I am a huge fan of musicians. Being a musician and singer myself I understand what it takes to become skillful in your craft. The hours of dedicated daily practicing, repetition of musical notes, the physical pain in some cases (I am a guitarist. Practicing does take its toll on your hands). This is not even mentioning the creativity and technicality one needs to create something new. When I hear the music of someone like Fation Çumani I am in awe. I know what it must have taken him to get to where he is musically and I am thankful that he did, because without his dedication, discipline, creativity and sheer will his music would not be out there in the world, blessing everybody.
Fation Çumani (°1988, Fier, Albania), composes conceptual Music projects. With a conceptual approach, Çumani absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
His conceptual artworks directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. By applying a poetic and often metaphorical language, he tries to approach a wide scale of sounds in a multi-layered way, likes to involve the listener in a way that is sometimes physical and believes in the idea of function following form in a work.
In practical manner, he likes to mix symphony/ classical sounds/instruments (like strings, trumpets, clarinets, choirs, flutes etc.) with electronic sounds (mostly dubstep but also techno and trance). You can notice also Celtic element for double spice and emotion. In this way he brings another approach to New Generation Music.
His works appear as dreamlike sounds in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. By contesting the division between the realm of memory and the realm of experience, he wants to amplify the astonishment of the listener by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation.
The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka.
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