feel like a big cup of orange juice with pepper! awesome

Алёна Пономаренко - Прощайте, хлопчики

Alt-J (cover Kylie Minogue/Dr Dre) - SLOW

tosyachai - dreams

◆ Olga Maximova & D-Pulse - Noch

Official music video: http://youtu.be/asDYuimQCA0

◆ iTunes link:
https://itunes.apple.com/ru/album/noch-single/id948129912

◆ WAV / FLAC link:
vernalrecords.bandcamp.com/releases

℗ & © Vernal records. 2014

www.facebook.com/vernalrecords
www.facebook.com/dpulseband
www.facebook.com/olgamaximova.electroharp

Noch

Buy on iTunes

Olga Maximova & D-Pulse - Noch

Alina Orlova - Милый (Monoart Remix)

electronic, triphop

Video: https://youtu.be/XbcEGl-haFY

Exorcism

Art has a feature of avoiding straightforward statements. 

More precisely, those thoughts originality of which requires an artistic language are rarely simple or straightforward. In this case, a musical statement becomes a metaphorical one. 

But what features - linguistic and stylistic - are inherent to this kind of statement? And what tasks as a result appear before the performer, the interpreter? 

Sometimes we expect a metaphor to be something complex, deliberately ambiguous, but if by the statement we gain new ways of understanding, a metaphor survives. It becomes obvious and natural like a long-time proven assertion in mathematics, which over time has become a well-known theorem... 

But then a new layer of metaphors appear. It comes naturally as a new coil of what was proven in the previous turn… Maybe there again is a choice appearing in front of the artist? What should the artist do, take part in the pursuit of the evolution of the metaphorical language, or hide, using seemingly familiar tools and forming a completely new context? 

The author, obviously, selects the second. 

Of course, this makes his music defenseless and extremely vulnerable to the performance. The slightest inaccuracy of the interpretation could trigger a completely different association and a metaphorical statement will be destroyed... 

I hope that we were able to uncover the author's intention in his modern sound where archaisms, modern expression and avant-garde ideas give birth to a new dramaturgy. 

Ilya Hoffman
__

Polina Osetinskaya: piano

Composed by: Sergey Akhunov 

Recorded by: Alexei Barashkin 
Recorded at: The D. D. Shostakovich Saint Petersburg Academic Philharmonia, Large Hall, 31 May – 4 June, 2016 
Edited by: Alexei Barashkin 
Mixed, mastered by: Alexander Mikhlin 
Cover photo by: Anna Zyabreva

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vtch3h

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