Lena Filatova’s intriguing Kot Kot project is based around contsructing songs out of found sounds, field recordings and re-purposed materials for a sort of digestible pop-concrète that’s both abstract and memorable. There’s a long tradition of this sort of methodology in pop music - and Filatova’s work reminds us most of the Moonshake/Laika axis with it’s unusual take on instrumentation and arrangement. With its evocative, quasi-radiophonic styling we’d also wager that any of you into Broadcast’s earlest 'Work and Non Work’ era material will find much to love here.
"Feeling as though born from some kind of advent calendar hiding forgotten sounds, neglected moments and haunting sentiments, waiting there for those inclined to have a look, Lena is curiously opening doors individually and in new unisons to arrive at sound collages & compositions born from both accident and design (see the 5/4 odd time signature in "Ottepel").
Vocals that are fragile yet often laced with a feeling of determination and emotive persuasion. Lyrics pulled from old children’s books, juxtaposed with often dark and foreboding loops and samples that dance asynchronously around each other beneath Lena’s voice & piano/toy keyboards. Often recognising and embracing the magic in imperfection and choosing to keep early takes & improvisations, capturing and treasuring what others might have failed to recognise and hold dear. Lena is always demonstrating an innate ability to sew all of these things together in such a way as to cast a spell on the listener from inside a zoetrope of curiously collected & curated frames. "i pni" is a big and serious poetic work about the most hidden, almost lost and perished, but forever wandering between sleep and waking in an eternal hauntological dream of an old attic."
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Lena Filatova’s intriguing Kot Kot project is based around contsructing songs out of found sounds, field recordings and re-purposed materials for a sort of digestible pop-concrète that’s both abstract and memorable. There’s a long tradition of this sort of methodology in pop music - and Filatova’s work reminds us most of the Moonshake/Laika axis with it’s unusual take on instrumentation and arrangement. With its evocative, quasi-radiophonic styling we’d also wager that any of you into Broadcast’s earlest 'Work and Non Work’ era material will find much to love here.
"Feeling as though born from some kind of advent calendar hiding forgotten sounds, neglected moments and haunting sentiments, waiting there for those inclined to have a look, Lena is curiously opening doors individually and in new unisons to arrive at sound collages & compositions born from both accident and design (see the 5/4 odd time signature in "Ottepel").
Vocals that are fragile yet often laced with a feeling of determination and emotive persuasion. Lyrics pulled from old children’s books, juxtaposed with often dark and foreboding loops and samples that dance asynchronously around each other beneath Lena’s voice & piano/toy keyboards. Often recognising and embracing the magic in imperfection and choosing to keep early takes & improvisations, capturing and treasuring what others might have failed to recognise and hold dear. Lena is always demonstrating an innate ability to sew all of these things together in such a way as to cast a spell on the listener from inside a zoetrope of curiously collected & curated frames. "i pni" is a big and serious poetic work about the most hidden, almost lost and perished, but forever wandering between sleep and waking in an eternal hauntological dream of an old attic."