Alexei Borisov was the frontman of another exotic fruit of perestroika, Notchnoi prospekt from Moscow. Like many Soviet bands of the late 80’s, they didn’t care much about stylistic incongruities of their music, which makes it difficult to define their genre. In any case, often they sounded a lot like Western “industrial rock” (Controlled Bleeding of the same period, Clock DVA of the early 80’s…), or vice versa. On recordings their songs suddenly collapsed into strange arhythmic breakdowns, and into lengthy, repetitive and noisy improvisations on stage. What made the band exceptional were Borisov’s lyrics and vocals. Somewhat in the spirit of the the Russian 1930’s novelist Andrei Platonov, who has been called among other things the Soviet Kafka, they describe mundane situations and objects in absurd detail, while somewhere in the background looms an apocalyptic vision such as an environmental catastrophy or mindless, totalitarian masses taking onto streets. This was sung with an unexplicable deadpan tone that bordered sometimes on somnambulism and sometimes romantic crooning. That’s the way Borisov is in person: at the same time a cool observer and analyst (no doubt his career in the 80’s, as a young scholar specializing in Western foreign policy at a research institute in Moscow, left a trace) and a slyly surrealistic showman. Eventually he too abandoned Russian lyrics and switched into a “speaking in tongues” language, with occasional English-sounding phrases or Danish-football-reporter-played-backwards-on-half-speed-sounding diatribes thrown in. After one domestic lp release, Asbastos, and one lp, Sugar, released in Sweden, Notchnoi prospekt gradually folded by the mid-90’s when Borisov had shifted his interest into mostly electronic music.
Reviews: Russian industrial noise: Pioneers, youth league and party members
by Anton Nikkila, [20-02-2002]
With the collaboration of :
Pablo Padilla Jargstorf
Pablo A. Padilla Jargstorf, born in Madrid in1975, is an architect and an artist. After starting his formal music education at a very young age, with piano as his primary instrument, towards the end of the 1990s he began to experiment with sound art and composition, while completing his architecture studies. From the outset, he has specialized in the field of sensory distortion, creating new environments in pre-existing places by disfiguring them. His relationship with architecture has led him to work on site-specific installations. There he explores the spatial side of sound, and its interaction with visual and tactile feedback, creating a whole sensual scene. He is currently continuing to develop his work on soundscapes and the relationship between the different stimuli of our senses, with a focus on spatial perception through sound and synaesthesia.
Glasswater is a project by UK based musician David Lopez. Inseparable from its London context, the work is devoted to exploring the relationship between sound, texture and space. Influenced by noise, no wave, techno as well as black metal, Glasswater developed out of the analysis and layering of acoustic evidences. In each track the composition leads the narrative and exposes a story. Through incorporating sounds such as breaths, breaking glass and the ticking of watches, the environment becomes implicit to the music. These elements form the tools by which the role as well as the nature of rhythm is reinterpreted. A consistent experimentation with guitar sounds contribute to the varying dimensions constructed and form a recognizable tie to Lopez’s other project, noise / post-punk band, dressmaker.
Misha “MOX” Salnikov started creating electronic music circa 1999 and has released a lot of albums in different genres and has collaborated a lot since then. He’s responsible for such projects as MOX Salnikov, Poostosh, Tooth Kink and some others. He plays in the band The Name and recently started creating noise improvisations with English industrial composer Howard Gardner (Non-Bio). Currently his favourite style is a fusion of noise, dub, ambient and multi-genred electronica.
Thursday 29 October
Tickets £5.00 Door