I downloaded a bunch of stuff recently and have been slowly working through it while working on my dissproposal. I recommend:
What we really like about the album is that it’s almost impossible to characterize it in a matter of specific musical genre or style. This is the music which can be depicted in such terms as “good” or “attractive”, or “visionary” or “surreal” but not “rock”, “hip-hop”, “glitch”, “negerpunk” or whatever is usually on your iPod/Winamp.
The album starts with a deep, vibrant sound which reminds me the final dark electronic period of Coil magiciansmusicians. But soon the music turns into some sort of Tribal-Folk with a heartbreaking chorals, freakish oriental drum patterns, and blurred sitar/string melodies which flows in an endless ocean of acoustical noises. The more you listen to this epic ballade-intro, the more you realize that “GLitch ov Batumi” will settle down in your mp3-player for a long time. On the “Irenashvili djan” song you’ll have to deal with catchy overdriven acid flavored oriental broken beats a-la Muslimgauze. And on the “Mountings” you’ll be drowned in a deepest lake of abstract ambient. And the comprehensive title of “Drummers ov God” song needs no additional comments, I believe.
Also enjoyed today: Kittenhead, by Djinnestan, but I don’t know how much it would pull me in if it weren’t called KITTENHEAD:
In many ways, it defies easy categorization. It is very ambient, but contains rhythms. It is dark, yet at the same time whimsical. It includes acoustic instruments and vocals, but they have been processed virtually beyond recognition.
Cisfinitum’s leader and inspirer Eugene Voronovsky has graduated from the Moscow State Conservatory as a professional violinist. In his music he uses classical instruments such as violin, piano and percussion along with the sounds traditionally considered “non-musical”, like sound of mechanical coffee grinder or dying man’s breath, all of this subjected to thorough processing, in which both Soviet analog tools and modern digital processing technologies are used. That’s why Cisfinitum can be called the industrial-ambient reading of academic music.
“Cisfinitum is the sound of eternity. I’ve always wanted to create the music of Russian cosmos, music capable of expressing information about Russia that is impossible to reveal by means of words. They call this ‘drone’ overseas, but I prefer to define it ‘metaphysical ambient'”, claims Eugene.
And I called “magnificently creepy.” That’s a good thing.