Recordings Vol. 1, 1991-2001
Oleksandr Yurchenko
Recordings Vol. 1, 1991-2001
Boomkat Product Review:
Outright haunting DIY recordings by Ukraine’s Oleksandr Yurchenko, made on custom-built string instruments and voiced with a freedom that places him somewhere alongside Michael O’Shea, Zoviet France, Glenn Branca or that incred collab album with Svetlana Nianio excavated by Night School a couple of years ago.
The recordings, made between 1991—2001, open a fascinating and intensely personal portal to the inner life of Ukraine’s most mysterious artist. A private person who never gave interviews, partly due to suffering from ill health, it’s only in recent years and via reissues on Tom James Scott’s Skire and Ukraine’s Delta Shock labels that Yurchenko’s music has come to wider attention, and with it his history in the Ukrainian underground music movement known as “Novaya Scena”. Sadly Yurchenko is no longer around to receive his flowers - he died in April 2020 after years of declining health following a stroke - but like all great art and music his spirit lives on in these frankly stunning home recordings of him agitating the f*ck out of self-built, zither and cello-like instruments, fitted with electric pick-ups and amplified into the red with a mesmerising quality.
The real gem here is the A-side’s half hour-long ‘Count to 100. Symphony #1 (edit 2001)’, whose title and keening discord no doubt nod to Glenn Branca’s swelling guitar masses, but more singularly get right under the skin with sustained, coruscating harmonics, right on the cusp between harrowing and lush, with an in-the-moment thrust that surely recalls moments of Michael O’Shea’s eponymous wonder as much as otherworldliness of Zoviet France.
Likewise, we hear Zoviet France's feel for hypnotic lilt in the more gently rhythmelodic loops of ‘Intro’, featuring some mysterious combo of old Soviet keyboards and Casio SK-1 sampler. The bitterly melancholic ‘Merat Zara #3’ follows with a strong example of how Yurchenko absorbed and beautifully transmuted traditional Eurasian melody into his music, and again we’re left to Zoviet France references with the nine minutes of curdled tones on the elemental grip of ‘Playback #1’, which feels like being granted voyeur privileges over intensely private rituals that were possibly never meant for public consumption.
Total visionary stuff if you ask us.
View more
Boomkat Product Review:
Outright haunting DIY recordings by Ukraine’s Oleksandr Yurchenko, made on custom-built string instruments and voiced with a freedom that places him somewhere alongside Michael O’Shea, Zoviet France, Glenn Branca or that incred collab album with Svetlana Nianio excavated by Night School a couple of years ago.
The recordings, made between 1991—2001, open a fascinating and intensely personal portal to the inner life of Ukraine’s most mysterious artist. A private person who never gave interviews, partly due to suffering from ill health, it’s only in recent years and via reissues on Tom James Scott’s Skire and Ukraine’s Delta Shock labels that Yurchenko’s music has come to wider attention, and with it his history in the Ukrainian underground music movement known as “Novaya Scena”. Sadly Yurchenko is no longer around to receive his flowers - he died in April 2020 after years of declining health following a stroke - but like all great art and music his spirit lives on in these frankly stunning home recordings of him agitating the f*ck out of self-built, zither and cello-like instruments, fitted with electric pick-ups and amplified into the red with a mesmerising quality.
The real gem here is the A-side’s half hour-long ‘Count to 100. Symphony #1 (edit 2001)’, whose title and keening discord no doubt nod to Glenn Branca’s swelling guitar masses, but more singularly get right under the skin with sustained, coruscating harmonics, right on the cusp between harrowing and lush, with an in-the-moment thrust that surely recalls moments of Michael O’Shea’s eponymous wonder as much as otherworldliness of Zoviet France.
Likewise, we hear Zoviet France's feel for hypnotic lilt in the more gently rhythmelodic loops of ‘Intro’, featuring some mysterious combo of old Soviet keyboards and Casio SK-1 sampler. The bitterly melancholic ‘Merat Zara #3’ follows with a strong example of how Yurchenko absorbed and beautifully transmuted traditional Eurasian melody into his music, and again we’re left to Zoviet France references with the nine minutes of curdled tones on the elemental grip of ‘Playback #1’, which feels like being granted voyeur privileges over intensely private rituals that were possibly never meant for public consumption.
Total visionary stuff if you ask us.
Boomkat Product Review:
Outright haunting DIY recordings by Ukraine’s Oleksandr Yurchenko, made on custom-built string instruments and voiced with a freedom that places him somewhere alongside Michael O’Shea, Zoviet France, Glenn Branca or that incred collab album with Svetlana Nianio excavated by Night School a couple of years ago.
The recordings, made between 1991—2001, open a fascinating and intensely personal portal to the inner life of Ukraine’s most mysterious artist. A private person who never gave interviews, partly due to suffering from ill health, it’s only in recent years and via reissues on Tom James Scott’s Skire and Ukraine’s Delta Shock labels that Yurchenko’s music has come to wider attention, and with it his history in the Ukrainian underground music movement known as “Novaya Scena”. Sadly Yurchenko is no longer around to receive his flowers - he died in April 2020 after years of declining health following a stroke - but like all great art and music his spirit lives on in these frankly stunning home recordings of him agitating the f*ck out of self-built, zither and cello-like instruments, fitted with electric pick-ups and amplified into the red with a mesmerising quality.
The real gem here is the A-side’s half hour-long ‘Count to 100. Symphony #1 (edit 2001)’, whose title and keening discord no doubt nod to Glenn Branca’s swelling guitar masses, but more singularly get right under the skin with sustained, coruscating harmonics, right on the cusp between harrowing and lush, with an in-the-moment thrust that surely recalls moments of Michael O’Shea’s eponymous wonder as much as otherworldliness of Zoviet France.
Likewise, we hear Zoviet France's feel for hypnotic lilt in the more gently rhythmelodic loops of ‘Intro’, featuring some mysterious combo of old Soviet keyboards and Casio SK-1 sampler. The bitterly melancholic ‘Merat Zara #3’ follows with a strong example of how Yurchenko absorbed and beautifully transmuted traditional Eurasian melody into his music, and again we’re left to Zoviet France references with the nine minutes of curdled tones on the elemental grip of ‘Playback #1’, which feels like being granted voyeur privileges over intensely private rituals that were possibly never meant for public consumption.
Total visionary stuff if you ask us.
Boomkat Product Review:
Outright haunting DIY recordings by Ukraine’s Oleksandr Yurchenko, made on custom-built string instruments and voiced with a freedom that places him somewhere alongside Michael O’Shea, Zoviet France, Glenn Branca or that incred collab album with Svetlana Nianio excavated by Night School a couple of years ago.
The recordings, made between 1991—2001, open a fascinating and intensely personal portal to the inner life of Ukraine’s most mysterious artist. A private person who never gave interviews, partly due to suffering from ill health, it’s only in recent years and via reissues on Tom James Scott’s Skire and Ukraine’s Delta Shock labels that Yurchenko’s music has come to wider attention, and with it his history in the Ukrainian underground music movement known as “Novaya Scena”. Sadly Yurchenko is no longer around to receive his flowers - he died in April 2020 after years of declining health following a stroke - but like all great art and music his spirit lives on in these frankly stunning home recordings of him agitating the f*ck out of self-built, zither and cello-like instruments, fitted with electric pick-ups and amplified into the red with a mesmerising quality.
The real gem here is the A-side’s half hour-long ‘Count to 100. Symphony #1 (edit 2001)’, whose title and keening discord no doubt nod to Glenn Branca’s swelling guitar masses, but more singularly get right under the skin with sustained, coruscating harmonics, right on the cusp between harrowing and lush, with an in-the-moment thrust that surely recalls moments of Michael O’Shea’s eponymous wonder as much as otherworldliness of Zoviet France.
Likewise, we hear Zoviet France's feel for hypnotic lilt in the more gently rhythmelodic loops of ‘Intro’, featuring some mysterious combo of old Soviet keyboards and Casio SK-1 sampler. The bitterly melancholic ‘Merat Zara #3’ follows with a strong example of how Yurchenko absorbed and beautifully transmuted traditional Eurasian melody into his music, and again we’re left to Zoviet France references with the nine minutes of curdled tones on the elemental grip of ‘Playback #1’, which feels like being granted voyeur privileges over intensely private rituals that were possibly never meant for public consumption.
Total visionary stuff if you ask us.
Back in stock
Out of Stock
Boomkat Product Review:
Outright haunting DIY recordings by Ukraine’s Oleksandr Yurchenko, made on custom-built string instruments and voiced with a freedom that places him somewhere alongside Michael O’Shea, Zoviet France, Glenn Branca or that incred collab album with Svetlana Nianio excavated by Night School a couple of years ago.
The recordings, made between 1991—2001, open a fascinating and intensely personal portal to the inner life of Ukraine’s most mysterious artist. A private person who never gave interviews, partly due to suffering from ill health, it’s only in recent years and via reissues on Tom James Scott’s Skire and Ukraine’s Delta Shock labels that Yurchenko’s music has come to wider attention, and with it his history in the Ukrainian underground music movement known as “Novaya Scena”. Sadly Yurchenko is no longer around to receive his flowers - he died in April 2020 after years of declining health following a stroke - but like all great art and music his spirit lives on in these frankly stunning home recordings of him agitating the f*ck out of self-built, zither and cello-like instruments, fitted with electric pick-ups and amplified into the red with a mesmerising quality.
The real gem here is the A-side’s half hour-long ‘Count to 100. Symphony #1 (edit 2001)’, whose title and keening discord no doubt nod to Glenn Branca’s swelling guitar masses, but more singularly get right under the skin with sustained, coruscating harmonics, right on the cusp between harrowing and lush, with an in-the-moment thrust that surely recalls moments of Michael O’Shea’s eponymous wonder as much as otherworldliness of Zoviet France.
Likewise, we hear Zoviet France's feel for hypnotic lilt in the more gently rhythmelodic loops of ‘Intro’, featuring some mysterious combo of old Soviet keyboards and Casio SK-1 sampler. The bitterly melancholic ‘Merat Zara #3’ follows with a strong example of how Yurchenko absorbed and beautifully transmuted traditional Eurasian melody into his music, and again we’re left to Zoviet France references with the nine minutes of curdled tones on the elemental grip of ‘Playback #1’, which feels like being granted voyeur privileges over intensely private rituals that were possibly never meant for public consumption.
Total visionary stuff if you ask us.
More from Shukai:
-
FREE MP3 WITH VINYLCukor Bila Smert' Recordings 1990-1993 Shukai Electronic- MP3
- FLAC
- WAV
- 2LP (Black Vinyl)
-
FREE MP3 WITH VINYLSvitlana Nianio Transilvania Smile, 1994 Shukai Modern Classical / Ambient
- MP3
- FLAC
- WAV
-
FREE MP3 WITH VINYLShapoval Sextet Kobzareva Duma (1976) Shukai Jazz / Fusion
- MP3
- FLAC
- WAV
-
FREE MP3 WITH VINYLValentina Goncharova Recordings 1987-1991 Vol. 2 Shukai Electronic
- MP3
- FLAC
- WAV
-
Valentina Goncharova Recordings 1987-1991 Vol. 1 Shukai Modern Classical / Ambient
- MP3
- FLAC
- WAV
People who bought this also bought:
-
FREE MP3 WITH VINYLJake Muir Lady's Mantle sferic Modern Classical / Ambient
- MP3
- FLAC
- WAV
- Colour LP
-
GAVIN BRYARS The Sinking Of The Titanic Superior Viaduct Modern Classical / Ambient
- LP (Black Vinyl)
- CD
-
FREE MP3 WITH VINYLOlli Aarni Koko maailma STUDENTS OF DECAY Modern Classical / Ambient
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
-
ARTHUR RUSSELL Picture of Bunny Rabbit Audika Records / Rough Trade Modern Classical / Ambient
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
- CD
-
FREE MP3 WITH VINYLBen Frost & Francesco Fabris Vakning Room 40 Modern Classical / Ambient
- MP3
- FLAC
- WAV
- Colour LP
- LP (Black Vinyl)
-
FREE MP3 WITH VINYLSvetlana Maraš Live performance 2019 - 2020 -OUS Modern Classical / Ambient
- MP3
- FLAC
- WAV
- Cassette
-
PAULINE OLIVEROS Sound Pieces Another Timbre Modern Classical / Ambient
- CD
-
FREE MP3 WITH VINYLLaurel Halo Atlas Awe Modern Classical / Ambient
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
-
Flaer Preludes ODDA Recordings Modern Classical / Ambient
- LP (Black Vinyl)
-
Hiroshi Yoshimura Surround Temporal Drift Modern Classical / Ambient
- LP (Black Vinyl)