STARY OLSA is a medieval Belarusian music band. It was founded in 1999 by its present leader Zmicier Sasnoŭski and now consists of six musicians. It takes its name from an old brook in Belarus.
The band's repertoire includes Belarusian folk balladry and martial songs, Belarusian national dances, works of Belarusian Renaissance composers, compositions from Belarusian aulic music collections (e.g. Polack Notebook, Vilnia Notebook), Belarusian canticles of the 16th - early 17th centuries, as well as European popular melodies of the Middle Ages and Renascence.
STARY OLSA cooperates with many knightly clubs from Belarus and Europe, museums and research centres, masters of early instruments, bands of folk, aulic, sacred and city avital music, as well as with solo performers using old instruments, as well as with fire show theartes.

The band's music makes it possible to restore sounds of many forgotten instruments. STARY OLSA uses for its performances maximal exact (in appearance, technology and materials) copies of old aged Belarusian instruments such as Belarusian bagpipe, lyre, gusli (Baltic psaltery) , svirel, jew's-harp, ocarina, Belarusian trumpet, birch bark trumpet, hudok (Belarusian rebec), tromba marina and drums.

The purpose is to completely reconstruct (whenever possible) musical traditions of the Grand Duchy of Lithuania where Belarus was the main cultural and geopolitical part in the 13th - 18th centuries, and where there was a unique combination of Belarusian folk and aulic music with European musical achievements of that time. In order to revive this cultural peculiarity the band's members mix early Belarusian instruments sound with all-European mediaeval instruments such as lute, rebec, cister, flute, Arabic drum.

Besides its own theatrical concerts, the band performs at mediaeval culture festivals, spear-runnings and folklore festivals.

The STARY OLSA band has recorded eleven albums and one musical project. The band's music is included into seven collections of old melody performers.

Composer-Musician. Berklee Graduate. Masters Degree in Composition from the Royal College of Music in London. 

Cosmos-wrangling Americana upstart Israel Nash returns from Texas Hill Country with his Silver Season, a deeply gorgeous and wholly immersive nine-song set that plays less like an album, and more like a cross section of time and space. The man's fourth LP ventures farther down the acid-soaked trail blazed by 2013's Rain Plans, arriving in lush and expansive territory. Here, this Missouri son sounds more assured than ever, supported by his highly capable band and production inspired by psychedelic greats. Israel Nash's Silver Season is best played loudly, and sounds wonderful in headphones. 

Like the record before it, this one was made on Nash's 15-acre swath of land in Dripping Springs, Texas, with one key difference. While Rain Plans was recorded inside of the new home he shared with his then-pregnant wife, Silver Season was born in the studio Nash built outside and named Plum Creek Sound, a 1,400 square- foot Quonset erected in March. The band was ready to begin in late May when the floods came, filling the building with water and muck. Nash and the boys pushed on anyhow. Digging trenches, hauling sandbags, clearing mud, and plugging in—that's how they made an album, doing what needed to be done.

The end result isn't so terrestrial, however. Silver Season billows outward with its opening song, "Willow." A swirl of keys, bass, pedal steel, acoustic strum, and languid drums envelop the listener as Nash's cooed poetry recontextualizes the world through his daughter's eyes. A shimmery Morricone-like passage carries us into "Parlour Song," which sounds a little like Neil Young leading Tame Impala. "Sooner or later we'll surrender our guns/But not until we've shot everyone," Nash sings. And while the line would fit into a celebratory tale about Old West outlaws, it's actually a modern lament. 

From the warm drift and easy elasticity of "Strangers" (one of two cuts that verge on seven minutes) to the holler-along gospel of "The Rag & Bone Man," Silver Season feels like a living thing. That's a product of the wild five-man sessions that took place in the sweltering Quonset (with beer breaks, and slingshot target practice using the empties). It's also due to the care put into taming all of that good noise, with engineer Ted Young (Kurt Vile, Sonic Youth) returning to the mix. The analog hum grounds the guitar wizardry, while the depth of sound ties the band to the pasture that surrounds. 

It makes sense that Nash would come into his own out there. He was raised in the Ozarks amidst hills and farmland. Other things add up too. His pastor father and artist mother were very much children of the '60s. Dad bought him Sgt. Pepper's when he was 10, Mom handed him an electric guitar at 11, and Nash was writing songs by 12. And while he's grown away from the religion he was raised under, Nash's music is nothing if not spiritual. The spirit just comes from a different place—nature, family, song, and the occasional trip into times and spaces we can't normally access. Hidden within the folds of Silver Season, Nash's weather-beaten voice says it best: 

"I don't live like the others/I see twice as many colors."

I've been playing guitar and singing since my early teens. I spent 15 years playing in a band and now recreating songs on my home studio equipment. Thanks for visiting my page.

All recorded using Presonus Studio One Pro 4,  a Native Instruments Kontrol S1 61 controller,  a Roland D5 Keyboard, 2014 Fender American Standard Stratocaster,  2017 Gibson Les Paul Traditional Pro, 2020 Epiphone SG Custom, 2007 Epiphone  Les Paul Custom,  1984 Japanese Squire Stratocaster  with EMG DG clone pickups, a Gretch Syncromatic Duo Jet played through  a Hughes and Kettner Tubemeister 20, Reeves 2X12 with Purple Fane clones, Guitar Rig 5 Pro, Tom Scholz Rockman Soloist, Shure SM58 Microphone,  Shure 57 Microphone, Shure SM57B Microphone, Yamaha 12 string Acoustic,  Native Instruments Komplete 11 Ultimate,  all vocals by me or female vocals by Realivox Blue

𝙋𝙧𝙤𝙜 𝙧𝙤𝙘𝙠'𝙨 𝙖𝙣𝙩𝙞-𝙝𝙚𝙧𝙤 𝙨𝙚𝙧𝙫𝙞𝙣𝙜 𝙪𝙥 𝙚𝙭𝙞𝙨𝙩𝙚𝙣𝙩𝙞𝙖𝙡 𝙤𝙢𝙡𝙚𝙩𝙩𝙚𝙨.

Maylin Pultar was described by Blues Magazine as the female Dr John,
infused with Patti Smith and Kurt Cobain: “an unusual artist, her voice is exceptional, cristal-clear and powerful. Her music, like her stage presentation is original.”
(Blues magazineN°91 Janv-feb-march 2019)

Through her music and her creations, Maylin thrives to empower her audience in order to help them overcome their daily struggle. And so she does thanks to the strength she  draws from nature.
Full Bio (Engl or French) at https://maylinpultar.com
*CONTACT US * here: contactbeforejune@yahoo.fr

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