インターネットラジオ ラジオエーゲ海 デジタルロック テクノダンスミュージック特集。国内/海外アーティストが参加する特別番組!! Volga ロシア エクスペリメンタル Internet Radio Radio Eigekai Special program Siglo Xes 4 presents you rare hot digital dance rock tunes from artists around the world.
Besides this, the group often tours Russia and abroad and participates in many different international festivals each year, whilst one of the core members, Alexei Borisov, remains a prolific solo force in contemporary electronic sound-art. Together, Volga successfully weave a wide range of influences. Driven by the highly impressive, strong and often haunting voice of Angela Manukjan, Volga's sound carefully picks away at electronica's more interesting contours; electroacoustic elements; mantric dance rhythms and a variety of traditional, Shamanistic or folk styles from both their native country and far, far beyond. Most of Angela's lyrics are derived from 19th Century Russian folklore/text as well, lending the native vocals an even more unique slant. The group's seventh (yet fifth studio) album, 'Pomol', appears on LTCo in mid-February 2007 and represents their most powerful, inventive and fully-realised work yet. Accessible and buoyant on one hand, dark and sonically confrontational on the other, it possesses a command only too rarely found in what can be loosely deemed pop music.
Centred on vocalist Angela Menukian and electronics wizard Roman Lebedev (who also plays the guitar), this Moscow-based quartet is one of Russiaﾕs most established electronica/folklore bands. Manukian revives Russian texts that go as far back as the 1100s and Volga catapults them into the 21st century, thanks to their post-industrial electronic beats. In late 2007, they brought out their sixth album Pomol.
This is one album that will constantly challenge listeners to define it. Transported by Angela Menukianﾕs otherworldly vocals, it bounces from the deeply experimental m四anges of ﾒTausenﾓ and ﾒSvahaﾓ to the haunting, at times archaic, folklore of ﾒSufiﾓ and the opener ﾒReapersﾓ. Menukian has gathered Russian texts she found in remote villages that range from the 12th to the 18th centuries. The symbolic nature of Volgaﾕs work is hidden in the album title which derives from the verb ﾒto ground down grainsﾓ and its colloquial meaning ﾒto chatter, to talkﾓ. For the quartet, pomol is a symbol of the hard grind of peasant life down the ages.
The unlikely mixture of techno with over a dozen ethno-linguistic traditions is startling and effective. Trekking well beyond Russia’s Volga region, Menukian has recorded sounds that include Altai throat singing and poetry from Smolensk, Tver, the Caucasus mountains and Ryazan. Her linguistic journey is mixed in with ritualistic pagan psychedelia to disturbing effect. The electronic trance programmes are violent and abrasive, enhanced by the complexity of Menukian’s vocal exercises. These come to a climax in the middle of the album with the songs “Tausen” (Autumn) and “Volga Mother”.
Interestingly, the group adds traditional instruments like the Tibetan cup, a Russian equivalent of the Jew’s harp called the vargan and the zvukosuk string instrument (all played by Uri Balashov). They invade the post-industrial electronics and wrench the listener away from any illusion that this is a pure dance album. In songs like “Kubaha”, the swirling, hypnotic use of these three instruments give these Slav tunes an emotional impact that one rarely trips over in electronic music.
The intelligent inter-weaving of all these contrasting melodies, rhythms and sounds make these 13 songs a rollercoaster ride that one reviewer compared to “Peruvian songs of Icaros, performed by folk healers at ceremonies in order to expand participants’ consciousness.” Yet the intensely ornate vocal dexterity of Menukian creates a harmonious coexistence between worlds that are centuries apart. This is what many are hailing as the cutting edge of a new Russian sound that draws from the breathtaking variety and range of this vast land. One can only hope that Volga opens up its world further by, for example, translating the lyrics that are so finely interpreted.
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