Nu school multiculturalist Franov is based in Argentina and has collaborated often with Juana Molina. Franovs previous work, especially prior release Khali, was a combination of instruments from around the world played in unconventional, somewhat ambient combinations; hell combine field recordings with processed sitars, mbiras and vintage analog synths. Though this might set Franov up to be just another dilettante, hes been ploughing this furrow for more than a decade, and in the process has developed some unique worldscapes. This time he revisits a project begun in the mid-90s featuring harsh, warped digital sounds. Combined with his ability to create rhythms that eschew the techno orientation of these first-gen digital sounds in favour of global near-grooves, these digital bells, buzzing strings and rich keyboard pads make for engrossing listening. Though a pair of too minimal field recordings leaves gaping pauses in the disc, the variety of processing and overall rhythmic diversity make this disc hard to ignore once it asserts itself gently.
How is the latest album a break with your work up to this point? How is it consistent?
Somehow in each of my works I show something precise and unique, the relationship in between the themes and the instrumentation. I'm really interested in finding a new language in each album. Up to this point, I think that my musical expression is quite heterogeneous.
How did the project evolve?
Its really complex to express in short way, I had a lot of unedited recordings some of them from very old technology... cassette!! I start reediting and at the same time working on them, updating them. Aixa is more like an scrapbook, full of personal drafts, that belongs to old times, like an audio chrysalis.
The term "world music is usually considered to be hopelessly vague, but when I listen to range of influences in your music, its not a bad description. What do you think?
Its true "world music is truly vague, but in a way Im in that range. I think that the exotic instrumentation that I use, like sitar or Paraguayan harp, none of those are Argentine instruments so is logical to be considered in a more global way.
(Plop/Nature Bliss)How is the latest album a break with your work up to this point? How is it consistent?
Somehow in each of my works I show something precise and unique, the relationship in between the themes and the instrumentation. I'm really interested in finding a new language in each album. Up to this point, I think that my musical expression is quite heterogeneous.
How did the project evolve?
Its really complex to express in short way, I had a lot of unedited recordings some of them from very old technology... cassette!! I start reediting and at the same time working on them, updating them. Aixa is more like an scrapbook, full of personal drafts, that belongs to old times, like an audio chrysalis.
The term "world music is usually considered to be hopelessly vague, but when I listen to range of influences in your music, its not a bad description. What do you think?
Its true "world music is truly vague, but in a way Im in that range. I think that the exotic instrumentation that I use, like sitar or Paraguayan harp, none of those are Argentine instruments so is logical to be considered in a more global way.
