Fragments Of The Present

Jaka Berger: snare drum, objects, feedback speakers, string boxes, preparations, bow

Fragments of the present is a study of prepared snare drum with objects, string boxes and feedback speakers. It is an approach in sound and drums i am developing for years and it is an ongoing project. With constantly developing and upgrading preparations, improvisation and playing approach, this project allows me to trive on my own unike sound and music that i record and release regulary.

“Using this amazing drum as a “resonator” and “body for transmitting different sonic events”, BRGS turns in four long tracks of improvisation, each one quite unlike the last, and filled with unexpected surprises in the aural department. I think if you came to this record “blind”, you’d genuinely be hard-pressed to guess what sort of an instrument was being used to create these uncanny pulsations, these strange chimes, and these deep throbbing drones. It’s not only a unique set-up, but Jaka Berger is obviously deeply intimate with its nooks and crannies, bringing forth rich sounds from this percussive beast with confidence and authority. At the end of the day, the strings and metal bits add nice touches, but it’s that vibrating skin which forms the heart of these powerful improvisations, especially with its rhythmic repetitions that pulse like an organic heart.” Ed Pinsent – Sound Projector review

“BRGS se v zadnjih letih veliko ukvarja (tudi) z razširjanjem živega igranja bobnov/tolkal mimo fizičnih/akustičnih razširjenih tehnik igranja v polje manipulacije ali procesiranja zajetega zvočnega signala bodisi v živo bodisi naknadno, pa tudi z vpeljavo pred-obstoječih zvočnih virov in podobnega. Njegove številne izdaje v preteklem obdobju nam ponujajo fin vpogled v razvoj tehnike in v opolnomočenje, v emancipacijo avtorja/muzičista v novih poljih raziskovanja. Kot take so omenjene izdaje vredne veliko z metodološke perspektive, ki mora v polju tako imenovanih eksperimentalnih glasb vselej nositi določeno težo ob vrednotenju tako s strani zgolj poslušalca kot tudi s strani cehovskega, specifično tehnično pismenega kolega ali kritika. Vsekakor pa je pomemben aspekt tudi samoopredelitev in smer tovrstnega ustvarjanja kot nekonformističnega, odklonskega, marginalnega, drugačnega ali disruptivnega. Ta aspekt nikoli ne gre jemati kot dan, vselej mora biti odvisen od vztrajnosti hoje po ostrem robu samoprevpraševanja, elementarne skepse in vzdrževanja pogojev „ne-varnega“ oziroma pogojev izven vseh con udobja.” Žiga Pucelj – recenzija za Radio Študent