Most followers and fans of the releases by Kvitnu, the label masterfully managed by Dmytro Fedorenko and featuring Zavoloka handling on graphics and mastering, matches them to more techno-driven and electromechanical rhythms and a certain martial attitude, in spite of some of the latest releases moved towards more experimental and ambient stylistic zones, but most of the artists manage to meet the tastes of them by impressive sonic artifacts. Kiev-based producer Dmitry Avksentiev aka Koloah forged the project Voin Oruwu to fly over those same stylistic territories by means of an imaginary starship! The sense of ascension gets immediately evoked by the opening “Titan”, where a sort of cosmic synth-generated harpsichord weaves a web of tension and urgency around a whose sound set, which manages to render a feeling of gradual detachment, getting even more vivid on the following “Rising”, where traces of known organic life get more and more distant until the final fading out, and “Blur Planet”, whose combination of sounds marks the turning point and the somehow foreboding vision or memory of the left planet. The garbled refrains and the unstable melodies of “Source” as well as the corrosive sound manipulations on “Acid Clavi 2010” fully dives into sci-fi sonic environment, and I would say the same process occurs on the following where “Decay Instability” – the first moment where Dmytry gets closer to the typical Rhythmic Noise concept, pushed by many Kvitnu delivieries – could vaguely recall the refrain of the original version of Blade Runner. The feeling of being into a muffled bubble for extra-vehicular activity, that gets impressively rendered by the following “Even Mind”, precedes “Limulus” and the moment (in the second half of the track) when the composer explicitly inoculates masterfully organized percussive elements and convulsive rhythmical patterns. The following “Escape Mission” and the catchy final “Ceremony” seem to be necessary stages of these journey, combining interesting sound techniques and a certain cinematic hook, that mirror Dmitry’s interest in cinematography as well as mystical atmosphere in a so guessed way that some tracks of “Etudes from Starship” could be fitted for a sci-fi revision of Tarkovsky movies.
