Arno Titovs: Kritikas nozīme mūsdienās | Diena

A Latvian music critic, Arno, has received recognition for his insightful reviews of albums by the group Alejas, the duo Domenique Dumont, and musician Keitija Bārbele. He was among a group of emerging critics – Līva Marta Roze, Valters Liberts, Rēzija Krieviņa, and Signija Joce – who were also considered for the award.

Deconstructing Latvian Soundscapes

Arno’s approach to music criticism centers on identifying a core thesis within each work. He described Alejas’ album, Ardievu, ledus laikmet!, as creating “a whole series of images… that stand against the cold insecurity and modesty that characterizes the time of the ice age.” His review of Domenique Dumont’s album, Deux Paradis, highlighted its contradictory nature, noting it’s “on the one hand, a dance music album, but on the other hand, I didn’t feel the physicality characteristic of it.”

Arno’s analytical process is rigorous. He refuses to write a review if he cannot formulate a defining phrase, deeming it a “risky undertaking.” He recently declined to review a poetry collection due to feeling insufficiently qualified, a sentiment stemming from his own practice as a poet – having published two collections, Dzeja par revolūciju and cilvēki un cilvēciņi, in the publication Avīzes Nosaukums.

The Value of Critical Thought

Arno publishes his reviews in the online journal Satori, where he previously gained experience editing texts, transcribing interviews, and curating a cultural events calendar. He began writing reviews immediately after his internship, leveraging his background in philosophy. Arno believes that criticism provides “an opportunity to engage in thinking responsibly about what is happening in the world, where impulsive and unverified opinions dominate.” He sees it as a chance for both audiences and artists to pause and reflect.

He also expressed concern about the dominance of social media in cultural discourse, stating that traditional media should maintain its position as a counterweight. Arno believes the Latvian music scene, both popular and lesser-known, offers ample opportunity for critics to explore diverse genres.

From Criticism to Creation

Arno’s first review focused on the album Lēnā palīdzība by DJ Krankenwagen, a Latvian rock group known for incorporating fragments of other artists’ songs. Interestingly, Arno’s own musical group, Grēcīgie partizāni, engaged in a similar practice, referencing DJ Krankenwagen on their debut album in 2021, which in turn referenced The Prodigy.

Grēcīgie partizāni blends bluegrass, punk rock, folk, and classical elements into a “live and thoughtful folk punk” sound. The band, comprised of Arno, Pūķis (Kārlis), Anete, and Nauris, is known for its independent lifestyle and street performances. Arno plays the violin, an instrument he studied at the Pāvula Jurjāna Rīgas Mūzikas skola, while Pūķis plays guitar and sings, Anete plays the washboard, and Nauris plays the banjo.

The group maintains a tradition of summer travel throughout Latvia, often by bicycle or hitchhiking, alongside festival appearances and other concerts. They carry their instruments and essentials for weeks at a time, having already explored much of the country through tours of Centrālvidzeme, Kurzeme, Ziemeļvidzeme, and Latgale.

Finding a Balance in Belgium

Currently, Arno is pursuing a master’s degree in philosophy at the Katholieke Universiteit Leuven in Belgium. He previously earned a bachelor’s degree in philosophy from the University of Latvia. He notes a significant difference in the student-to-faculty ratio between the two institutions, describing the Belgian university as a “huge factory” with a more bureaucratic structure.

He references German philosopher Hans-Georg Gadamer’s emphasis on dialogue between students and professors, suggesting a group size of around twenty as ideal for meaningful interaction. Arno is adapting to the larger class sizes while focusing on his master’s thesis, which examines the concept of the “partisan” as defined by German jurist and political theorist Carl Schmitt. He is based in Mechelen, commuting to Leuven three times a week.

Arno describes Mechelen as similar to Latvia and is learning Flemish, the language spoken in the Flanders region, recognizing its importance to local identity. He jokingly acknowledges the challenge of ordering coffee in Flemish, stating, “Eén koffie, alstublieft!”

Frequently Asked Questions

What is Arno’s approach to music criticism?

Arno focuses on identifying a central thesis or idea within each album he reviews, aiming to formulate a clear and defining phrase that encapsulates his analysis.

What is Grēcīgie partizāni’s musical style?

Grēcīgie partizāni combines elements of bluegrass, punk rock, folk, and classical music, creating a “live and thoughtful folk punk” sound.

Where is Arno currently studying?

Arno is currently pursuing a master’s degree in philosophy at the Katholieke Universiteit Leuven in Belgium.

Given the increasing prevalence of quick takes and fleeting opinions online, how important do you think it is to have spaces dedicated to in-depth, thoughtful cultural criticism?