PAPILLON.aac

´Ocean´ is a composition A1 from the forthcoming issue of Valentina Goncharova´s  2xLP  fundamental conceptual  musical work ´OCEAN: SYMPHONY FOR ELECTRIC VIOLIN AND OTHER INSTRUMENTS IN 10+ PARTS´,  to be released as part of Hidden Harmony Lost Tapes series, under catalogue number HHLTS01.

Originally recorded in 1988, the album has been meticulously restored and mastered from the original analog tapes (6.3 mm recorded at 19.05 sm/s tapes) over a period of two years in preparation for the vinyl issue.

Released by Hidden Harmony Recordings, May 16, 2022

2x12" 200-gram vinyl records in poly lined inner sleeves, 33RPM, black vinyl.

Thick old style tip-on gatefold outer sleeve.
Includes a 12-page booklet detailly describing album conceptual basis, background and context ,  and providing insights into unique sound recording/technical solutions adapted  during album recording in 1988. 

Edition of 1000 numbered copies

///

The beginning of ´OCEAN´, the self-titled opening track presents the potential state of the world with barely distinguishable material forms. 

///

Written, performed and produced by Valentina Goncharova 

Mixing (Original Mix) — Valentina Goncharova, Igor Zubkov
Original album master tapes digitization* — Martin Jaanus 
Audio restoration, 1st Phase — Jörgen Hermaste
Audio restoration, 2nd Phase — Igor Zubkov
Mastering engineer — Jörgen Hermaste
Final mastering and lathe cut —   Matt Colton (Metropolis Labs, London UK)

Digitization carried out with the invaluable help from Skeemipesa team and Tallinn Technical University (TalTech) using a fully restored Olimp MPK-005C reel-to-reel tape recorder, similar to the one used during the ´OCEAN´ original recording sessions in 1988.

© & ℗ 2021 Hidden Harmony Recordings

Valentina Goncharova - Ocean

Цей альбом був записаний наживо в Миколаїві 8го серпня 2020го року. Він репрезентує перший рік існування гурту. Поєднуючи акустичне та електронне, працюючи між жанрами і стилями, ми створили годинний сет із 5 треків (+1 бонус трек). Ми не хотіли випускати цю музику для публіки, оскільки її живий запис все ще не представляє наш повний потенціал. Російсько-українська війна 2022 року підштовхнула нас до того, щоб випустити її. Це також наше послання місту Миколаєву, яке зараз героїчно тримає оборону. 

This album was recorded live in Mykolayiv on August 8th, 2020. It represents the first year of the band’s existence. Merging acoustic and electronic, working across genres and styles, we've created an hour long set that consists of 5 tracks (+1 bonus track). We were reluctant to release this music to public, as this live recording does not represent our full potential. The Russia-Ukraine war of 2022 pushed us to release this recording. It is also a love letter to the heroic city of Mykolayiv, that is fighting right now.

Buy full album here:
https://potrebagroup.bandcamp.com/album/live-in-mykolayiv

Live in Mykolayiv

Opener

Potreba Group  - Opener

“VA: NOTATOK 1” is the label's debut release and kicks off our “NOTATOK” fundraising compilation series. The album contains tracks by musicians from Odesa and Kyiv, performed in various genres: from bedroom jazz to herbal ambient and Cossack Duma.

80% of the proceeds from the sales of this compilation will be transferred to the accounts of several volunteer organizations that help the Ukrainian military and civilians affected by the war started by the terrorist state of the russian federation.
__

“VA: NOTATOK 1” є дебютним релізом лейблу і відкриває серію наших фандрайзінгових компіляцій “NOTATOK”. Збірка містить композиції від музикантів із Одеси та Києва, виконані в різних жанрах: від бедрум джазу до рослинного ембіенту й козацької думи. 

80% доходів від продажів цієї збірки будуть переведені на рахунки кількох волонтерських організацій, які допомагають українським військовим та цивільним, що постраждали від війни, яку розпочала держава-терорист російська федерація.

Wheatness - Sprahy Kvit

flowers of stranger's dreams

Ded Lus

~Ай~Йа~Ай~

Now available: Svitlana Nianio & Oleksandr Yurchenko's 'Znayesh Yak? Rozkazhy' ('Know How? Tell Me'). Recorded in an abandoned park in Kiev in 1995, this is the first official release of 'Znayesh Yak? Rozkazhy' outside of the duo's native Ukraine, and is presented in conjunction with Glasgow's Night School Records.

Order the 12" vinyl edition here: tinyurl.com/vw3lgpe

Digital only here: tinyurl.com/rzk2ehc

All orders will ship after 21.02.2020.

Svitlana Nianio and Oleksandr Yurchenko are musicians with a long history in the still-mysterious Kiev Underground. Nianio’s first group Cukor Bela Smert [Sugar, The White Death] were active from the late 80’s through to the early 90’s, and following an intense period of touring, collaboration, experimentation and a string of mixtapes and self-published recordings, Nianio’s first official solo album ‘Kytytsi’ was released in 1999 by Poland’s Koka Records. Oleksandr Yurchenko, a longtime collaborator and a pivotal figure in the Kiev music scene, was instrumental in creating the Novaya Scena, a loose conglomerate of artists who encouraged each other to excavate both the sounds of the West and Ukrainian tradition. ‘Znayesh Yak? Rozkazhy’ (‘Know How? Tell Me’) is the duo’s most fully realised collaboration, an enchanting, complete world in which Yurchenko’s instrumentation and playfulness with form frames Nianio’s otherworldly soprano, recalling Liz Fraser steeped in contrapuntal melody and hymnal improvisation. Originally made available on a self-released cassette in 1996 (re-issued in 2017 by Ukraine’s Delta Shock label) where the album was twinned with ‘Lisova Kolekciya’ (re-issued on LP in 2017 by Skire) this is the debut release of ‘Znayesh Yak? Rozkazhy’ outside of Ukraine.

Recorded in an abandoned park in Kiev during a fertile period for artists and musicians following the collapse of the Soviet Union, ‘Znayesh Yak? Rozkazhy’ sees Nianio and Yurchenko combine Casio keyboard, hammered dulcimer, percussion, and Nianio’s unmistakeable soprano vocalisations to create music sympathetic to the specific locations in which they chose to record. Yurchenko’s contribution is perhaps more present on this recording than anything else we have heard from the duo. His percussive dulcimer playing provides the basis on which Nianio can weave delicate keyboard lines while playfully contorting her voice, shifting from a low register reminiscent of Nico to what could be perceived as the call of a bird or an animal in distress. Whatever the intent, the effect is haunting and beautiful in equal measure.

There’s a prevailing earthiness on the recordings, found in the warm hiss of the lo-fi means of recording or the grinding, unspecified sounds that occasionally accompany the melody, like drones created on the fly by hands trying to keep warm in the ice. A prevailing mood of fragility and beauty seeps from these melodies, delicate moments of clarity spun by the two musicians. ‘Znayesh Yak? Rozkazhy’ is a dream spun in twilight, a crystalline, private world where the listener feels both alien and welcome.

Recorded in Kiev, Ukraine, May 1995
Produced by Svitlana Nianio & Oleksandr Yurchenko
Mastered by John Hannon, 2018

Artwork by Svitlana Nianio

Svitlana Nianio & Oleksandr Yurchenko - Untitled 4 (from 'Znayesh Yak? Rozkazhy' 12" + digital)

Valentina Goncharova - Recordings 1987-1991, Vol. 1
Cat. number: Shukai 03
Format: 2LP, Limited to 300
Pre-order: https://shukai.bandcamp.com/album/recordings-1987-1991-vol-1

Tracklist:
A1 Symphony Of Wind
A2 Insight
A3 Zen Garden
B1 Passageway To Eternity
B2 Maitreya
B3 Higher Frequencies
C1 Metamorphoses
C2 Contemplation
D1 Vigor
D2 Dynamics

Liner notes:
Historically informed violin player, prize-winning street musician, new age experimentalist, chamber ensemble performer and conservatoire deviant. The career of Valentina Goncharova (b. Kyiv 1953) shares parallels with those associated with the broader new music movement of the 20th century and the dissemination of home recording technologies. Valentina’s was a youth spent immersed in the world of classical music study under soviet rule, first in Kyiv and later in Leningrad (now St. Petersburg) from the age of 16. With the supervision of professors M. Vayman and B. Gutnikov she learned concert violin and developed alternate playing styles alongside skilled pianists. A student of the Leningrad conservatoire during the years 1969 through to 1983, her repertoire included music for violin and later expanded to contemporary music composition. The improvisatory nature of free jazz and then-budding experimental rock circles also intrigued Valentina during this period in Leningrad. Departing from the rules of the conservatoire, she briefly performed in underground rock clubs alongside future members of the industrial group Pop-Mechanika (Popular Mechanics). This perpetual state of flux is central to the variety found within ‘Recordings Vol. 1’, though as opposed to any degree of uncertainty Valentina’s practice is one in flux by way of earnest curiosity.
						
Pushing further into an exploration of solo electro-acoustic sounds, she took to home taping on a modified Olimp reel to reel recorder. Intrigued by the manipulability of dubbing and the fresh sounds of DIY effects chains, Goncharova developed pickups alongside her husband Igor Zubkov. Her infatuation with the music of Stockhausen, Xenakis, Ganelin Trio and Pierre Boulez channels through considerations of space and erratic sound design, the three movements of ‘Metamorphoses’ embodying this textural approach to musique concrete. The compositional skills developed in Leningrad unfold in the romantic gestures of ‘Higher Frequencies’, whilst manipulated cello combines with synthesise keys across ‘Passageway To Eternity’. The slow, pulsating drone soundscapes recall the likes of Robert Rutman’s US Steel Cello Ensemble or even deep listening pioneer Pauline Oliveros.
						
The juxtaposition of written notation and improvisatory flare is central to Goncharova’s sound world. This period of home recording documents a confluence of minimalism, free form and flirtations with new age tropes (inc. bell chimes and cavernous vocal mantras). Experimenting with unusual performance techniques, such as shouting into amplified cello strings, Valentina’s home studio functioned as a place to foster full artistic and creative freedom away from any academic strictures.

Credits:			
Composed and arranged by Valentina Goncharova Recorded in Tallinn and London during 1987—1991
						
Mastered by @producedbyflaty
Compiled by Sasha Tsapenko, Dmytro Prutkin and Dmytro Nikolaienko 
Liner notes by Fergus Clark (@fergus_clark)
						
Master tapes courtesy by Valentina Goncharova
Photos by Igor Glazistov
Special thanks to Ats Luik and Martin Jõela

Valentina Goncharova - Recordings 1987-1991, Vol. 1 (excerpts)

Salomé Op.2

@maryana-klochko

c-x-e-m-a.com/eng/cxemcast/086-maryana-klochko

c-x-e-m-a.com

Cxemcast 086 – Maryana Klochko

Hidden Harmony Recordings record label, a fresh perspective in the  meditative, experimental and ambient realm of captured sound.

Valentina Goncharova - Ocean

Hidden Harmony Recordings

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