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Russian duo Gultskra Artikler (Alexey Devyanin and Dmitry Garin)
debuted with
Lusha (2005).
The EP Pofigistka (Lampse, 2006) contained four Devyanin compositions and
four remixes by other musicians.
The fragile constructs are roamed by ghostly found sounds, emanate
the intimate and pastoral feeling of folk music
and hint at other dimensions (whether psychedelic or not).
Devyanin crafted
dark and expressionist atmospheric electronica with samples on
Kasha Iz Topora (Miasmah, 2007).
A detuned guitar intones the Slavic litany Po Derevne over the mousesteps
of the digital percussions and an eerie choir.
A string instrument that sounds like both a violin and a didjeridu struggles to
utter a melody in Begushemu Vpered and succumbs to a chaos of
metallic percussion.
The intersection of chamber music and musique concrete is also at the core of
the witty Slovami Poeta.
The yearning Krovinka Moya, instead, loops a melodic fragment to
establish an atmosphere similar to Pachelbel's Canon and then
disintegrates it with a loud drone and a collage of radio voices.
Potemnelo even seems to deconstruct a folk fanfare within the odd pile
of incoherent sounds.
Repeated guitar tones create an idyllic and even pastoral atmosphere in Votpusk.
Viceversa the scant distorted guitar sounds in
Vechnost, coupled with a grotesque crowd of sonic events, create a
gothic atmosphere.
Any narrative pretense is abandoned for the
lush abstract digital soundpainting Kartoshka and the
dreamy alchemy of Kuraga. These free-form pieces are just
decontextualized ungrounded physical experiences.
Further down the line are
sparse dissonant essays such as Rak Pushka and Medicinski Rabotnik
that are basically the laptop equivalent of free jazz.
Pofigistka (Lampse, 2006) is basically an EP with some remixed.
The EP Qwerty (Mille Plateaux, 2010) offered six hyperkinetic vignettes
of futuristic digital soundscaping, notably
the industrial glitch mayhems of q,
the galactic soundtrack w,
the ebullient industrial cacophony of e,
and the haunting cinematic fantasy t.
The physical intensity and the metaphorical otherness of this digital suite
constituted a new form of progressive rock despite the absence of rock
instruments.
Far less ambitious,
Galaktika (Other Electricities, 2010) was an astronomy concept
that veered towards much more stable and linear structures.
After the wavering overture of Galaktika, that plays the role of
a cosmic tuning "om",
the jarring glissandoes of Solnce coalesce in a choir-like drone,
metaphorically bridging the supernatural and the human.
So does the rumble and the drilling noises of Nanorobot, whose ending
is even more explicitly a monk-like choir.
The choir becomes part of the texture in the poignant Sputnik,
the best update of Klaus Schulze's
cosmic music to the digital age and the album's highlight.
The choir is the main presence in Asteroid, and it soars along
string-like drones that seem to represent orbits.
No wonder than that Angel closes the album with a colossal mass-like
harmony of voices.
Too many of these pieces, however, sound trivial. And the continued
reference to Gregorian chants was neither original in 2010 nor particularly
creative.
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