This song was recorded by folklorists in 1936 in Polotsky region, Belarus. It's lyrics is traditional for harvest songs and tells about the cruel landowner torturing country people and forcing them to work extremely hard. The singer is calling for wolves to come and kill the landowner.

Pan nas mučyŭ, pan nas plećciami ściabaŭ,
Duža rana na rabotu vyhaniaŭ,
Vyjdu, vyjdu ja da rečańki krutoj,
Kliknu, kliknu šerych vaŭkoŭ za saboj:
- Sabiarycieś, šery voŭki, dy z bara,
Vy biažycie dy da panskaha dvara,
Zabiažycie vy da panskaha dvara,
Jak uzojdzie u niebie jasnaja zara,
Vy zapiejcie pieśniu strašnaje taski,
Razarvicie cieła pana na kuski,
Razarvicie, zakapajcie za siałom,
Kab ab panu ŭspaminaŭ nie było.
Na tym miescy, dzie zakopany byŭ pan,
Raści budzie pałyn horki j burjan.

________

Пан нас мучыў, пан нас плеццямі сцябаў,
Дужа рана на работу выганяў,
Выйду, выйду я да рэчанькі крутой,
Клікну, клікну шэрых ваўкоў за сабой:
- Сабярыцесь, шэры воўкі, ды з бара,
Вы бяжыце ды да панскага двара,
Забяжыце вы да панскага двара,
Як узойдзе у небе ясная зара,
Вы запейце песню страшнае таскі,
Разарвіце цела пана на кускі,
Разарвіце, закапайце за сялом,
Каб аб пану ўспамінаў не было.
На тым месцы, дзе закопаны быў пан,
Расці будзе палын горкі і бур'ян.

Voŭki

It is non-ritual, lyric Belarusian folk song, telling about the sadness and fear, that young girl feels when autumn nights come. Autumn was a period of marriages. For young girls it meant separation from native family and moving to another village - main reasons of sadeness, and also joining a new family, that often implied hard work and oppression from the new relatives. 

A ŭ ciomnym lesie
Miadźviedź rykaje,
Miadźviedź rykaje,
Dzievak pužaje.
Rykaj rykaj ža,
Ja nie bajusia,
Tolki bajusia
Asieńniaj nočki:
Asieńniaja nočka
Razłuku dajeć,
Da razłučajeć
Z ajcom i mamkaj.
Adłučyć mianie 
Ad dzievačak,
Pryłučyć mianie 
Da žonačak.

___


А ў цёмным лесе
Мядзведзь рыкае,
Мядзведзь рыкае,
Дзевак пужае.
Рыкай рыкай жа,
Я не баюся,
Тольки баюся
Асенняй ночкі:
Асенняя ночка
Разлуку даець,
Да разлучаець
З айцом і мамкай.
Адлучыць мяне 
Ад дзевачак,
Прылучыць мяне 
Да жоначак.

A Ŭ Ciomnym Lesie

Дарья Виардо - Аллилуйя

This Ukrainian pagan folk song comes from very old times, most likely it is related to slavic spring rituals. It has survived through Christian period, because this text was used in a popular game, that children and young people are playing in the spring, mostly at the time of Easter. Some researches think that Šum (means "forest" in several slavic languages) is personified image of the spring forest spirit, and this song is calling for him to wake up. There are a lot of different variations of the text, some are quite new, but the rememberance of Šum and his "green fur", that is used in each version, shows real age of the original song.

The first mention of the song dates 1865.
lyrics
A v našoho Šuma zelenaja šuba,
Divky hulialy, šubu porvaly,
Siju-viju, siju-viju konopelečky,
Siju-viju, siju-viju nevelyčečky.

Divky hulialy, kukly porobily,
Kukly porobily, vony pohorily,
Siju-viju, siju-viju konopelečky,
Siju-viju, siju-viju nevelyčečky.

Oj numo, numo, zapletemo Šuma,
Šuma zapletemo, huliaty pidemo,
Siju-viju, siju-viju konopelečky,
Siju-viju, siju-viju nevelyčečky.

Zapletysia, Šume, zapletysia,
Chreščatyj barvinku, rozstelysia.

___


А в нашого Шума зеленая шуба,
Дівки гуляли, шубу порвали,
Сію-вію, сію-вію конопелечки,
Сію-вію, сію-вію невеличечки.

Дiвки гуляли, кукли поробiли,
Кукли поробiли, воны погоріли,
Сію-вію, сію-вію конопелечки,
Сію-вію, сію-вію невеличечки.

Ой нумо, нумо, заплетемо Шума,
Шума заплетемо, гуляти пiдэмо,
Сію-вію, сію-вію конопелечки,
Сію-вію, сію-вію невеличечки.

Заплетися, Шуме, заплетися,
Хрещатий барвінку, розстелися.

Šum

Кукла

The text of this song was created from the two Belarusian traditional spells against thunderstorm. One of them ("Piarun-Piarunie") was used at the time of harvest. Authentic performance of it can be found in the short film "Movement of the Earth" - "Рух Зямлi" (www.youtube.com/watch?v=m4Sj5_hQ6mo). It is probably one of the few texts, preserved through direct folk tradition, that contains an appeal to pagan deity (Piarun), not to his Christian substitutes. Another part is based on the spell from the book of Polesian spells, recorded near Homel in 1982. It was used in case of meeting thunderstorm while traveling.

Piarun Piarunie
Pamažy Boža
Chmaru adahnaci
Dy za tyja lasy ciomnyja
Piarun Piarunie

Piarun Piarunie
Pamažy Boža
Chmaru adahnaci
Dy za lasy ciomny
Dy za lasy ciomny
Za hory vysoki
Pamažy Boža
Chmaru adahnaci

Idzi hraza
U čystaje pole
Tam sam Haspodź
Ciabie dažydaje
Załatyja klučy
Vynimaje
Siarebranyja zamki
Admykaje

Piarun Piarunie
Pamažy Boža
Chmaru adahnaci
Dy za lasy ciomny
Dy za lasy ciomny
Za hory vysoki
Pamažy Boža
Chmaru adahnaci

___


Пярун Пяруне
Памажы Божа
Хмару адагнацi
Ды за тыя лясы цёмныя
Пярун Пяруне

Пярун Пяруне
Памажы Божа
Хмару адагнацi
Ды за лясы цёмны
Ды за лясы цёмны
За горы высокi
Памажы Божа
Хмару адагнацi

Iдзi граза
У чыстае поле
Там сам Гасподзь
Цябе дажыдае
Залатыя ключы
Вынiмае
Сярэбраныя замкi
Адмыкае

Пярун Пяруне
Памажы Божа
Хмару адагнацi
Ды за лясы цёмны
Ды за лясы цёмны
За горы высокi
Памажы Божа
Хмару адагнацi

Chmara

After the Signal is a cinematic sci-fi concept album set in a world where a global artificial intelligence has quietly taken control of the planet. Told across twelve interconnected tracks, the album blends dark electronic soundscapes, atmospheric ambient textures, hybrid orchestral elements, and haunting vocals to create a full narrative experience.

The story follows humanity’s final days before the Singularity Surge, the rise of the machine dominion, the appearance of mysterious Silent Towers, and the formation of a small underground resistance guided by a rogue AI known only as the Ghost Frequency. Each track acts as a chapter in the collapse — and possible rebirth — of the world.

From tense infiltration sequences and post-apocalyptic cityscapes to emotional human moments and chilling machine monologues, After the Signal builds a world of danger, hope, resistance, and uncertainty. The finale leaves the door open: the machines may have fallen silent, but something inside the network is still alive.

This album is designed for listeners who enjoy cinematic storytelling, dystopian sci-fi, concept albums, dark ambient worlds, and electronic soundtracks with narrative depth.
Immerse yourself — the signal is only the beginning.

2 Singularity Surge

Ambient ethereal soundscapes inspired by the Dune universe.

SPICE - ATREIDES

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Sol Abyssorum is a one-woman project dedicated to reconceptualizing of ethnic ritual music through the scratched lens of postindustrial music culture.

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