Official note from the writer of this article (indeed, the beautiful me himself…), and mentioned a thousand times before: Concreteweb exists to promote different styles of (Underground) Music, and in extension, to support the artists, projects / bands, labels, distributors, promotors etc. involved. Concreteweb is not a forum to discuss politics from any scope.
Yet then again, since I (yes, still the beautiful me himself…) am the author behind the reviews, it is my fortune, my opportunity, my duty, my canalization, and even my pleasure, to react on certain things that happen to our once so cherished planet. Once again, these reviews are not intended to start any socio-critical discussion whatsoever, but I feel free – and hey, I dare you to stop me – to reflect on global, socio-political subjects through reviewing Aural Art from different angles.
Or, in short. The very kind humanoid behind Rojinski did create many hands full of excellent albums, and this on quite short terms. About most of them do contain a (critical and/or reflective and/or introspective) message, and I guess that, about every time, it did matche with my personal ideas and opinions. We do sort of share a dystopian vision on Mater Terra’s future, yet still Rojinski and I do feel that there light be some other human beings as well that might feel the same way, and who could turn these sickening / sickened things into healing, if only by expressing their belief. Maybe, probably, I might have a more misanthropic conviction when searching for a solution, a cure, about the current sickness called ‘humanity’ or ‘mankind’ (though, man’kind’ is a sarcastic lapsus for sure), yet still we do share same-minded dreams, whether these phantasms are euphoric or rather nightmarish.
This introduction (or nonsense, if you want to) was carefully written (by the beautiful me himself, hehe) in order to come to three aspects that explain the reason of this specific review: the concept, the music, and my support for the artist.
The latter has to do with this. Since Rojinski released this recording, he got some ‘resistance’. Yes, ‘freedom of speech’, or having an own (critical) opinion, isn’t allowed anymore nowadays, since our society started evolving into a narrow-minded world order. Former ‘fans’ did unfollow the artist, some feedback was simply illiberal and infantile, all because of the dual mind-setting that characterizes society lately. There’s black, or there’s white; there is no room for a multi-colored zone in between anymore. So, this one is for you, my friend, and for all those who have now been spit out by their environment, just because they want to tell their own version of life’s vision.
Anyway, Pillars Of Idiocracy was recorded recently, yet supposed to be released in Spring. However, because of certain huge, important happenings on worldwide scale, it strengthened – or forced – Rojinski’s decision to have this album released earlier than foreseen. I think fate (as well as faith) will approve this advanced sonic manifestation…
The visual artwork (created by the musician himself, who is like a master in AI-related conceptualization) says a lot about this release’s concept, and so do the titles behind the eight (lengthy) compositions on Pillars Of Idiocracy, such as Greed, Intellectual Emptiness (a danger because the lack of intellect unfortunately characterizes so many ‘world leaders’ nowadays), Lack Of knowledge (ah, the same, a shameful feature of the very same emperors), Narrow-Mindedness (okay, you get the picture, don’t you [even-though it is a very dismal, forlorn picture])…
From aural point, Pillars Of Idiocracy is very interesting too (and yes, now we do come to the essence of this webzine: the Music itself; thank you for your patience, kindly asked by, oh yeah, the beautiful me himself). All previous Rojinski recordings are slightly distinctive from any other, yet many dwell within the very same regions, especially within the Dark Drone Ambient hemisphere. This one too touches on comparable aspects, evidently, but in general the album takes quite a huge step into territories of rather adventurous nature as well.
The orchestrations in general are less ‘long-stretched’, less monotone (hey, I do not dislike ‘monotonous’ droning) and less mesmeric. Instead, there is a more abundant, prolific use of sounds, chords and textures this time, with multiple vigorous elements, chimerical details and enigmatic injections, created by floating synth-lines, electronic additions and orbital soundwaves. Notions of strings, percussions (digitally created), electronica and voices enrich the intrepid evolution behind, and around, these cinematic hymns.
Once again, Rojinski succeeds to offer a well-though balance of dark and light (1), of ceremonial (the modest, and mortal, relation to our existence) and astral (the ‘big picture’) (2), and of introspective and exuberant (3). A little word of explanation follows.
The (1) ‘dark and light’ thing has to do with the balance of doomed, inauspicious, sometimes even nostalgic fragments in relation to excerpts that offer hope and anticipation. The aforementioned composition Intellectual Emptiness (the longest piece, by the way, clocking almost ten minutes) is an example of progressive thinking, with a hint of ritualistic drama, that embraces both the obscure side (listen to those grim drones that permanently float by) as well as an almost ironic execution with these soft beats and tambourin-like sounds that reflect the enlightening force. Greed too is such composition that supports a fragile yet persuasive balance in between an abyssal obscurity at the one hand (mind these deep drone-waves and multiple hypnotic synth-lines) and a solacing enlightenment at the other (cf. the enriched evolution that typifies the progression of this marvelous piece). And how would / could one define the oppressive mood of Imperialism?...
A few fragments (2) accompany the listener through previously unexplored orbits of the unconscious, such as Beliefs. Almost meditative details (mind the shamanic chimes / tympani-like details, or the haunting vocal samples). It’s the ceremonial side, focusing on the Inner Eye, I think, through a mostly ominous collage of sonic components. It stands in collaboration, yet also in contrast, with a wide-open approach (the ‘astral’ side that I referred to) as represented via the opener Lack Of Knowledge, seemingly drawing influential elements from Far-Eastern philosophy and -yeah, why not- inter-galactic knowledge – dimension-trespassing sonorities with a transcendental effect, caused by this fine combination of floating drone-scapes, archaic ambience, wretched atmospheres and post-dimensional textures.
(3) Trumpism, then again, touches the borders of Electronic Music (hints of Dub-Step, Angst-Pop, IDM and EBM sort of muse into a bold symbiosis), which shows the exuberant approach. On the other hand, Imperialism, for instance, represents a sound-score of in-depth consciousness – imagine an episode of genuine yet dystopian self-reflection, circumscribing the introspective judgment that awaits us.
Ah, you know… Let the Music (once more) speak for itself. Rojinski tried (and succeeded) to compose a soundtrack of criticism and reflection. From conceptual point he did succeed (once again), and from aural aspect, he did trespass the magnificence of sonic satisfaction. This is more than a recommendation; this album is a necessity! The beautiful me himself aka undersigned cannot but deeply / highly recommend this material!
https://rojinski.bandcamp.com/album/pillars-of-idiocracy
https://www.concreteweb.be/reviews/rojinski
https://www.concreteweb.be/reviews/rojinski-0
https://www.concreteweb.be/reviews/rojinski-1
https://www.concreteweb.be/reviews/rojinski-2
https://www.concreteweb.be/reviews/rojinski-3
https://www.concreteweb.be/reviews/insectarium-omensworn-rojinski
https://www.concreteweb.be/reviews/alphaxone-rojinski