Without any doubt of noble race, Stipe Periša invented an ancestor of Mor Krom Kinski and putted on his face, body and suit and at home recorded two albums with unconventional songs .
One of that two albums is called Fonometar.
As big fan of tranch-artism, oblate in hisory of avangard art, Perisa as ‘Mor Krom Kinski’ didn’t hesitate to go to characteristic technique of installation, quotes and reinterpretation, making an exciting textual organism of his chamber poetic existentialism, classical fragments of Croatian modern and exquisite lyrical narrative monoliths from the press and the ongoing encyclopedia Internet simulacrum, assigning the power of living language amalgam of musical movement and choice of repetition electronic sequences, loops, and assorted noises on the board, haunted solitary riff, the inter textual reminiscences of the founder of modern art, all in their uncompromising voice register and expressive self ironic interpretation. Dark ambiance, experimental spirit, minimalist format and interactive listening and reading offered texts - are paradigms that Mor Krom Kinski III uses consistently in his avant-garde practice, from "Rovovska Akustika" (in translation: ‘Trenches Acoustics’) to Fonometar.
In a time of rude harmless and non-essential musical creations, seductive Fonometar hides a risk, albeit mostly by the author. Stipe Perisa is here so striking and firmly grounded in the cleverly built alter identity, that may soon happen interesting alchemical substitution between the face and reverse of
creative masks that he uses. Mor Krom Kinski III could so become the first, official creative person with face and reverse on which would now voluntarily be found Stipe Periša, one of two frontmen in Olovni Ples. Though till new album quartet of Dugo Selo. And when the guys from the invaluable worth band finally step out from the partially selected and somewhat imposed media illegality, the underground hero mask Mor Krom Kinski III will certainly be firmly affixed to Periša’s creative person. Then shall his private tango face and reverse become even more interesting, because there’d be larger role.
The facepiece which he borrowed from pseudotic poet, esoteric and musician from beginning of 20th century, Perisa first time hooked on himself on album Rovovska akustika, which he signed not by his name, but with ’Olovni Ples’, but that was in several times his own author instalation. The record was dedicated to Mor Krom Kinski, one of war protagonists with lax historical cover and suspicious biografic lines, who allegedly disapeared in First World War, and whos name Periša adopted and started to use it and popularize in spirit of postmodernists who patiently uses creative underground streams and gradually builds Croatian
counterpart to Chapayev, Russian soldier and Red Army commander who’s one of the countless victims of soldiers eventually grew into a true cultural hero and the hero of many Soviet anecdotes.
Proclaiming now as grandson of Mor Krom Kinski, Perisa continued to sculpt and shape the myth of him as his closest family ancestor, suitable to that old doctrine that each generation of artists of your choice finds its own precursor, with important artistic personalities always invent themselves, give birth , foster, foster in killing and resurrecting again. Without any doubt of noble race, Stipe Periša invented an ancestor of Mor Krom Kinski and putted on his face, body and suit and at home recorded two albums with unconventional songs .
One of that two albums is called Fonometar.
As big fan of tranch-artism, oblate in hisory of avangard art, Perisa as ‘Mor Krom Kinski’ didn’t hesitate to go to characteristic technique of installation, quotes and reinterpretation, making an exciting textual organism of his chamber poetic existentialism, classical fragments of Croatian modern and exquisite lyrical narrative monoliths from the press and the ongoing encyclopedia Internet simulacrum, assigning the power of living language amalgam of musical movement and choice of repetition electronic sequences, loops, and assorted noises on the board, haunted solitary riff, the inter textual reminiscences of the founder of modern art, all in their uncompromising voice register and expressive self ironic interpretation. Dark ambiance, experimental spirit, minimalist format and interactive listening and reading offered texts - are paradigms that Mor Krom Kinski III uses consistently in his avant-garde practice, from "Rovovska Akustika" (in translation: ‘Trenches Acoustics’) to Fonometar.
In a time of rude harmless and non-essential musical creations, seductive Fonometar hides a risk, albeit mostly by the author. Stipe Perisa is here so striking and firmly grounded in the cleverly built alter identity, that may soon happen interesting alchemical substitution between the face and reverse of
creative masks that he uses. Mor Krom Kinski III could so become the first, official creative person with face and reverse on which would now voluntarily be found Stipe Periša, one of two frontmen in Olovni Ples. Though till new album quartet of Dugo Selo. And when the guys from the invaluable worth band finally step out from the partially selected and somewhat imposed media illegality, the underground hero mask Mor Krom Kinski III will certainly be firmly affixed to Periša’s creative person. Then shall his private tango face and reverse become even more interesting, because there’d be larger role.
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