CD (ltd. 300)
"BossaNova_Trip" is the highlight of the early experimental period of Theodor Bastard. A non-vocal electronic album recorded by Fedor Svolotch (Alexander Starostin) in 2002 several years before the formation of the band’s key line-up. 14 original utterly minimalistic tracks of the album were on the cutting edge of the avant-garde trends of that time and are worth comparing to the best glitch releases of such labels as Mego, Raster-Noton and Sonig. Aimed at the most sophisticated music lovers, "BossaNova_Trip" has completely fulfilled the ambitions of Fedor Svolotch as a skillful master of sound design and had a strong influence on the unique sound of the later well-known albums of Theodor Bastard. It was on this recording that the track "PU's_Tota" originated in its initial electronic proto-version which, in highly modified form, became the band's first major hit two years later. This reissue features a bonus track – the vocal version of "PU's_Tota", originally released on the compilation that came along with the BulDozer#2 magazine. The melody and the lyrics sung by Yana Veva, which are now so familiar to the fans of Theodor Bastard, appeared in this version for the first time.
This is a co-release by Fulldozer Records and ZHELEZOBETON Distribution Division.
As I had not heard of Theodor Bastard before, I checked the information on the website and that did not altogether clarify it for me. It says that this is a "non-vocal electronic album recorded by Fedor Svolotch (Alexander Starostin) in 2002 several years before the formation of the band’s key line-up". So what is it, Svolotch or Starostin? Or is it a band? Looking on Discogs I'd say they are a band these days but when this was recorded they were a one-person band by Fedor Svolotch, whose real name is Alexander Starostin. From what I gather also from the information is that the band is quite popular these days and maybe popular Russian bands is not where my knowledge lies. The music is all instrumental and all electronic, yet has very little to do with bossnova, which given the slight confusion over names may not be a real surprise. As I found myself having some time to investigate what Theodor Bastard is all about these days I played first this CD, then some YouTube clips and went back to the CD. Hard to believe that the fairy tale music of 'now' (think Dead Can Dance, 4AD in general, folk, medieval instruments and campfire songs) bears any relation with these minimalist rhythmic pieces, of deep bass pulses, click ticks and obscured synthesizer washes. Sometimes it is all a bit more radical such as the high piercing opening of 'Ter(DM) Jzz', which slowly transforms into a jazzy rhythm. In a piece like that you could easily think this is some very experimental form of trip hop, but in other pieces it is more Pan Sonic like ("[K]VA.drt' (and yes that's all quite obscure titles). Sometimes these pieces are short and merely snippets or ideas, 'Se`~Ko/2', for instance. However it grew from this to the fairytale music I have no idea; it could have as easily been something else, I would think, and knowing what came after this is fine but not really a cause for further inspection for me; yet this album was in all its abstract rhythm, synth and noise way quite a lovely one. Something that Kvitnu would have found also interesting I would think.