Dirty Pictures Ambivalent (Mille Plateaux) Video by Frédéric Neyrat

„Dirty Pictures“ is the project of Russian Producer Lёps Dubasov. He studied music since the early 90s. Two main elements characterize his music until today: Experiment and imagery. The Album „Segregation“ is an extraordinary example for the new concept of Mille Plateaux, which can be described as „Ultrablack of Music“. In the gravity of Ultrablackness you can hear the immeasurableness of the real. For Lёps Dubasov nature and it hyper-objekts are a supplement for the real.

In his album strange nonhuman sonic fluxes touch the mimicry of Chaos, they tell in an audible way about forces, that are not audible. Segregation makes the music of the earth and nature audible, which by its nature is raw, strange, intense. This confronts us with the experimentation with a nameless in-between, in which new temporalities can emerge. whose winding paths and outcomes can neither be predicted nor guaranteed. Music is no longer to be organized sound, but the diagrammatic constitution of a counterfactual space-time, which in addition enables a transformation of hearing within the possibilities offered by such a sound-music.

Lёps Dubasovs music pays attention to time, to slowness, and to an always changing continuity at play in the transformation of sounds. This transformation is on the one hand organic and on the other hand non-human. Ecology is here the opposite of hierarchy: a web of nature and imaginable sounds, a web in which the interactions between the different objects are quasi infinite. Lёps Dubasov considers our terrestriality not as a surface, but as a field of flows and folds. a multiplicity of contrasting sounds and materials.

Ecological non-music can register as internalized orientation with in the world and act as an externalized sound explicitly attuned to the potent affective character of the Real, as the Outside, darkness etc. Ecological non-music offers non-musical resources and opportunities to help facilitate more coherent responses to the inhuman, posthuman and transhuman possibilities. 

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http://www.edition-mille-plateaux.com/

Video here

Review: here

In the press release by Mille Plateaux, which is as usual evocative and inconclusive (and therefore more precise and punctual than many other arabesques of “dance on architecture”), Segregation by Dirty Pictures (a project by Russian producer Alexey Danilov, aka Lёps Dubasov, aka Проект, hitherto not known for two very-limited edition CDr’s published by Planktone Productions) is presented as a further example of “Ultrablack of Music”, a concept recently advocated by Achim Szepanski, charismatic head of the intellectual-aristocratic Frankfurt label: an incomprehensible (and therefore highly appropriate) concept, whose diametrically opposed aspects I had noticed while listening to Downfall, an album released in June, 2020, by Saito, also released by Mille Plateaux. In Downfall, the “jumble of sounds, frequencies, multi-rhythms and artificial stimuli” was a “perfect soundtrack to an apocalyptic post-human rave”, while here rarefaction, subtraction and the desert (in which, as we know, flowers can grow) dominate.The building of Segregation is based on solid industrial-ambient foundations (the beading of sandpaper, stones and oil of Drought, Peeling Off, Route, Karyzh, Ambivalent), but its development is not so monolithic that it does not prevent gaps and openings to other worlds: the dark lyricism of Fulfilment and dp, the electronic fill-in of Linn, the tribal percussion of Predawn, the lakes of slime crossed by shots of effected electric guitar in Paddle on the Water, the surprising progression of Shift In, the goth-noise-impressionist dialogue between piano and machines in Seal, the immanent kosmische of Waterside, all signal an interesting aesthetic restlessness. The electro-acoustic raid of Fir Traps, which closes the more than eighty minutes of the work, summarizes a fresh and “consciously naive” expressive freedom, which transcends slippery Frostian fetters and plays with emotions that are more human than transhuman.

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