Alexey Gorokholinskiy (Kronodigger) isn’t your everyday multi-instrumentalist. As is, a multi-instrumentalist isn’t easy to come by, but one as accomplished, revered, and experienced as Kronodigger is an absolute rarity if anything. The experimental electronic artist from New Haven has an array of accolades and achievements that set him miles ahead of the curve. Attending the Julliard School, winning numerous International Competitions, having a residency in Carnegie Hall, and teaching an array of students across a diverse age group, his resume leaves no mark of doubt on his capability.
But despite his seemingly unimpeachable classical music background, Kronodigger doesn’t even have a touch of pretention or vanity to his merit. “Previous achievements in classical music industry are not supposed to be any form of privilege over artists who were pioneers in their own art form or who continue carrying to “inspiration torch” in various music genres. Quite the contrary – having to spend over two decades strictly focusing on classical repertoire means starting pretty late picking up other skills“. Almost eleven years back in 2009, he tried to merge the fields of classical and electronic, far before it was cool. That combination, of taking tunes that are retro, classical, and often indigenous, with modern electronic beats like dubstep and future bass is now well regarded as some of the most imaginative and innovative subgenres out there.
On his latest full length project, which is an impressive near two hours long, Kronodigger has put together an entire career of dexterity, skill, and imagination into a single experimental electronic project that breaks new ground in the field with seamless ease. Of course, the full length does include instrumental versions of the seven pieces, but it’s still a great listen through regardless. Songs like ‘Space Jump’, which sound almost alien in composition break a whole array of new ground. There’s a freneticism to this record, a haywire energy that leaves you simultaneously bewildered and impressed. Amphibian sounds equally spacey, starting like its underwater before ascending to a dubstep pulsating section and mellowing it out again. The album’s highlight is undoubtedly the closing piece, ‘Star Odyssey’.
The ten minute long magnum opus that comes after all the instrumental versions are done is truly an expedition unlike any other. It goes beyond any conception of what you could even imagine, a wonderfully constant and melodic synthetisation of eclectic sounds that leaves you entranced and engaged.
If you’re looking for a good time to zone out to, you won’t find a better experience.
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