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PREORDER
Ships When IN STOCK.
01. Grischa Lichtenberger - what lies beneath 3 arp
02. Grischa Lichtenberger - what lies beneath 2
03. Grischa Lichtenberger - forrest gump
04. Grischa Lichtenberger - spiderman
05. Grischa Lichtenberger - chilling adventures of sabrina
06. Grischa Lichtenberger - mad men s04 1
07. Grischa Lichtenberger - mad men s04 2
08. Grischa Lichtenberger - stranger things s02 e07
09. Grischa Lichtenberger - stranger things 2
10. Grischa Lichtenberger - stranger things 3
11. Grischa Lichtenberger - reacher s01 e07
12. Grischa Lichtenberger - reacher s01 e08
13. Grischa Lichtenberger - irma vep s01 e05
ARTIST
TITLE
Ostranenie
FORMAT
LP

LABEL
CATALOG #
R-M 207LP R-M 207LP
GENRE
RELEASE DATE
6/13/2025

LP version. Ostranenie is a collection of digitally manipulated, impressionistic piano miniatures -- each named after blockbuster films and TV series. Improvised late at night as a reaction against passive media consumption, these pieces function as both homage and critique, navigating the space between classical impressionism and contemporary digital manipulation. They don't just deconstruct traditional piano expression; they interrogate the emotional stakes of sound in an era where immersion culture flattens meaning and algorithmic logic erodes agency. The album's title references the Russian formalist Viktor Shklovsky's concept of "ostranenie," (estrangement/defamiliarization), a term he introduced in the early 1920s to describe art's role in resisting the indifference of habitual perception. Shklovsky saw art as a way to break through the anesthetizing effects of routine, stripping away the layers of habit that dull the senses. By making the familiar strange, art reclaims perception from the mechanical and the automatic. His argument wasn't just a theoretical exercise -- it was a response to a world rapidly consumed by industrialization, war machines, and the alienation of a technologically dominated modern life. In this context, he positioned artistic technique as something autonomous, distinct from mere social criticism or psychological reflection. This tension -- between revolutionary/artistic and industrial technologies -- defined the 20th century, and it continues to resonate today. The mechanization and automation that fueled the First World War's devastation, alongside the social and economic turbulence of the 1920s, became central to the era's self-conception. But just as technology was a source of alienation, it was also positioned as an agent of radical change. As the shock of modernity disrupted the human condition, it also became the driving force behind an ideological utopia -- one that ultimately deformed into political totalitarianism -- a paradox that remains unresolved. Ostranenie plays within this contradiction. The music shifts seamlessly between an uncanny black MIDI dismantling of traditional piano virtuosity and moments of raw, fragile intimacy. The result is a work that resists automatic anonymity while questioning what it means to create in an era where the technological mediation of sound -- and experience itself -- is unavoidable: Art in the age of its technological constructedness.