- Digital
Eva Sajanova & Dominik Suchy
Decision Paralysis
Weltschmerzen
- Cat No: WS032
- Release: 2023-12-15
- updated:
Track List
-
1. Eva Sajanova & Dominik Suchy - Karamel
06:14 -
2. Eva Sajanova & Dominik Suchy - Pšistroj
02:21 -
3. Eva Sajanova & Dominik Suchy - Koniec Koniec
01:46 -
4. Eva Sajanova & Dominik Suchy - NeTitulovaná
01:45 -
5. Eva Sajanova & Dominik Suchy - Hmota Bez Dôkazov
08:37 -
6. Eva Sajanova & Dominik Suchy - V Dolanova Mysli
01:50 -
7. Eva Sajanova & Dominik Suchy - Preliaty čaj
01:56 -
8. Eva Sajanova & Dominik Suchy - Stačí Len Byť Dosť?
04:01
0bit/48khz [wav/flac/aiff/alac/mp3]
Decision Paralysis is the first collaboration by Eva Sajanova and Dominik Suchy.
Their music is very minimalist, repetitive, still, the compositions // songs surprisingly evolve over time. The cold synths are beautifully augmented with raw or effected layers of Sajanova’s vocal. Of striking prominence is the decision to forgo the use of any beats or percussive elements. The whole album revolves just around vocals, synths, and layers, and the richness they possess enough in themselves.
This goes in line with Suchy’s previous work, one of his trademarks being working mostly with melody and harmony, defying a lot of what is going on in contemporary experimental music. In a way, it is a strive to return to classical or pop ????? in her deepest sense; experimental more in the use of sounds, approaches and forms, rather than defying the musical.
The lyrics are exclusively in Slovak, open to interpretation and perhaps leaving the listener unburdened by meaning, enabling them to focus on Sajanova’s voice, phrasing, and vocal techniques. They span from child-like repetitive dadaist poems, to heavy existentialist statements on life’s inherent beauty yet meaninglessness.
All of it is further supported by the album cover by the Slovak illustrator Martu, blurring the lines between the naive, the beautiful, the natural, synthetic, dark, and glowing. All at the same time.
Their music is very minimalist, repetitive, still, the compositions // songs surprisingly evolve over time. The cold synths are beautifully augmented with raw or effected layers of Sajanova’s vocal. Of striking prominence is the decision to forgo the use of any beats or percussive elements. The whole album revolves just around vocals, synths, and layers, and the richness they possess enough in themselves.
This goes in line with Suchy’s previous work, one of his trademarks being working mostly with melody and harmony, defying a lot of what is going on in contemporary experimental music. In a way, it is a strive to return to classical or pop ????? in her deepest sense; experimental more in the use of sounds, approaches and forms, rather than defying the musical.
The lyrics are exclusively in Slovak, open to interpretation and perhaps leaving the listener unburdened by meaning, enabling them to focus on Sajanova’s voice, phrasing, and vocal techniques. They span from child-like repetitive dadaist poems, to heavy existentialist statements on life’s inherent beauty yet meaninglessness.
All of it is further supported by the album cover by the Slovak illustrator Martu, blurring the lines between the naive, the beautiful, the natural, synthetic, dark, and glowing. All at the same time.