ГОСТ 003
Олег Буянов
"Настоящий Белый"

А1: Настоящий Белый
А2: Блеск
А3: Давай Поговорим

Б1: Ужасная Ночь (при участии А. Фукс)
Б2: Свежая Краска
Б3: Деньги Это Газ

Город Москва

12" LP, 180 г., ручная печать, белый винил.
Январь, Российская Федерация. 
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Hand stamped white label, 12'' LP, 180 g. White Vinyl.
January, Russian Federation.

More info:
http://distribution.triplevision.nl/release/GOST003/
http://www.youtube.com/watch?v=Baei1kZo0lo

ГОСТ003: Олег Буянов "Настоящий Белый"

Седьмой ГОСТ МИКС для нас записал @molodoychelovek из Уфы. По всей видимости, это уже не молодой продюсер и коллекционер, участник уфимского объединения «Музыка». Микс на 90% состоит из работ автора. Приятного прослушивания!

ГОСТМИКС 007: Молодой Человек

ИНСТРУМЕНТ – 02
Сергей Суокас
"Река Времени"

А1: Река Времени (9:38)
B1: Царапины (8:43)

10" EP, цветной винил, ручная печать.
Декабрь 2015. 
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INSTRUMENT – 02
Sergey Suokas
"Reka Vremeni"

А1: Reka Vremeni (9:38)
B1: Scratches (8:43)

Hand stamped white label, coloured 10'' EP. 
December 2015.

Pre-order: http://www.deejay.de/GIN00210_-_Suokas_-_Reka_Vremeni_-_10inch__208534

Deejay.de

ИНСТРУМЕНТ – 02: Сергей Суокас

One part of the piece Polyrhythmoform1, composed by Andrey Smirnov in 2016, commissioned by CTM (Berlin) for the project Technosphärenklänge#2 and performed live with the 3rd version of the instrument, restored by Andrey Smirnov.
The Rhythmicon (aka Ployrhythmophone) is the very first optoelectronic rhythm machine. It was developed by Leon Theremin in 1931-32 in the USA according to the order of the American composer Henry Cowell, who suggested to strictly map rhythms to ratios from the harmonic overtone series. It was a reaction on the idea proposed by Charles Seeger: that just as the pitch relations of polyphonic music can create harmonic dissonance, polyrhythm could be thought of as "rhythmic dissonance." According to Leland Smith' research one Rhythmicon was built for Henry Cowell in 1931 and it worked not well. Sometime in the middle 30s Cowell left it at the Department of Psychology at Stanford University, where it was finally discarded and thrown around 1938. Another instrument was built in 1932 for the conductor Nicolas Slonimsky, who was intended to use it in his concerts, but it never happened. In the early 40s Slonimsky sold it to the composer Joseph Schillinger. In 1966 the heirs of Schillinger gave the instrument to Smithsonian Institute (USA). The third instrument was built by Leon Theremin at Moscow State Conservatory in the early 1960s.

Andrey Smirnov: Polyrhythmoform1_1 for the Rhythmicon solo (2016)

"The latest release from this camp is Kuzma Palkin's Sierpinski Curve, a double 10-inch on the trackier Gost Instrument sub-label. Compared to Palkin's only other record, the dense and rich Audiosapr LP, these four tracks are decidedly functional, but by no means conventional. There are hooks, however minimalistic, like the gusts of hi-hats on "SugrobChill," or the warped sub-bassline on "3 DeepTX" that creeps into the mid-range. The drums are grimy and punch-drunk in a way that recalls STL. Little flourishes make the arrangements feel loose and unpredictable—the one-off drum fills on "3 DeepTX," or the unexpected moment near the end of "SugrobChill" when the beat, until then a fierce and lean techno pulse, falls into a stepping rhythm. More evidence, if any was needed, that this crew has flown under the radar for too long."

Will Lynch, Resident Advisor

GOST INSTRUMENT – 04
Kuzma Palkin "Sierpinski Curve"

А1: SierpinskiSugrobChill (5:02)
A2: 21-04-DeepTX (6:28)
B1: 25-11-te (6:21)
B2: 02-06-disintegration-swirl (5:13)

2 x 10" EP, red & blue, hand stamped.
Mastered by Simon Davey.
21 July 2017.
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Hardwax: https://goo.gl/fqqm7B
Clone: https://goo.gl/qU9axJ
Juno: https://goo.gl/tAv5Lw
Deejay.de: https://goo.gl/EEM4ms
Decks.de: https://goo.gl/tA1f2h
Redeye: https://goo.gl/jbtQTR
Rush Hour: https://goo.gl/s66gLb

Hardwax

ИНСТРУМЕНТ – 04: Кузьма Палкин

Raz'yob — a strong word, in Russian means the process of destruction, deformation, disorganization, destabilization, deconstruction, demolition, transfiruration, crushing, breaking, beating, damaging, upsetting, wrecking, vandalizing, subverting, remaking and the result of all these processes.

In this album the recorder acts not only as a passive recording element, but also as an active participant in the sound extraction — it is used as a mediator and fiddles on the guitar neck, almost simultaneously recording what it produces. 

Разъёб — это процесс деструкции, деформации, дезорганизации, дестабилизации, деконструкции, трансфигурации, разрушения, разлома, дробления, избиения, расстраивания, вандализма, подрывной деятельности, а также результат всех этих процессов. 

В этом альбоме рекордер выступает не только как пассивный элемент звукозаписи , но и в качестве активного участника звукоизвлечения — он используется как гитарный медиатор и возится по грифу, практически одновременно записывая то, что производит.

La Sixième Sujet

Max Alyokhin

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