Samo Kutin (1982) je znan po rabi nekonvencionalnih inšturmentov, bodisi tistih, ki so že izginili iz vsakdanje rabe, ali doma narejenih zvočil sestavljenih iz strun, lesa, buč, železa, kamna, stekla in smeti. Eden izmed tradicionalnih inštrumentov, ki jih uporablja, je tudi madžarsko srednjeveško glasbilo hurdy gurdy, s katerim ga lahko vidimo na ljubljanskih ulicah in na nastopih eksperimentalne improvizacije. Vodi glasbene delavnice za otroke, ustvarja glasbo za pravljice in gledališča in med drugim sodeluje v glasbenih skupinah Samo Gromofon, Salamandra salamandra, Najoua, Horda grdih in Širom.

    Na polju neidiomatske improvizacije zadnja leta poglobljeno raziskuje zvočno hrupni potencial hurdy-gurdyja, ki ga poleg učinkovitih preparacij suvereno in s hoteno grobostjo ozvočuje prek kontaktnih mikrofonov in akustičnih resonatorjev, kot so vzmeti in sodi. Lahko bi rekli, da predvsem z uporabo kontaktnih mikrofonov skenira in na plano vleče drobovne procese inštrumenta, z direktno fizično aplikacijo pa tudi povzroča in plasira do sedaj neznana trenja.

    Samo Kutin, born in 1982, is known for his use of unconventional instruments, be it instruments that have already disappeared from everyday use or sound-making contraptions that feature strings, wood, pumpkins, stone, glass and waste material. One of the traditional instruments in his repertoire is the Hungarian medieval stringed instrument hurdy gurdy, which he can be seen playing on the streets of Ljubljana or at events of experimental and improvised music. He organises children's workshops, makes music for storytelling and theatre performances and is a member of a number of formations, including Samo Gromofon, Salamandra salamandra, Najoua, Horda grdih, Širom.

    When it comes to non-idiomatic improvisation, Samo has been exploring at length in recent years the sound and noise potential of the hurdy gurdy. He has been using effective accessories with the instrument and amplifying it in a convincing manner with intentional roughness with the help of contact microphones and acoustic resonators such as springs and water tanks. One could say that it is above all the use of contact microphones that helps him scan and bring to the surface the processes taking place in the "guts" of the instrument, while the direct physical methods allow him to cause and locate previously unknown frictions.

    kontakt / contact: cadrgrecords@gmail.com

    fotografija / photo: David Višnjić


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