Multiinstrumentalist Zmitser von Holzman (acoustic guitar, a synthesizer, every possible flutes and typewriter, a creaking chair, glasswares and a children’s grand piano and many other things and noises) playing instrumental music, which can be characterised (if it is so necessary to do) as «Naïve plays-miniatures for black-white films … ».
zmitser takes part in projects:
Do-Re-Mi Orchestra (guitar, music)
zmitser took part in projects
NANOS OPERETTA (USA, live / record), Kira KIra (Iceland, record collaboration), Astro'n'out (Latvia, live), Полюса (live), Animal Джаz (live), Pypyl@z (live, record), Фёдор Сволочь (live, tv), VEZDEHOD (FASHION show), KLEVER (record, live), RADUGA-701 (record, live), Чикис (record, live), Kira Lao (В.Новгород, live), THEODORE BASTARD (live, record), Театр АХЕ (live), Театр АХЕ и The DRYSTONE (street performance), Оркестр СБПЧ (rec, live), VELENA (live), Ned Hoper (rec, live)
The first track indeed reflects thoughtfully. A lovely configuration of instrumentality, the emphasis being on mentality, and the though provoked reflecting on the self through the vehicle of excellent creativity. Equally though I think the mirror can cause a dissociation, it is after all, the wrong way round. Lighthouse, makes me think tenderly of a certain person, and curiously the musical construction sheds light on my sense of relationship. It is all adding up to some very gentle, though very poignant, compositions. It does have a sort of relaxing effect, though it also seems to go deeper.
Second Floor, is far enough from the flat earth to alter perspectives, which is what this music is encouraging within me. Quite a delicate, almost sinuous movement of sound and subtle rhythm. Then onto the title track, It Just Slipped My Mind. So much does, but then having said that, so much that is tacit does not, but in fact becomes disproportionately amplified in my sensitivity. With the luminosity of a lighthouse, I care to shed light where even the shadows tremble in existence. Not a necessarily unique characteristic perhaps, and certainly, as a general rule, not one that is much appreciated. There are bound to be others who have found the same restrictions putting a strain on relationships. There is a gorgeous eerieness to this track.
Deep currents reverberate through Trampampam and the windblown counterpoint, like the passing of a spiritual entity, drifts by, gently touching all that passes. Profoundly, all that notices. Morning Breakfast Evening tinkers with distortion, creating a tremulous musical existence, that shimmers with its ebb and flow. Some nice touches, with the organ play in particular. Always a favourite sound of mine. Though I am a little unsure whether the 'human' element adds or detracts. It seems to work in one instance and then, in another, not quite so favourably. Overall, nice track, with a little bit of uncertainty. Such is life.
Then, the album finishes with Repetetive Etude No.2, which is a curiously pitched number, that sort of toys with the senses. Perplexing them as to whether or not this is something to be experienced and enjoyed, or experienced and instructive. Music holds the key to many things, some floating on the delicate tension of the surface, others in the larger domain of the depths. Conversely the latter seems to be less accessed than the former, which I put down to a sense of ease against uneasiness. Some people prefer to dance and let it all hang out. Others care to listen and envelope themselves in the dressage of self-consciousness. Overall, profoundly interesting experimental creativity.