Creation VI & Uhushuhu
CD (ltd. 300)
Masters of the new wave of Russian drone ambient present their collaboration work. A narrative streaming out of the green thicket of a fictional forest as a cloud of purple fog pierced by flashes of resonating harmonies and ghostly echoes. A dense organic cobweb of field recordings, voices, acoustic instruments and electronic manipulations. A dream filled with bright colours or a psychedelic slumber with a whirling kaleidoscope of asymmetric images and visions. A sonic fantasy so pleasant to dive into together with the musicians and spend some time in the company of your own subconscious mindů
The other new release by Muzyka Voln is a collaboration between Creation IV and Uhushuhu. The latter of whom we heard music back in Vital Weekly 987 and 933, while Creation VI before had a work with Exit To Exist, reviewed in Vital Weekly 875. Here the two bands have a forty-minute piece of similar drone related music as Closing The Eternity but yet there is also much difference. These two musical projects allow for a wide palette of sound material to choose from. This includes for instance an extensive use of field recordings, mainly recordings of birds I'd say. There is also the use of acoustic instruments, such as bells and bowed strings, but all of that comes with a large amount of electronic treatments, and among that I'd say the reverb plays the all important role. Obviously, perhaps, as this is what makes dark drones probably dark and drony. The music rolls about, in all those spacey sound effects, which has a very hallucinating effect on the listener. One could easily call this psychedelic music, less any drums or guitars. This is just one giant atmospheric explosion in the sky, with ever expanding boundaries. Like Closing The Eternity perhaps not the most newest of drone affairs, but a very solid work it surely is.
This is a collaboration between two Russian ambient entities - Creation VI and Uhushuhu. The title of the album is a triangle, or pyramid, a text symbol which I don't possess, and even if I did, I'm not sure it would translate properly on the Chain D.L.K. site, so whatever this "^" looks like, it will have to do. Creation VI has been around a bit longer than Uhushuhu having started in 2006 and having a slew of albums (often collaborations) to its credit. Uhushuhu was formed in 2013 and they have a few prior releases. The best description of this album comes from the one-sheet - "A narrative stream out of the green thicket of a fictional forest as a cloud of purple fog pierced by flashes of resonating harmonies and ghostly echoes. A dense organic cobweb of field recordings, voices, acoustic instruments and electronic manipulations. A dream filled with bright colours or a psychedelic slumber with a whirling kaleidoscope of asymmetric images and visions. A sonic fantasy so pleasant to dive into together with the musicians and spend some time in the company of your own subconscious mind..."
Well, okay, some of that sounds like hype, but it's really not far from the truth. This is one dense 40 minute drone piece where not much happens, yet a lot happens, and such is the dichotomy of "^". All sonics are woven together like one inextricable braid. Noticing a flute, or tambura, bird sounds, or even what might be used for the various drones seems superfluous. This is the kind of album Ash Ra Temple and early Tangerine Dream aspired to, but never quite achieved. This is submergence of the self and surrender to the cosmic awl. This is intense, not just pleasant hippie drifting. Maybe you need a good hallucinogen to get the most out of it, then again, maybe that might just be too much. It comes on quite strong, but fades away slowly just like the acid trip you barely remember. Recommended for living room cosmonauts, heavy stoners and day trippers alike. It may not change your life, but it may change your perspective.
In the Strugatsky brothers' Roadside Picnic, the extraterrestrial visitation occurs in six different locations across the Earth, resulting in the abnormal areas known as the Zones.
For obvious logistical reasons, the 1979 adaptation by Andrei Tarkovsky sets Stalker in some unspecified location in the Soviet Union, and filming was done 25 km from Tallinn in Estonia, giving the film its signature timeless setting.
Picture one of the other Zones, one somewhere in East Asia, possibly in some depopulated city in Thailand gradually being overrun by nature and strange phenomena. This album would be its soundtrack. Glowing, luxurious and profoundly organic ambient that meshes together the best aspects of the new Russian drone scene with elements of Voice of Eye and Ure Thrall. Highly recommended.