"Cruel Nature feels decidedly of a piece: two long, searching studies, forged from drones. “Cruel” telescopes down and up, in and out; tones flow out of tones, warm and slightly hopeful, even as sonic sediment swirls at the bottom of the mix. (It put me in mind of a lighthouse.) At the core of “Nature” is a rising and falling melody made, maybe, of an angelic voice; it almost breathes, a phoenix emerging from and disappearing into rumble, over and over again."
- Raymond Cummings, The Wire issue 483
www.thewire.co.uk/issues/483
“The latest album from Georgian sound artist Gvantsa Narimanidze derives its name from the label releasing it. Split into two long tracks, each lasting around twenty-five minutes, the album finds Narimanidze in deeply reflective mode. ‘Cruel’ offers a sort of sonic dualism, with drifting, ethereal, ascending tones occupying the upper registers and an unsettling, undulating drone and outline of a bass-heavy pulse operating as a foundation layer. ‘Nature’ adopts a similar pose, only its high end shapes are less uniformly soothing and its underpinning dronescape is more intensely restless.”
- Mat Smith, Further
furtherdot.com/2024/04/15/shots-simon-james-found-object-jess-brett-gvantsa-narim-the-night-monitor-sermons-by-the-devil/
“this is a haunting release where you envisage yourself both sitting in your car by a cliff as a thunderstorm takes place and swimming to the wreck of the Titanic where the voices of those who died sing loudly.”
- Christopher Owens, Predominance 38
www.thepensivequill.com/2024/04/predominance-38.html
“Light gets swallowed into the depths of Gvantsa Narim’s latest for the Cruel Nature aptly titled Cruel Nature. Earth core rhythms echo, barely muted by suffocating drones. Everything feels larger than life on “Cruel,” a journey through time to the beginning of all things. This music is hypnotizing. Its repetitions are simultaneously boundless and endless, the heartbeat of a universe beyond space and time. “Nature” is a shade brighter, but only just. Blurred visions disintegrate into mesmerizing electronic fields undulating through interdimensional turbulence. Sounds covered in nebulous textures melt into each other forming a solid aural block. The further into this abyss we go, the more relentless it becomes. There’s no way to escape the weight of it all. Stellar”
- Brad Rose, The Capsule Garden
foxydigitalis.zone/2024/04/10/the-capsule-garden-vol-3-10-april-10-2024/
“Two pieces of music both just under half an hour each. Rumbles and drones and a synth line rising and falling, it’s a delicate feel that envelopes and cocoons you. It’s gently soothing and meditative, making me think of misty fenland with seabirds wheeling over the ground , reeds rising out of a dark pond as herons flap overhead across the light of a full moon. As it goes on it becomes unsettling and feral, like footsteps in the dark behind you but then I am settled again, sitting, floating away on the sound. The second piece ‘nature’ is subtly different but built on the same rumble deep below and synth lines forming drones subtly changing and morphing over the sound. This sounds more like twilight as the day falls and the night rises, when you suddenly realise that everything has shifted to monochrome and the nocturnal noises are shuffling around you. It’s mesmerising and enveloping.”
- Adrian Bloxham, Fighting Boredom
www.fighting-boredom.co.uk/album-review/belle-royals-mabh-maquina-gvantsa-narim-album-reviews/
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From Tbilisi, Georgia, Gvantsa Narim is an enigmatic sound artist, who starting writing music in 2013, drawing inspiration from religion, esotericism and Georgian polyphonic music.
"Cruel Nature" is two long transcendental meditative tracks, that build on subtle drones, enveloping the listener in the warmth of it's deep sound.