Side-Line Reviews about Voin Oruwu

Background/Info: Voin Oruwu is a project driven by Dmitriy Avksentiev.  “Etudes From A Starship” seems to be the second album by the artist. The work has been inspired by astral themes.

Content: The album invites the listener to join a fantasy universe created by the simple power of music. This music is clearly ambient- and cinematographic-like, but also dark and mysterious. The tracks are diversified and sometimes feature surprising passages such as “Decay Instability” for its furious bass line sequence and “Acid Clavi 2110”, which sounds as being composed by an acid harpsichord.

+ + + : The diversity of the work is quite interesting as most of listeners will for sure find one or more compelling cuts. I especially like the darker cuts and the ones featuring noticeable sound treatments. I here want to tip the previously mentioned “Acid Clavi 2110” but also “Ceremony” for its subtle crystalline-like sound touches. I also have to say a word about the sober, but great artistic digipak. This is an aspect of the production Kvitnu takes particularly care of.

– – – : I don’t always find cohesion between all the tracks. It sometimes gives me the impression of tracks coming from different bands or having been composed at different periods.

Conclusion: Music is an invitation to dream and this reverie sensation has been perfectly executed by Voin Oruwu.

Ujif_notfound “Process” – our biggest release is out today!

You must know him and his art

ujif_notfound by Anastasiia Mantach

 

I don’t remember which year it was when I met Georgiy Potopalskiy (Ujif_notfound). I guess around 2009 or so, at the time when I was wasting my time on creating and promoting experimental music events in Kyiv, he would perform there from time to time. Later on he would already invite me and my colleagues to perform on his events in his own space Efir, which later transformed into Kontrapunkt – one of the best small underground concert places in Kyiv, those who were there at least once know the unique atmosphere… And he would make music, a lot of music, I mean really a lot, and I am not talking about videos, installations and gazillion of other art activities behind his shoulders.

Few personal words about him – probably one of the most honest people I ever met in my life, one of the most delicate and intelligent persons I ever met. His life gave him heavy lessons most of you would wish to never even imagine, and no matter what, he remained pure. He came from Russia, but to me he is more Ukrainian then most of Ukrainian-born artists I know. He is a fighter, we were together during the most heavy fire days of our revolution in 2014. And he is a true and unique creator with unimaginable creative possibilities.

We released his first album in 2015, and the second one was immediately discussed to be released.
But glitches are all around us…
Since quite a while I had a huge number of his tracks waiting on my hard drive, which we would listen together with Zavoloka over and over again. I would try to select, re-organize this  archive somehow. But it never worked, don’t know why. Then I ask Gosha to make selection himself, then his main computer was stolen with all archive in addition to other life issues, and somehow this release was naturally postponed, again and again…

And one day, when going somewhere in Vienna, out of nothing Zavoloka tells me – “Hey, you know, why don’t we release everything from him. Just everything we have, no selections, no editing, just everything. Fuck it! We listened to all those tracks “as is” for hundreds of times, we should let people experience his music the same way as we have, full on!”
And I immediately said: “Yes, we do it. Right away.”

Later on we added just one more hour of Ujif_notfound’s music, to make the whole album even more exploratory. Now it’s around five hours long.
Then he wrote a software plug-in, which not only plays his own tracks, but also transforms these tracks and generates visuals while playing them.
So if you buy this album on a USB card, you can get really full generative psychedelic experience from this release.

I have no clue how he manages to create such beautiful soundscapes inside this generative madness, but some of his tracks sound like eternity.
There’s one very bad habit he has – he is too shy to push himself adequately according to the level of his art.
And so Kvitnu is about to fix it a little bit.

Please pay careful attention to this music, listen deep and give it a time to open up for you in it’s whole power. Listen to all of it.

You say you love complex music and advanced art? So dig it! ;)

Dmytro Fedorenko

Release page: https://kvitnu.com/releases/kvitnu64/
Bandcamp: https://kvitnu.bandcamp.com/album/process-2

Voin Oruwu reviewed by Beach Sloth

Sci-Fi elements play a critical role in Vion Oruwu’s shadowy “Tales From A Starship”. Done with the utmost of care the whole of the album glimmers with a glorious sheen. Atmospheric to its very core Voin Oruwu proves to have a great ear for melody allowing the drones to unfurl in majestic, awe-inspiring ways. The ambience oftentimes hides a rather cryptic undertone. Going for a rather expansive journey everything about the album feels quite immersive. Headphones are a must for the entire experience goes down many rabbit holes, proving impossible to properly pin down. Without needing to say a single word a narrative appears out of these many suites.

“Titan” sets the tone, spacious sounds followed by a slightly emotional affect. Peacefulness follows on the gauzy “Rising” which at times has an ancient aura about it. Industrial hewn “Blur Planet” opts for something paranoid, anxious, and raw. Near silence permeates “Source”. A full-on rave develops on “Acid Clavi 2110”, one of the album highlights. This energy continues on “Decay Instability” where the track feels as if it will descend into outright chaos at any given moment. Sculpting a strange ceremonial world is the eerie “Even Mind”. Glowing a little bit with hope is the gentle “Limulus” whose sudden outbursts feel truly shocking. Light on its feet is the proto-techno of “Ceremony” where it sweeps up everything in its path.

Voin Oruwu crafts an entire other universe on the spacious skies of “Tales From A Starship”.

Voin Oruwu – Tales From A Starship

Toneshift review for Voin Oruwu “Etudes From A Starship”

As Titan opens there’s a spacey shimmer in the sweet theme emerging. A clear, bright journey has been launched by Kiev-based Voin Oruwu (Dmitriy Avksentiev). Between the tones and the gorgeous Mars-like surface textures of the brick-colored coverart (paintings courtesy Dmytro Fedorenko) this is a melodic leap into the space race. The lead track moves fluidly into Rising and then Blur Planet which continues this contension. Etudes From A Starship is an intriguing soundtrack without the need for a celluloid medium to back it up. Pure ambient atmosphere impregnated with a sonic chill mood that hovers as it probes.

On these ten short tracks, all under five minutes, there are uses of reverse tapeloops interjected that act like dizzying time travel (Source) as well as subliminal (interspacial mall) melodies that dance amid a soft palette of coloration (Acid Clavi 2110). In many ways this harkens back to the good ole days, a time from which came collections like Pete Namlook’s expansive Fax +49-69/450464 Records catalogue (1992-2012) or the immersive and mysterious EM:T series (1994-2006). These along with counterparts like Rather Interesting, Instinct and a few distant cousins really put a new form of ambient music back on Earth for a while and here Kvitnu follows in their footsteps with this generous release of pure futurism.

From end to end the intrigue builds and recedes on amazing trance-like tracks like Limulus that take a vital turn into bolder slow beats as if entering an ancient form of some sort. It’s one of those intermediate swaths of invention that Voin Oruwu injects to systematically wake the senses. The entire disc is so consistently thoughtful in concept and temperment, and his ancient melodies, mixed with the synthetic on Escape Mission really bolster something of a quite contemporary fusion. In the final Ceremony the Fairlight-like bends meet fluted effects and tribal drums that slowly shift in position. A glowing affair that dances gently and fades away leaving you wanting more.

https://toneshift.net/2019/03/14/etudes-from-a-starship-by-voin-oruwu/

New review for Voin Oruwu by Invisible Oranges

“With his follow-up record Etudes From a Starship Avksentiev makes a giant leap for Voin Oruwu. The record finds the producer liberated from the structures and confinements of standard electronic music. Straightforward progressions are sparse and few in this work, and instead of the usual textures popping in electronic music Avksentiev bases much of his arsenal to sound design principles. The ambient passages of “Blur Planet” and “Even Mind” accommodate the electrifying moments of “Decay Instability,” and the off-kilter rhythms of “Limulus” and “Ceremony.” The amazing result of this approach is how different each track appears, yet the overall narrative of the record remains intact.”
 
 
http://www.invisibleoranges.com/deconstructing-interference-15/

Vital Weekly review for Voin Oruwu “Etudes From A Starship”

“Behind the name Voin Oruwu we find Dmitry Avksentiev, from Kiev. He sometimes works as Koloah. I don’t think I heard his music before. For Voin Oruwu he says that it originated from his love for “cinematography and exploring mystical atmospheres”. On ‘Etudes From A Starship’, he offers ten pieces within thirty-four minutes and perhaps the most remarkable thing is, being on Kvitnu, a label with a strong identity in heavy rhythms, is that rhythm is not entirely absent here but plays only a minor role.
 
Much of what is going in these ten pieces is that melodic, string sounds, mixed together with more abstract electronic sounds, washes of synthesizers and some sort of field recordings from a foreign planet.
 
This is indeed the sort of music that could be from a science fiction movie of some kind. When rhythm pops up, such as in ‘Decay Instability’, it is of that Kvitnu type of force and brute but not with a big 4/4/ bass drum pounding away. Throughout these ten pieces offer quite a varied trip and that works quite well.
 
Maybe some of the pieces are perhaps altogether a bit too brief and some of it could have been longer and going through more complex structures; I am not sure. This is not music that I think will down easily in a club atmosphere, but maybe it will serve Avksentiev in the pursuit of a career in scoring soundtracks. Some of this surely already has that potential.”
 

Chain D.L.K. review for Sturqen “Survivalismo”

Under the genuinely sonic aspect, this new album by Portuguese duo Sturqen (real names David Arantes and Cesar Rodrigues, from Oporto) for the knowingly excellent label Kvitnu, which cab be reasonably considered a milestone for lovers of power electronics, industrial techno, rhythmic noise and acid sonorities, maybe cannot be considered a fully fledged turning point, if you know the approach they followed on their previous outputs. In the first part, it’s reminiscent, rather, of the acid stage of so-called elektro of the late 90ies (a branch of techno, siphoning elements of acid trance, who got packed into disorienting hyper-compressed epileptic rhythmical patterns), by following a pattern followed by many contemporary techno producers, who are massively reprising those sounds. Besides the (valuable) exercise in style (tracks like “Nervos”, the stifling “Nuz” or “Novag” – the moment where these folk gets closer to some of the highest points reached in that niche by artists of labels like Rephlex, UR or Tresor -), the concept of this album could explain its structure: the first confusing and somehow unpleasant tracks, departing by the intro “Aranha” (Portuguese for ‘spider’) and the nervously acid glue of the already quoted “Nervos”, seems to translate into sound the likewise confusing and disorienting world, where we live, whose timely traps and cages, where metal bars have been replaced by likewise unbending illusions. The following tracks seem to render a gradual awareness of such a concrete dystopia, a sort of carnival mirroring that cyclicality (as suggested by the strangling progression of “Hegel”) of a history that becomes more and more smothering. The last (and the longest) track, titled “Energia”, seems to cement both Sturqen’s conceptual framework and the previous aural clues by a viscous electric storm, that sounds like a distorted declension of some obscure stuff by Gwenn Tremorin
(Flint Glass).

http://www.chaindlk.com/reviews/?id=10845

Voin Oruwu “Etudes From A Starship” – our 63rd release is out!


We are proud to present our new release and a new artist in our catalogue – Voin Oruwu Etudes From A Starship

This time we bring you a chronicle of ten futuristic novels that will tell us about heroic deeds and great sacrifices, legends about invincible catastrophes and the birth of supernovas, tales of cosmic loneliness and great ethereal love.

On this journey we will plunge into a new study of mystical atmospheres and fly further deep inside of ourselves, into the depths of the world of Oruwu.

These are ten wistful and emotional songs about relation of the technology and nature of unknown planets. Each etude is intensely concise and impeccably complete in it’s own drama scale.

Pay a special delicate attention to this music and you will not want to turn it off. With every new listening you will be taken to a fascinating dream journey to a new space horizons through the centre of yourselves.

Explore!

Release page: https://kvitnu.com/releases/kvitnu63/
Bandcamp: https://kvitnu.bandcamp.com/album/etudes-from-a-starship

Interview with Zavoloka for Side-Live reviews

Kateryna Zavoloka is an Ukrainian female musician, sound artist, performer and graphic designer. She’s involved with different music projects, Zavoloka being her solo-work where she explores digital- and analogue sound synthesis combined with Ukrainian ancient folk songs and traditional instruments. Zavoloka is already active for several years now and has released a respectable number of productions. Her latest album entitled “Promeni” is part of a conceptual series around the purification by four universe elements. The work sounds as a mix between experimental-, industrial- and ambient music, but still reveals some IDM influences. “Promeni” has been released on KVITNU for which, Kateryna Zavoloka is also doing the graphic design.

‘I WANT TO MAKE A TIMELESS ART AND CAN’T AFFIRM THAT ONLY SOME MUSIC STYLES INFLUENCE IT’

Q: I noticed you’re artistically involved with different projects. Can you briefly introduce yourself and tell us all projects you’re dealing with?

Kateryna: Hello! I am Zavoloka, a sound and visual artist, composer and performer from Kyiv, Ukraine. I often collaborate with Dmytro Fedorenko a.k.a Kotra. Together we’re running the label Kvitnu where we recently have released the new split-EP “XII”, and my latest solo-album “Promeni”. We our project Cluster Lizard we also released a new album entitled “Prophecy”, which has been released on Prostir.

Q: Let’s talk about your music project Zavoloka. What means music to you and what do you try to express by this project?

Kateryna: Music is my freedom, an alchemical creativity that enhances vibrations, transformational force and my very own way to have a dialogue with the Universe.

Q: Your newest album “Promeni” is a conceptual work, which is part of a series dedicated to the purification by four universe elements. How did you get the idea of this concept and what did you try to accentuate on the newest album, which is dedicated to the element of ‘fire’?

Kateryna: I have started the series many years ago and this series is my exploration of purification by four universe elements, a kind of spiritual practice. I started with the air element –“Viter”, then water the element –“Vedana”, later the earth element –“Syngonia” and the final chapter is dedicated to the fire element –“Promeni”.

The Ukrainian word ‘промінь’ can be translated as ‘ray’. Lesya Ukrainka who’s the most famous- and my favorite Ukrainian poetess, has the authorship of this word. She introduced it into the Ukrainian language by the end of the 19th century, and this word has several meanings –as rays, light waves, or verb ‘променію’ – a manifestation of happiness.

Q: I experienced your music as a mix between different influences (industrial, dark-ambient, IDM…), which is perfectly representing the concept featuring different ‘elements’. What are your personal influences and references when it comes to composition?

Katya: I want to make a timeless art and can’t affirm that only some music styles influence it; it can be a book I read, good films, just a deep meditation or a heavy experimental techno party. I think everyone should explore their own way of creativity and integrate it into life on many levels. It just simply makes you bloom from inside. I love to explore various digital synthesis, analogue bass errors, experiment with different sound sources like lo-fi recordings of ancient Ukrainian songs in a village or dirty noises on the streets with riots, or just to have a very clean record of a voice or an instrument in the studio. It is interesting to me to combine various sounds –tune flows from one to another and transforms during a time travel.

Q: I’m always fascinated by concepts and the way artists put it into sounds and songs. What has been the main focus when working on these albums and what makes “Promeni” maybe different from the other releases? What can you tell us about sound creation?

Kateryna: “Promeni” is a very personal album, it is an audiovisual map and history of metaphysical transformations and inspirations throughout my whole life; from strong personalities that influenced me with their powerful inner fire or significant events that ignited my flame from within. For example the track “Sontse | Сонце”, which can be translated as ‘Sun”, is dedicated to ancient Slavic polytheistic religion. During one of my expeditions to the Polissya region in the North of Ukraine I have met an old woman, Dominika Chekun, who has a very beautiful and powerful vibrato voice and has an amazing knowledge of hundreds of traditional Ukrainian pre-Christian songs.

The track “Gromovytsia / Громовиця”, which can be translated as “Thunderbolt”, is a tree that has been struck by lightning and in the Carpathian mountains “громовиця” has been used by Molfars, Ukrainian Hutsul shamans to create magical artifacts. The most famous Carpathian musical instrument Trembita, sounds at its best when it has been made out of it.

The track “Fire Consecration | Вогнехреще” is inspired by Maidan revolution of 2013-2014. On January 19th in Ukraine it is a holiday called Водохреще and then people follow a ritual by sinking into the Holy water. But during that day the Hrushevskogo street in Kyiv turned into the first fires, molotov cocktails and exploding fireworks from protestors against the riot police forces. Back then I have been so amazed by very young and brave kids, that had this strong fire from within and courage to fight for their future.

Or the track “Inhale The Light | Вдихай Світло” is about a powerful and harmonious meditation, when you have to visualize inhaling and exhaling the light, and become the light.

Another track entitled “Iskra | Іскра”, which you can translate as “Spark”, is devoted to contemporary magicians.

Q: The artwork of the album is definitely artistic, but still somewhat cryptic and mysterious. What did you try to express and what’s the link with the music?

Kateryna: I designed the artwork, made the graphics and visuals for “Promeni”. There are nine tracks connected to nine visual symbolic cards; it is like an audiovisual psychotronic art, or an abstract sonic sacred geometry that has transformational influence with conscious intention.

‘CLICK INTERVIEW’ WITH ZAVOLOKA Kateryna Zavoloka is an Ukrainian female musician, sound artist, performer and…

Gepostet von Side-Line Reviews am Freitag, 22. Februar 2019