Air Structures is another project by guitarist Alexander Galianov (Trixter, CMYK, Achilles) and DIY synthesizers maker Vladimir Kabanov (Total Station, Achilles). Kabanov creating the canvas with his set of his DIY synthesizers making the structure of every piece and Galianov brushes the colours inside adding the space and the air. It’s an old school ambient with no laptops and digital effects and it sounds as it was made forty years ago. You can say that music of Air Structures is matematical but sometimes spontaneous, maybe it’s like an engeneer’s love letter. If you like records of Robert Fripp and Brian Eno, Manuel Göttsching or Heldon you should like this also.
The group was formed in autumn of 2012. It all started with jazz sketches and eventually evolved into an experimental post-rock. The group consists of three members – keyboardist, guitarist and bass player – united by one idea and a vision for the development of material created by them. Their style is not typical for the rest members of this trend. Music filled the active keyboard parties and cosmic solo of electric guitar and, basically, “pink-floyd” sound in generally. In their work, the group is trying to revive or re-think the sound of the classic space rock with elements of psychedelia, and not to lose some stiffness in sound of contemporary post-rock music.
In EP “Innerspace” musicians are trying to introduce the infinity of space and versatility of the human mind, which is symbolically shown on the album cover with cube and a skeleton of its faces. From the names of the tracks you can see that the band members want to send the audience on a journey through the universe, which is not only outside, but also fills the human mind.
The Group continues to evolve improving its sound and finding new sources of inspiration.
ACHILLES is a improvisation trio from St.Petersburg. The band members Danila Holodkov (drums), Vladimir Kabanov (analog synthesizers, effects) and Alexander Galianov (baritone guitar, synthesizer) are well-known musicians from local underground scene. They played together before in a lot of collaborations as Velvet Breasts, Total Station, Air Structures, CMYK and more other bands in different combinations. All gigs and records of ACHILLES are full of live spontaneous music varying from krautrock with industrial sludge influences of early SWANS to heavy techno and psychedelic rock.
” A truly international production, “The Split Thing” is an album divided between German space rock veterans ZONE SIX and Russian space rock band VESPERO. The former a rather loose band constellation with a history going back to the late 90’s and with 8 CD and CD-R releases to their name, the latter a more structured group with a history that started back in 2003 and a total of 7 full length productions to their name. And in spirit with the international context of their joint effort, this CD was released by Swedish label Transubstans Records in the spring of 2012.
After investigating this production a bit, it is clear that we’re dealing with two bands complementing each other fairly well in this case. They both share certain features: Both bands are all instrumental on this occasion, their compositions have a strong improvisational trait to them, and both bands are undeniably space rock in sound and style. But with some differences in expression that adds a nice touch to this disc.
Vespero are represented by three tracks that each clock in well before the 10 minute mark, and their excursions are marked by defined alterations in sound throughout. Rather than merely developing from one theme or lead motif over to the next one, this is a band that explore a theme or an idea, steadily developing it, and then moving on to the next one if they have an approach at hand that fits into the overall context or utilizing ambient interludes as they occasionally do to good effect on a few occasions. Otherwise their expression is one that employ the lighter parts of the tone range extensively, where careful guitar soloing combine with keyboard and organ motifs, while the flute is given room for details of a more careful nature. A dampened but tight rhythm section beneath cater for pace and intensity nice and efficiently. Generally Vespero choose to develop a theme from a slower careful start towards an energetic, high impact final phase prior to shifting themes, or to conclude the piece in question. Well made and well performed music through and through, lighter in tone and spirit than many other space rock bands but without ever loosing touch with the rock part of the proceedings.
Zone Six’ contribution marks a distinct difference right away, as this is a monster excursion clocking in at just over 24 minutes. And unlike Vespero, Zone Six has the approach of one steadily developing theme towards a final conclusion. In the initial phase of their track here they have an intermediate phase where the first approach defragments and they jam along a bit until heading off into a new direction, this one sticking until the end. They don’t utilize the more distinct shifts of their discmates, instead opting for a more directly improvised solution. Zone Six also employ a darker, gritter and harder edged sound with less room for keyboards, dominated by dark toned, compact and fairly gritty guitar riffs and backed by a rhythm section with a distinctly massive footprint. Synth effects and resonating guitar details cater for the space part quite nicely, and their gritty sound won’t leave anyone questioning their rock credentials.
Of the two I found Vespero to be slightly more interesting on this occasion. While I generally enjoy Zone Six overall sound better, their piece here gets to be somewhat too long and uniform to make a markedly strong impression: Good quality space rock but without any elements to it that elevates it above similar efforts by others. Fans of the style and this particular expression will of course love this epic length space romp, and it isn’t lacking anything in quality as such. Vespero’s contributions are somewhat more varied in scope and expression, and they also leave room for finer details to appear. This adds a somewhat more refined feel to their undertakings, as well as arguably broadening the overall appeal ever so slightly.
All in all a good album for fans of instrumental space rock of the improvisational kind, and with two bands sporting somewhat different approaches to this type of music the scope and variation is broader than what standalone band productions of this kind tend to be as well. A good quality production that should please both avid and more casual fans of this style.”
Review from www.progarchives.com by Windhawk
“The disc released in autumn 2012 was recorded in 2000, on the eve of the promised doomsday. There is an opinion that Armageddon has been postponed only for Alexander Kostarev to eliminate all the flaws of the record and release his work. On the side, the album compositions had been written mainly long before the 2000th (since 1977 till 1984), nevertheless they sounded newly and freshly by the time of the record. They still sound in the same manner and the reasons for it are: the time outrunning presentation of rhythmic section, timeless music language and difference from anything familiar. So, music lovers do not have similar associations, everyone finds something of his own.
And now – who Kosmobob is. In autumn 1997 at Festival “Fokom” “Kostarev Group (at that time called Alexander Kostarev Quadrophonic Sound Theater) debuted composed of Alexander KOStarev (the guitar), Ekaterina MOrozova (the keyboards, pedal and keyboard bass) and Roman BOBrovskiy (the percussion). They began with the revised art-rock and jazz-rock pieces by Keith Emerson, Mahavishnu John McLauphlin, “Chick” Corea, etc. and old compositions by Kostarev that sounded very contemporary in new interpretation. Then the name Kosmobob appeared formed from the first letters of members’ surnames. And in the album Vegetarian the first band vegetarian Gennadiy Lavrentiev (the violin, table) debuted. The drummer Bobrovskiy was very young at the moment of recording but he managed to add a lot of strong metal drive. Ekaterina Morozova substituted a small orchestra plus 2-3 electronic musicians: basses, electronic fields, riffs, themes, counterpoints, pads… she did all this work to construct a musical building of the album. Alexander Kostarev had only to raise the roof – not the roof of the building – but the top of the audience entering it. That’s what he did with the help of his legendary 29 fretted guitar by the nickname “Crocodile” and the roaring harmonica. And in the end – about the vocal. To the opinion of the album creators it is very good: first of all, because there is no vocal in the album, and secondly, the album is listened in the same breath and overtakes you to an extent when you don’t have time to notice the absence of vocal.”
Rhythm guitarist and vocalist Vydmantas Juronis formed Kertukai in the first place, wrote music and texts to all original songs. The music leader was Gediminas Jurgilas. He played on keyboards. Other members are: Saulius Lukošius – vocal & lead guitar, Feliksas Tulcinas – bass guitar, Alius Tatarskis – drums. Also, Simas Taršys and Gražina Akstinaitė on vocal.
Never being officially released on vinyl, Kertukai gained a fantastic popularity in Lithuanina. Their tapes (usually recorded live on concerts) were very famous among the youths. They played on dances and travelled all over Lithuania, were regular on radio.
The repertoire contains instrumental numbers, famous cover songs, original songs, like “Lopšinė” (”Lullaby”) and traditional tunes.
In the late 1960’s they appeared in Lithuanian motion picture “Ave Vita”.
Here you can hear the tracks that were digitilized from old tapes – both instrumentals and vocal numbers. Kertukai usually sang in Lithuanian. For example, an old country/rockabilly hit “Long Tall Texan” became “Ilgas Plonas Techasietis”.”
Big thanks to Vydmantas Juronis and http://manzerock.blogspot.ru for the information!!!
Pure rock music from a band called Still Pluto
Main tags are: Post-grunge/Southern
Don’t miss these guys,they live in the North of Russia but they sound just like South America
Their music looks like a blend of mid 90’s with some melancholy of blues-rock and the warmth of southern guitar riffs
Sometimes hard and angry,sometimes soft and lyrical,-it’s all about their music,-just watch and listen and you won’t forget it!
Lizzard G play cocoa – music that makes up the magic world where musicians of this group live.
There are all subordinate to and beyond the fancy stuff. This world is built by tiny forest trolls, giant toads, elves, chameleons and lots of other creatures. Every entity in the forest is graced with life. Nature’s bounty is not subject to the passage of time here. In fact time itself is capable of operating as it sees fit.
They claime that: “We’ve got no influences at all. In fact we even cut ourselves off from music altogether, in order not to plagiarize anybody.”
And today, in the new guise of Lizzard G, these young women and their male bass player “create music that’s designed to make a magical world. A place where its creators dwell – in internal emigration”. Irony and daydreams cross paths.
20.01 Psychedelic obSession vol.1
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More by genre
- Air Structures “Air Structures ” 2013
- Be Good “Innerspace ” 2013
- Achilles “Spacekraut” 2013
- Vespero & Zone Six “The Split Thing” 2012
- Kostarev Group “Kosmobob: Vegetarian” 2012
- Kertukai “Kertukai” 1971, “Kertukai II” 1967-71(Lithuania)
- Still Pluto “Welcome to the World” 2013
- Panihida – Zeta Reticuli 2013
- Lizzard G “Little Lizzard” 2013
- Yojo “Yojo” 2013
- Arsenal “Rock-Arsenal” 2002
- The Damn Ol’ Bones “The Damn Ol’ Bones” 2013
- Nikola Tesla & Thee Coils “Creature” 2013
- Arsenal “Unknown Arsenal” and other bootlegs 1974-1980
- Nameless “Fearless sunrise” 2011
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