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From their native St. Petersburg, Square Fauna evoke a score for imaginary protoplasmic oceans, surreal, sepia-tinged space operas and Russian sci-fi folk tales; lush, green landscapes littered with the burned out husks of automobiles, military vehicles, and askew telephone poles no longer in use though marked by pools of water in which can be found the debris of modern society.
Primitive kosmische electronics and vintage spacescapes cascade around complex polyrhythmic percussion. Ethereal mists of gaseous reverb are scattered by windswept synths and white-noise striations.
‘Meet The Fauna’ is as much of a cheeky nod to The Residents and Coil (or even Haroumi Hosono and John Hassell) as it is to the likes of B12, Black Dog, Richard H Kirk.
A completely singular, modern sci-fi soundtrack for the discerning sofanaut.
Artwork by Al White aka Crud.
Available end of March 2020. Distributed exclusively worldwide by Rubadub.
"Filterealism" starts from the territories where Gamayun haven't stepped before, from the music that only seems to be simple, but in fact it turns out to be very compound. Their recordings are not escapist in any sense of its meanings anymore; the whole album consists of divisions, explorations and adoptions through the personal and collective experience of music-making. The technical side of this sound acts likewise: you can hear a large amount of routine items (furniture, utensils and deformed recordings of the nature) among "conventional" electronic gadgets and live instruments. "Filterealism" sounds just like some Soviet electronic music pioneer, which had shifted his focal grip from the modulations and synthesizers to all the simple things of surrounding and completed the piece with profounder shot of weirdness and commonplace wondering. And it literally works like a wonder.
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Release date: February 28, 2020
Five years ago, the expression ‘Russian electronic scene’ had borne a tone of futurology and expectancies rather than a real state of affairs. It was possible to put together musicians of local and genre importance easily in general, but not of significance in national scale. With rise and further development of ГОСТ Звук, Russian electronic music achieved power not only as cultural phenomenon within country’s borders, but also proved fully to be a thing of international meaning. Starting operations in 2014, the label quickly defined its domains of authority and engagement and created full-bloody community of musicians, where everyone has a special view on his own work and unique sound. The projects presented on this compilation can be rightfully called the contemporary vanguard of Russian and global electronic music.
Each of resonant artists holds his own disparate creative field and impact. However, in this diversity the unity of creation of beauty and ingenuity is born, that distinguishes Russian independent electronica. All compiled tracks perfectly characterize the artists involved, sometimes from extremely striking sides; chaotic improvisations and ethereal grooves, unearthly landscapes and undistracted concisions. Both electric boffinry and club anthems merge into united vision, placed in graceful frame of Rashad Becker’s mastering.
Maybe this compilation won’t close the question ‘What is the Russian Sound?’, which has been raising for more than a twenty years. Nevertheless, it is able to give an extensive view on the evolution of Russian electronica in the 2010s.