There is no easy escape from our oppositional-categorization prison we made paradoxically for ourselves. Sometimes we try to find our leading thread inside the labyrinth, sometimes we try to get rid of it by conscious or unconscious self-lobotomy, feeling unbearable discomfort from it. We are able to create opposing attributes that are absolutely not in conflict. The dual nature of reality only appears to be dichotomous, when it is really of the same whole. Its co-existence does not inevitably mean anything contradictory, if we had not constructed so many artificial antagonisms during our history. It is impossible to see light – thus also to call it – without simultaneous existence of darkness. There is something that reconciles both worlds, I feel music is that path which leads closer to that point. For me, they make sense together because they arise from the same source, just like spirit and matter living together, fighting each other, but cannot be separated in our human world. Many of my works are abrasive and physical while somehow being solemn and contemplative simultaneously. Therefore the mode of my musical expression often has a confrontational nature about it. I am captured and fascinated by it and it serves as my main creative force. This struggle seems to be something important. VH: A permanent presence of inner feud is a basic attribute of our existence. Observations of two different currents of light (and dark?)
HH: At times ominous and nightmarish and at others solemn and beautiful are these reflections two faces of the same phenomenon? Or do you view them as Simply, I would like them to open their subconsciousness. On the other hand, music is mightier than its creator, saying more than is even originally intended. However, for me it is the complete opposite, because the intent is a spiritual purgatory and the impact might feel like as an intense violent flooding.
For example, my music has been referred to as devilish, dark and disturbing.
But I must say, sometimes I am surprised by some reviewers descriptions. Ideally, the audience would discover and open that space. Music is able to explore and reveal a deeper underlying reality in contrast to the phenomenological world. I would like to know myself what they imagine! I would like them to escape from the limitations of rationality, which seems to pervade everything, into another dimension. VH: Excellent question and an important one. HH: What kind of effect would you like for your art to have on those who listen with intent? Therefore, I am very often surprised by some people’s descriptions of my music as bombastic, I don’t consider them that way, I feel it as theĮpitome of the natural cognitive process. Transient “hyper state” while creating music, I don´t feel any horror or joy, any positive or negative connotations, only some kind ofĪwakening. This confrontational style sounds probably maddening, but when I find myself in that “physical” sense from my music despite its spiritual themes. This might be the reason why some listeners get a physical impact or accented Is able to be an authentic description and expression of that transubstantial act. So, I attempt to realize that struggle in music with the belief that the music
#WANN KOMMT LUMINAR NEO TRIAL#
That trial cannot be under way without a fight and pain, whether inner, silent, latent or blatant and violent. I try to somehow transform our physical reality. I admit – I am aware of their presence intensely in my mind, being at the same time absorbed by a mordant, overwhelming feeling of impossibility From my point of view, it is natural to long for “other worlds” – which means for me longing for the cognition of our Do you believe it‟s possible your art evokes HH: Your art emanates some truly horrific sounds wherein seems to dwell something otherworldly. Their own intricate facets and dimensions emerges what Vladimír Hirsch calls INTEGRATED MUSIC, his living essence manifested. From the sacred union of these styles and VLADIMÍR HIRSCH interview for HEATHEN HARVEST (selection)Ĭzech sound alchemist, Vladimír Hirsch, has been composing and experimenting with modern classical, dark ambient, and industrial music for over two decades.īy using both electro-acoustic and digital techniques he is able to create fascinating scapes of aural expression.
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