"Студия Неосознанной Музыки"
Click to viewФрагмент композиции "Материнский язык и отцовские руки" из программы "MutterUnser"
"Студия Неосознанной Музыки"
Состав:
Александр Маричев - multi-instrumental
Степан Качалин - voice, lyrics, objects
Максим Сушков -drums, laptop, noises,
Семён Решетин - bass, noises
концерт "Тихие игры".
Кемерово,
КемГУ, Театр "Встреча"
1 ноября 2008 г.
съёмки: Максим Евстропов
Кемеровский концептуальный музыкальный проект, родился в 2005 году. Постоянного состава нет - это общество людей реализующих свои музыкальные идеи. Среди реализованных проектов: музыка к спектаклю "Тень дерева" (театр "Встреча"), музыка к немым авангардным фильмам Мэн Рея в рамках фестиваля "Tapeur" I (Opus I), выступление на Inotheatre (Юрга), озвучивание вечера поэзии в театре "Ложа", выступление на "Тихих Играх" (Opus III) и Sleep Party. Четкого стиля определить не возможно по определению для данного проекта, стиль - как музыкальное выражение воспринимается тоже как инструмент.
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The Studio of Unconscious Music [Studiya neosoznannoj muzyki]
post Tir Nan Ogt
location: Kemerovo
formed: 2005
styles: experimental, post-rock, post-industrial, avant-garde, post-post
current staff:
Alexandr Markvart (Alexander Marichev) - multi-instrumental
S. Kachalin (aka Feodor Reznik) - voice, lyrics, objects
Max Sushkov - drums, laptop, noises
Semyon Reshenin - bass, noises
former musicians:
Alexandr Markvart (Alexander Marichev)
Anton Karmanov (Blanke Blatt)
worked with:
Eugeny Kurskov - laptop electronics
Stas Novikov (Stanislav Makovsky) - keyboards, cello
Eugeny Golsky - violin
Kirill - oboe
Tir Nan Ogt studio is an experimental musical union, formed in Kemerovo in 2005. The union’s title is taken from Celtic mythology, where it is the name of “The Land of the Ever-Young”.
Tir Nan Ogt characterize what they do as “post” (or even “post-post”) - that may be the music resounding in the columbarium of “culture”. Think “progress”, think “eternal returning”, in their “enlightened ignorance” they are just carrying out some residual “inner necessity”. “It’s like a knife stab slightly below the ribs, - as Feodor Reznik, the band’s vocalist and songwriter says, - so it’s impossible to get out”.
The ensemble’s music combines multiple heterogeneous elements without seeming eclectic. Its basis consists of repetitive and spacious sound structures, with an allusion to the psychedelic and progressive rock of the past, as well as to the dark post-industrial ambience. All this is merged with hermetic & murderous lyrics of S. Kachalin (aka Feodor Reznik). There’s a great deal of spontaneity and improvisation within, however, in its organic integrity the band’s music often inclines towards a “song form”.
Tir Nan Ogt’s implement kit is rather diverse: they use analogue and digital electronic equipment, instruments of a traditional rock set (guitar, bass, drums, keyboards), folk instruments, such as bayan (kind of accordion) and gusli (Russian zither), and also various “non-musical” objects. The acoustic sounds are usually processed and recycled (this abundance of sound loops is especially characteristic for Markvart’s side solo project Cyclophrenia).
Tir Nan Ogt collaborated with Kemerovo electronic musician Eugeny Kurskov and with a young composer Stas Novikov, as well as with some classically trained musicians during their live shows. They’ve also made music for a local theatre Vstrecha [the Meeting], for the play called “Shadow of a Tree” (2008).
MutterUnser, another experimental project, is a side branch of Tir Nan Ogt, or it’s new incarnation (since 2008), though there’s a certain conceptual change within: the basis of this musical enterprise is the poetic word (while Tir Nan Ogt is essentially a “skiffle” project). Their first live program was dedicated to motherhood, with songs based on the lyrics of London foundlings.