Kristijan Krajnčan: Zabučale Gore: The Mountains RoaredBy
Besides cello and drums, layered in tandem, Krajnčan adds wordless vocals, ghostly whistling and other miscellaneous sound effects. Percussion too, is employed for atmosphere rather than for rhythmic purposesa scrunching of pebbles under feet here, the unobtrusive wash of a small gong there, or the simulation of cascading water. In what is essentially a solo outing by Krajnčan, Andrej Kobal is credited with sound design. Though most of the compositions take as their starting point traditional Slovenian folk songs, Krajnčan's singular vision, allied to significant post-production sculpting, frames the music in a timeless continuum.
This seam manifests itself from the outset, where the thundering tribal rhythms, reverb-heavy cello riffs and shamanistic cry of "Vodnja (The Well)" bleed into a sampling of a 1914 wax-cylinder recording of the traditional harvesting song "Tri Jetrve." This nostalgic window onto the past, filtered through Krajnčan's modern prism, provides the launching pad for a deeply bluesy cello solo. Sequencing this harvest work-song ahead of the rhythmically churning "Rasti Mi, Psenica (Grow, my Wheat)" may seem like placing the cart before the horse, but it serves to create a sense of the endless cycle of nature.
The music would work a treat as the soundtrack to a Slovenian road trip documentary, which, given Krajnčan's other credentials as a film maker is perhaps not surprising. The brooding title track, a Moravian song in origin, with Slovenian lyrics, sees Krajnčan's yearning bow give way to a more skewed, wrenching impressionism worthy of the most dramatic landscapes.
On "De Göra Plazina Mojä (Plazina, My Mountain)," the chant-like vocals of Marcellina Chinese and Anna Pusca, from a 1982 recording, repeat, mantra-like, against the cello's twisted siren and rumbling drums. This slightly unsettling atmosphere resolves peacefully in the self-penned "Requiem," a haunting cello coda of plaintive lyricism.
Krajnčan's search for the soul of Slovenia is a compelling tapestry of myriad musical threads that refuses to sit neatly in a box. Just as a nation's identity cannot be easily reduced to tangibles, or deny the influences of its neighbors, Krajnčan's language embraces the fluidity of music. And its mystery. A singular album of bold vision.
Vodnjak / The Well; Tri Jetrve / Three Sisters In Law; Rasti Mi, Pšenica / Grow, My Wheat; Zabučale Gore / The Mountains Roared; De Göra Plazina Mojä / Plazina, My Mountain; Requiem.
Kristijan Krajncan: cello.
Kristijan Krajnčan: drums; percussion; voice; effects; Andrej Kobal: sound design.
Title: Zabučale Gore: The Mountains Roared | Year Released: 2022 | Record Label: Hrošč Records
Post a comment about this album
FOR THE LOVE OF JAZZAll About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who create it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.
WE NEED YOUR HELPTo expand our coverage even further and develop new means to foster jazz discovery and connectivity we need your help. You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination will vastly improve your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.
About Kristijan Krajncan
Instrument: CelloArticle Coverage | Calendar | Albums | Photos | Similar Artists