Muteant Sounds is a net label out of Florida who have reissued a minor treasure. This album pairs saxophonist Kenny Millions (born as Keshavan Maslak) and pianist Sergey Kuryokhin in what is a minor minimal masterpiece.
This is a two-track album, with the first track going into an eerie minor-key romp for twenty-five minutes, giving one the chills. The second track gets a touch more noisy, but maintains the aura of a film noir soundtrack.
Though Kuryokhin has been reposed for around 25 years now, his influence in the Russian improvisational scene still looms large, as does Millons‘.
Meticulous Midgets is a magazine out of Russia who did me one of the kindest honors by doing a sketch on the blog. I am delighted to return the favor by covering their survey on not only the Russian electronic, avant-garde, experimental and indie music, but a few tracks from the United States, Spain, France, Germany, Austria, Belgium, Finland, Croatia, The Netherlands and Great Britain as well. This is a compilation whose broad scope equals that of my colleague Raffaele from Unexplained Sounds Group.
I expected to hear good headphone music, and I am happy to say that the comp delivers handsomely. There are three standout tracks for me:
The whole comp makes for solid listening, but just by hearing these three tracks, you can hear the depth and scope of the sort of music Meticulous Midgets covers. They have made a fan out of me.
Very well-done dark ambient music released by Russian composer Misha Mishenko. Check out the label he’s on, Roomtone Records. Definitely worth your time.
The Rock-In-Opposition movement had a very short shelf life, but produced some of the most amazing avant-progressive rock bands. Think of acts like Univers Zero, Henry Cow, Art Zoyd, the Art Bears, Stormy Six and others. Their influence was felt far and wide, and you can hear it in the work of former ZGA guitarist Vadim Petrenko. He has synthesized the influences of his favorite artists and added his own take on the genre. His work with ZGA was stunning, so I’m looking forward to hear how he develops as a solo artist.
antrru is Anton Kiltsov, a producer based out of St. Petersburg, Russia. He makes synthwave music of rather astounding quality, and he is a perfect fit for his home label, Ezhevika Records out of Minsk, Belarus.
Ored Recordings produce some of the most unique and interesting music coming out of southern Russia. They straddle the line between being a proper record label producing vital new music and preserving ancient artifacts. Some notes about Zaur Nagoy’s release, courtesy of Ored’s Bandcamp page:
The Red Bull Music Festival took place on September 14-16 in Moscow. Red Bull conducts similar festivals around the world and every time tries to demonstrate the potential of local music and situate local sounds within a global context. The Moscow event was constructed around the same principles, with the slogan: “The unity of musical culture: from tradition to experiment.”
In regard to tradition and experiments, Ored Recordings was invited to give our perspective . Our portion was titled: Experimental Ethnographics, in which we spoke with the French documentarian, our friend and source of inspiration Vincent Moon, and the founder of the Morphine Records label, Rabih Beaini from Berlin. Vincent’s lecture and the collaborative audiovisual performance with Rabih features an experimental approach to ethnography and music and in this showcase Ored presented “original” sounds. For this we brought from Adygea the trio of Zaur Nagoy, Kazbek Nagaroko and Ramazan Daur – famous for their ensemble Zhyu, the film “Bonfires and Stars,” and our releases of their music.
At the last moment, due to a force majeure and only Nagoy reached the festival. For the festival, the label,and Zaur, these logistical changes became a real challenge. it became necessary to change the concept and format of the showcase.
In Circassian music, group performance is canon. In the choir (zhyu / ezhu) there is a saying: “The zhyu is a whip for a song.” The chorus of refrains and vocals largely determines the structure, rhythm and dynamics of a song. Even the outstanding Djeguako (minstrels) of the past have always had a small ensemble to back them up. At the same time, in archival records solo performance is quite common.
To this day, ethnomusicologists have been arguing as to whether or not there was mono-voiced performance before polyphony or that it is instead an indicator of the degradation of the singing tradition. Whatever it was, today, solo performance is a special, albeit not popular style of traditional Circassian music. Given the circumstances, Zaur had to demonstrate it.
For each song Zaur Nagoy gave comments on both the song’s content and context*. He did so not in an official/academic way, but with a liberating tone, reviving the story of the song with vernacular phrases and jargon. Thanks to this form of speech, the performace flet more like a ritual meeting in khachesh (guest room) combined with a stand-up show. And in the context of this release you may hear aspects similar to the genre of spoken-word.
Even if this experience of Zaur Nagoy’s solo release was an accident, we now want to work purposefully with this aesthetics and style in the future.
Kino were the closest thing the Soviet Union had to a new wave band, and they were pretty damn good at it. Co-led by singer and part-time actor Viktor Tsoi, his death in 1990 from a car accident ended the band’s career.
By the time this album had come out in 1985, the band were nearing their peak, selling two million units (though receiving hardly anything for their efforts). Amazingly, they also managed to sell around ten-thousand records in Southern California, both for the quality of the music and the novelty of being one of the first rock records ever released in the West by a Soviet band.
Today’s pleasant surprise is Blankenberge, a dreampop/shoegaze band out of Russia. Not quite My Bloody Valentine at their peak, but pretty decent nonetheless.
The Calvert Journal has a great blog post full of photos from the 80s and 90s underground rock scene in what was then Leningrad (now St. Petersburg), Russia.