Ukrainian Field Notes XLVIII

By / / Featured Articles / 2 comments

artwork by Mariia Prymachenko

With attacks on Ukraine intensifying, we travel to the frontline with Мс Мягкий Металл (Mc Soft Metal) and Raavel. For much needed relief, we turn our attention to Kim Kardashien to indulge in some doggy style music in the midst of Kyiv and we get dark with Hungry Boys.

Meanwhile Cre helps us to find a pulse within the chaos, we enjoy daytime clubbing with Ksena, go on traditional dance parties with CMYK and remember air raid sirens from 2014 in Kramatorsk with Mykyta Herasymov.

In Iza we decompress as we indulge in a spot of Theatre of the Absurd; to find out about celtic mythology we transfer to Kharkiv with Díréadú; and, while there, we get down to some serious dungeon rap courtesy of its inventor, DJ Sacred. In Kherson we go dystopian with Гусениця Хтону and finally in Dnipro, we await the grand opening of a new club courtesy of DJ Vanya.

For New Release we reveal new titles by Native Outsider, Lostlojic, Demian Feriy, 58918012, lebben, PURE TOOL, Ship Her Son, Low Communication, Disk_D, v4w.enko, and Юрій Йосифович.

In our Viewing Room we indulge in many new clips, from the poppier side to the darker shade of post punk with a touch of jazz. After welcoming the return of Gravitsapa, we take a look at the latest offerings from Morwan, OTOY, Latexfauna, David Glads, Boombox, Andrii Pokaz, ДК Енергетик, Boombox, and Святослав Вакарчук, Lady Aphina, Гурт Дно.

Before we get to it, it is with a heavy heart that I report the end of нойз щосереди (Noize Every Wednesday). Big thanks to Kseniia Yanus, Vadym Oliinykov, Misha and Pavlo. At least I can say I got the t-shirt.

Vitalii “Bard” Bardetskyi

And to open proceedings, for our Resonance FM podcast we invited Vitalii “Bard” Bardetskyi to reveal how he came up with Mustache Funk and discuss the evolution of Ukrainian pop.

Tracklist:
  • DakhaBrakha – Plyve choven
  • Kobza – Bunny
  • Vodohrai – Remembrance
  • Eteria – Yak Stoyalo Drevo
  • Kyrylo Stetsenko (feat. Tetiana Kocherhina) Play, the Violin, Play
  • Cukor Bila Smert’ – The Great Hen-Yuan’ River (Remastered 2024)
  • Okean Elzy – Вставай
  • Hyphen Dash – Is it rage

 

INTERVIEWS

OCTOBER 1, 2025 – IZA

photo by kljijiuzo

Театр Абсурду (Theater of the Absurd)

My name is Vasyl Borshchyk. I am from a village near Khust called Iza, which is famous for its wickerwork and very picturesque nature. I am the founder of the post-punk/dark folk project Theater of the Absurd , which began its existence in 2021 and, after a certain pause, is functioning again.

During this period, we released three albums and four singles with different themes and emotional moods. Since there are almost no like-minded musicians in my native land, I create music and lyrics myself. My brother Yaroslav, an artist who shares my vision of the Theater of the Absurd style, helps me in designing the albums. I do music in my free time from my main job, because it helps me focus on important issues – the meaning of life and modernity.

Has the full-scale invasion changed your perception of music and sound, as well as your mood and playlist?

Since I have always had a heightened anxiety background, the beginning of the war only confirmed my suspicions that tomorrow is a very abstract concept, and it may simply not exist.

The general mood of my project’s work has always been gloomy and melancholic, but after the full-scale invasion began, the songs ceased to be just the author’s subjective experiences – they became a reflection of the present. My musical preferences became more expressive: I began to better understand the message of anti-war compositions, their structure. In general, the songs of the 60s in the genre of psychedelic music became a sacred reference point for me – a manifestation of a forgotten cultural phenomenon that is lacking today.

You’re from Khust, the former capital of the short-lived Carpathian Ukraine. How would you describe the music scene in your city — in terms of community, venues, and artists?

Unfortunately, I don’t have any friends from Khust who are actively involved in music. But in general, there are performers in the city, mostly in the style of traditional Transcarpathian folk. They can be seen at festivals both in Ukraine and abroad.

photo by kljijiuzo

However, I would not use the word “scene” in relation to our region, because musical culture, although present, does not have a systematic or collective nature – that is, what makes it a scene . For now, everything here is at the level of a proto-musical community, where most performers work individually and autonomously. However, I am optimistic .  — and I believe that the emergence of at least a small underground scene is only a matter of time. Khust is a small city, there is no distinct musical movement here yet, like, for example, in Uzhhorod. But there is still a long way to go.

What can you tell us about the process of creating the album “Shadow of Bygone Days” ? What comes first — the lyrics or the music?

Shadow of Past Days is an album about the influence of the past on the present. The idea arose as a dialectical continuation of the previous release Sound Without Music , but in a different format – as an opening of the veil of past events through cause-and-effect relationships that affect our questions about the present.

After a long pause (I hadn’t released a song for over a year), there were even thoughts of ending the project. But this album became a new rethinking for me and a point from which I wanted to continue. The process of creating the album wasn’t long — the music and ideas came naturally, without forced search. In my practice, music always comes first, and only then — the text, as a superstructure and logical completion of the song structure.

How would you describe the dark folk, gothic, and post-punk scene in Ukraine? How has it developed and has it become more popular since 2022?

This scene is non-cyclical. It has constantly fluctuated between periods of ups and downs and has often manifested itself precisely at critical moments for society. At times when questions of the meaning of life, the fragility of being, and existential experiences become extremely relevant.

For decades, post-punk and dark folk in Ukraine remained marginal genres, interesting only to a narrow circle. However, after 2022, they began to rapidly gain popularity – as a component of modern Ukrainian culture. The beginning of the war brought the question of existence and doubt about the future to the forefront. This gave rise to a kind of new decadence in art – where the themes of nature, death, destruction and deep emotions became the main ones. And every listener finds something of their own in this music.

Have you been influenced in any way by Ukrainian folk tradition?

Starting with the album Sound Without Music, the influence of Ukrainian folklore in my work began to grow rapidly. Folk aesthetics, symbolism, motifs — all this became an inexhaustible source of inspiration for songs and album concepts. And this influence will only grow.

I’m from Transcarpathia, so finding inspiration in nature, everyday life, and folk wisdom is an integral part of my creative process. It brings a special, almost mystical peace — something that is very valuable today.

Is music the least connected to reality of all the arts?

On the contrary. Music, like any other art form, is a direct reflection of reality. From folk songs to ambient music, all these are different forms of experience that arise in response to objective reality.

Music is a conductor of emotions. It unites people, creates a mystical connection between the author and the listener. After all, mutual empathy resonates. Only by understanding the circumstances in which a song was written can one fully experience its beauty and meaning.

Are there any albums by Ukrainian musicians that have particularly reflected the current situation over the past three and a half years?

Yes, of course. I want to highlight a few releases that are particularly close to me and, in my opinion, deeply reflect the current reality:

Imagine the Ukrainian landscape. What do you see and hear?

Boundless beauty. Age-old wisdom that speaks from every contour of natural poetry. The balance between life and death. And at the same time, longing for everything that this landscape has experienced and continues to experience.

Are you able to think about the future?

Unfortunately, no. For me, the future is a closed and unknown page that has not yet arrived and may never arrive. My planning horizon is very short; it exists here and now.

I study Eastern philosophy, and therefore for me the principle of living in the conscious present is not just words. The main idea:
Do no evil, do good, completely tame your mind.

What does being Ukrainian mean to you?

The opportunity to explore one’s culture deeply, metaphysically.

What book / movie / album / song / dish / work of art / architectural structure / meme best represents Ukraine for you?

  • Book: Taras Shevchenko – Kobzar
  • Movie: Shadows of Forgotten Ancestors
  • Album: Viy – Black Field
  • Song: Volodymyr Ivasyuk – The Song Will Be Among Us
  • Traditional dish: Borscht
  • Work of art: Mykhailo Boychuk – Harvest
  • Building: Kyiv Pechersk Lavra
  • Meme: “We have what we have”

 

OCTOBER 1, 2025 – KHARKIV

Díréadú

I started making music a year and a half ago, inspired by the tänzelcore genre and Celtic culture. What began as an attempt to write something out of boredom has since grown into the foundation of my life.

I know that on your bandcamp page it says you are from Dublin, but for a while I had difficulty in ascertaining whether you are Irish or Ukrainian and ultimately came to the conclusion you are called Yevgen. Could you shed some light?

I am from Ukraine, and my music is also influenced by Celtic culture. That is why the project Díréadú is deeply connected with Ireland. My real name is Fedor, but within this project I use the alias Dubhghlas Ó Coileáin, as it reflects the sources of my inspiration.

How did you end up releasing on Erythroleukoplakia Records and how do you manage to be so prolific?

I joined the ELP label thanks to the composer Necrokholod (Некрохолод). I am able to write so much music simply because I truly enjoy the process and do not need anything else.

I am pretty new to Keller Synth and Tänzelcore and was introduced to it by Dosenfett a side project of Cryptic Chorus. For the uninitiated, how would you describe your sound?

I would not call my music pure tänzelcore. Although I was inspired by this genre and shared my work within its community, I would rather describe my style as Hard Dark Ritual Rave.

What is your setup and your favourite piece of gear?

I use one Oxygen synthesizer and music plugins, mainly the Serum plugin.

Ah Necrokholod! Does it mean you are originally from Kharkiv?

Yes, I am from Kharkiv.

How would you describe the music scene in Kharkiv?

Because of the war, a lot of things are missing in Kharkiv, and most of the time I went to noise concerts, so I can’t really make a strong statement.

Would you consider playing at Noize Every Wednesday?

Yes, I would like to play there. I asked them about the possibility of performing my album Deasghnátha but they refused. At the moment, I’m waiting for their reply regarding the possibility of performing my folk ambient album Tuatha Dé Donann.

There are a number of metal groups that draw inspiration from pagan folk. Do you feel any affinity with Drudkh for instance?

I don’t know, I don’t really listen to folk metal — I’m more into electronic music — but in a certain sense, there is some affinity.

Are you influenced in any way by Ukrainian folk songs?

I don’t think so, not really. Since my work is connected with Celtic culture, my influences are more Celtic than Ukrainian.

Are there any works by Ukrainian artist that have managed to make sense of current events for you or any works that you feel have captured the war experience in way that might be relatable for an international audience?

There aren’t really any artists who managed to capture it for me — I was more affected by the film 20 Days in Mariupol.

Which book / film / album / song / traditional dish / podcast / blog / artwork / building / meme best captures Ukraine for you?

It’s hard to give a single answer. It’s a mix of everything: whether it’s different mystic places, the nature of Ukraine and Ukrainian culture — all of that is what Ukraine is for me.

 

OCTOBER 2, 2025 – DNIPRO

DJ Vanya

My name is Ivan Zhovtonog. I began my DJ and promoter career back in 1999 under the nickname DJ Vanya. Until 2003, I saw myself as a drum and bass DJ and producer. But somewhere in the mid-2000s, I realized that I preferred organizing parties and developing the DnB subculture in my city. 1999–2011 was 12 years of my active work: touring Ukraine, Europe, and nearby countries. Then I faced a certain life and creative crisis, decided to take a break and change my field of activity, but electronic music always stayed close to me. I lived abroad for a long time, and at the beginning of 2023, I decided to return to Ukraine and, as a result, start organizing parties again and collecting donations for friends who went to serve! Now I operate under the nickname Vanya Bios.

Has the full-scale war changed your attitude towards music and sound, and has it changed your setup and playlist?

I wouldn’t say my playlist has changed much. Deep house and indie dance simply disappeared from it. I never fixated my taste on one style: I listen to DnB, house, dubstep, forest psy trance, IDM. It seems to me that the positive vibe just disappeared from the playlist. That’s life.

How would you describe the drum & bass scene in Ukraine, how has it developed over the years, and at what points did it reach peak popularity?

Answer: The peak of popularity, in my opinion, was around the mid-2000s to early 2010s, when drum & bass filled large dance floors and more festivals appeared in Ukraine. Back then, D&B was part of a broad club culture and had its devoted audience. Today, the scene has become more intimate and niche, but that’s what keeps it alive. Those who remain in the music do it not for trends but out of genuine love for the genre. Therefore, drum & bass will always have its place in Ukraine.

How would you describe the music scene in Dnipro and what special things could you say about its community? And in your opinion, is there a special “Dnipro sound”?

Speaking about the present moment, there are several promo groups promoting their style and vibe:

You are going to open a new club DOT. What can you tell us about the logistics and financial risks of opening a business during the war? What will its concept be?

Actually, we are keeping the club’s name a secret for now. Why is the account called dotdnipro? Initially, I wanted to name it xxx.dnipro, but then there would be even more questions: “What are those x’s?” Soon.dnipro was also not right. And you can’t make an Instagram name starting with “.dnipro”. That’s how dotdnipro appeared, which will later be replaced by name.dnipro 🙂

Now to the essence of the question. Of course, there are risks, but the renovation doesn’t require much money. The premises are underground catacombs in the very center of the city, practically a bomb shelter. The rental conditions are very good! The biggest investment is the sound system. “Such sound has never been in Dnipro.” Let’s say: I took these risks upon myself and am ready for my project to slap me in the face and drench me in a cold shower.

Will DOT fill the gap in club life left after the closure of Module?

I really hope so. I see that our youth have nowhere to go, and promoters and DJs/musicians have nowhere to organize parties. I will give all promoters access to a quality club platform.

How do you think the Ukrainian electronic scene will develop during the war, considering that many have left and many are serving in the military?

I think that now, despite all the challenges, the war acts as a catalyst for development! People need emotions and unity. Constant sorrow can even cause psychological disorders.

How do you think the loss of nightlife due to the curfew affects Ukraine’s club scene, and has it changed your approach to preparing a DJ set?

Here I can speak for myself: if it weren’t for the curfew, I might not have returned to DJing. I like to sleep at night. My schedule is generally 8:00 PM–4:00 AM. Daytime parties have long been common in Europe. Since 2016, I have gone to Amsterdam Dance Event every year and generally did not attend parties at night. But here I am only sharing my personal opinion. I am against night events 🙂

Many people told me that right after the full-scale invasion began, they stopped listening to music. Did you have such an experience? And how was it to play again when clubs reopened?

I have not lived in Ukraine since 2018, and I was in Thailand when the full-scale invasion started. I probably didn’t listen to music for about a month. I followed the news daily. Then I had a very serious health incident; I was on the edge of life and death for two months, and then spent half a year in rehabilitation—relearning to walk, stand, and get used to living with pain. During rehabilitation, I listened to very depressive halftime and DnB, as well as dark psy and forest. So I was quite out of touch with news about the war, and when I started following it again—in March–April 2023—and the war in Ukraine had become an everyday reality, I realized I didn’t want to stay abroad, bought a ticket from Bangkok to Chisinau, and returned home to be with my family and friends.

What does it mean to you to be Ukrainian?

I don’t want to sound pretentious, but to me personally, being Ukrainian means being a guy with steel balls. Whether I am such a guy is a complicated question given the circumstances. I am not defending my country in the ranks of the Armed Forces, but if I were fit, I don’t know if I would go. I do everything to support my friends on the front line and stay with my family and friends during these difficult times. For me, that is what being Ukrainian means now. Karma and time will put everything in its place.

Which book / film / album / song / traditional dish / podcast / blog / artwork / building / meme best expresses Ukraine for you?

Borscht.

OCTOBER 3, 2025 – KHERSON

Гусениця Хтону [Husenytsya Khtonu – Chthon Caterpillar]

Greetings, my name is Oleh. I was born and spent most of my life in the city of Kherson in the south of Ukraine. I’m a simple music fan who somehow managed to keep enthusiasm and appreciation for music over the years and I make my own stuff sometimes, lately weird electronic music.

Has the full-scale invasion changed the way you think about music and sound and has it changed your setup and playlist?

Well, at first, music – or any form of art or entertainment – felt wrong, you just never had time or mental resources for that. Then my city became occupied by russians and they cut us off completely from the internet, mobile networks, tv or even radio. Basically you had limited options for music interaction although obviously it mattered very little in comparison with everything that was going on outside. So I had a great music detox 🙂 and when we got freed by ukrainian armed forces and I finally was able to come back to music listening everything felt magical and amazing. That feeling obviously didn’t last forever but I try to remind myself of that time and cherish the great things that I have right now.

Demo I

As far as I understand, although you have been making music for a while, you started releasing only in 2023 with Demo I. That was followed by other three demos and the track Погорда (Contempt). Was the full-scale invasion the catalyst for this?

Usually I struggle to finish projects – not to mention releasing them – but I somehow forced myself to upload a couple of songs on bandcamp in 2023, maybe because I realised that I should do it while I still have the opportunity. I never expected it to be noticed by anyone to be honest, but then some people somehow did and even said nice things about it which surprised me and gave me the motivation to continue.

Your project is inspired by the 1967 novel Chthon by Piers Anthony. Could you explain what drew you to that novel in the first place and how it relates to your music?

I like sci-fi, especially from the 60-s and 70-s. The Chthon dilogy is not perfect but weird in a cool way and full of interesting concepts, just like I enjoy. The image of a particular monster that is called the Caterpillar in the books stuck with me. It is an apex predator of a weird ecosystem of underground systems of tunnels in a prison planet called Chthon, it consumes prey by adding its body as a segment of its own body and grows infinitely. It also guards that tunnels, making sure nobody escapes.

The russian occupation of my city evoked that image in my brain. It felt like a surreal, never ending nightmare that we couldn’t escape. So in my music I tried to recreate that feeling of being trapped, that you are slowly sinking into a bad dream that has no end, and the Chthonic Caterpillar felt like a fitting title to me.

Demo III

In an interview with Neformat you stated that you were originally intending to make metal music, but as you left Kherson with only a laptop you found it easier to make dungeon synth. Could you describe your production process and your penchant for the lo-fi aesthetic of your music?

Lo-fi aesthetics works for me better than anything else, partially because of the limited tools in my disposal (basically, a laptop), partially because of my amateurism, but most importantly it is something that I really enjoy in music and art. So I wanted caterpillar to sound like you’re listening to an old cassette that you accidentally found in the attic of a haunted house. Or maybe like an old radio – like my grandma used to have in my childhood. That radio was always outside her house in the village – exposed to elements, very dusty, grimy and loud with a bit of distortion in every sound. And it worked 24/7 and always tuned to the same wave. So I tried to recreate this, maybe not even sound but more like my internal feelings about the distorted memory of that radio, if that makes sense. It has to sound ugly and abrasive but also a bit melancholic and nostalgic.

Considering Kherson was occupied early on before being liberated in 2023, if you don’t mind me asking, how would you say the sonic landscape changed in your hometown?

Basically, the sonic landscape of Kherson is listening to constant shelling and trying to understand how far the explosions are from your apartment, how hard you should worry. Worse than that, russians hunt the few remaining citizens with drones, target cars and infrastructure, making every time you leave home for supplies or work a gamble for your life, it’s pure terrorism. They call it ‘a human safari’, watch this good video from an American journalist for more. So the city is in the pure survivor mode ever since its liberation in november 2022, just because russians still occupy the opposite side of the Dnipro river and make sure that normal life in Kherson is impossible. So its musical life is impossible as well. I wish I could live long enough to see things getting better, but the situation right now looks very bleak.

Demo II

What are you working on at present, and will you be releasing a full length album in the near future?

I am working on a bigger release but very slowly. The war continues and I have no idea when or if I will be able to finish anything, so one could only hope.

What does being Ukrainian mean for you?

Supporting people around you. To me, there is a lot of inclusivity in the idea of the Ukrainian nation. We have to support each other regardless of our appearances, ethnicity, gender etc, if we wish to survive. Also, being Ukrainian to me means to have hope that a better future is possible. That we are not doomed to rot in fascistic delusions of idiots in power, that the future does not necessarily have to be a bleak technological dystopia or climate catastrophe, something better is possible, maybe unlikely, but still worth fighting for.

Demo IV

Which book / film / album / song / traditional dish / podcast / blog / artwork / building / meme best captures Ukraine for you?

Tricky question, Ukraine is super diverse and impossible to capture completely in one piece of art. So here’s a random list of things about Ukraine that I like:

  • book: Maik Yohansen – Dr. Leonardo’s Journey to Sloboda Switzerland with His Future Lover, the Beautiful Alcesta – if you want to experience the bizarre magic of the Ukrainian steppe.
  •  film: Parajanov’s Shadows of Forgotten Ancestors – not very original pick, but the most suited and awesome
  •  album: DakhaBrakha (ДахаБраха) – The Road (Шлях) from 2016 – amazing record and in my humble opinion their best. It is also super fitting, since each song here is based on folk tunes from different corners of Ukraine. And it’s very diverse, dark and gloomy songs combined with more cheerful psychedelic folk stuff, and there’s even a Crimean Tatar influenced folk song that is gonna rock you like Converge.
  • Also really wanna mention Katarina Gryvul  – SPOMYN from 2025 – yes, it’s brand new but an instant classic for me. Incredibly powerful record that captured beauty, darkness, loss, regret and hope in such a way, that brings me the image of us all here, so you could tell it’s about Ukraine in a way.
  • song: I spent too much time trying to pick one, but then I remembered this video, “the Ukrainian ennui” – it has a lot of my beloved songs and could work as a great starting point for Ukrainian underground music. Entire youtube channel worth checking, so it’s my blog recommendation I guess.
  • But alternatively, if a 1-hour long video is cheating, then this song by Вежа Хмар works as well.
  • Also, I really want to give a shoutout to guys from neformat, they do an amazing job covering all sorts of ukrainian music and they have articles (and podcasts) in English as well.
  • art: too many again, let it be Olha Haidamaka‘s art maybe.
  • meme: “We are all different but we are all ukrainians“

 

OCTOBER 5, 2025 – SPAIN (originally from KHARKIV)

DJ  Sacred

I can’t define myself fully, creative nothing would be the best term, and I make music for about 13 years.

Has the full-scale invasion changed the way you think about music and sound and has it changed your setup and playlist?

No it hasn’t. My life was quite miserable before that so I think I stay true to the melancholic and depressive vibe that I’ve been experiencing since I was a teenager. The only thing that changed is a complete loss of feeling of time which made me write less music.

You are the creator and inventor of Dungeon Rap, and released your seminal tape back in 2019. Are you surprised by how popular it has become and what is the secret of its success?



Of course I was surprised and it’s a joy to see people still working in this field after all these years, although I treat dungeon rap with a hint of irony because of its postmodern logic of existence.

The secret lays in similarity between Memphis rap and dungeon synth, that’s a good combination.

How do you manage to be so prolific and to keep so many different aliases?



I wouldn’t call myself prolific at all, especially, considering that artists nowadays are releasing music as a content every week or so to keep up with the competition and to boost the streams, some of them went full content creator mode and started recording tik toks and Instagram reels. Last year I released one album and maybe two singles which is a lackluster performance comparing to contemporary standards. So I think I’m really an outsider when it comes to quantity.

And about different aliases, I think I could describe it from the same position. I treat the consistency of an artist not from a marketing or speculative view, but from my personal preferences of consumption. Most of my listening experience was basically looking through tons of albums on vk or YouTube, which would only provide you with information like tracklist, year and cover art. If we treat this as sufficient foundation for an artist profile then it’s quite easy to create one. If we’re talking about current trend of self made brand, constant photo shoots and influencer type behaviour, then of course it would be almost impossible.

You are originally from Kharkiv. How would you describe the music scene there and are you currently based in Dnipro, and if so, how would you say the two cities compare?



I’m not based in Dnipro and I never lived there. For last two years I’ve been living in Spain which is a really good place to be.

The music scene was the best for me personally, I reminisce a lot about the time we had there, and about the plethora of talent that we used to have. When it comes to Memphis rap and phonk music in general, I think Kharkiv was the most powerful, having an amazing roster of really talented people. I couldn’t name any other city like this in Ukraine, and in Europe, only Hamburg can achieve the same thing.

Because of the full-scale invasion, a number of black metal musicians have turned to dungeon synth and Keller synth I am also in touch with a metal head who is currently serving in the military and has recently released a Tanzel core album. Granted that your interests lie in Memphis Rap rather than metal, do you see any affinities with the metal scene and was your sound 100% born out a loft aesthetic or was it partly born out of necessity in terms of the gear that you had at your disposal?

I like black metal and I listen to it often but I don’t affiliate with the scene, neither I’d like to be a part of one. I mostly create in solitude and it’s an important factor to stay consistent with my sound, I also don’t listen to any new releases. And speaking of gear, I think it’s not an issue today because pc can replicate any kind of sound, the strive for aesthetic feeling is not dictated by gear limitations, but rather being dictated by our current cultural condition.

In your Guardian interview you quoted Mark Fisher and his work on hauntology as having captured that sense of a lost future. Could you articulate how this nostalgia for times you have never experienced relates to the aesthetic of your work?

I mostly appreciate art that was made before the ongoing cultural stagnation which has been going on quite awhile but became clearly visible about 15-20 years ago. So, I mostly listen to stuff that was created long before I was born. And the idea I have about the past is quite different from the reality of the past, that’s why this experience is haunted. I try to continue the atmosphere that I’ve only experienced through digital media and it’s a pure simulacrum in itself. I make 90s music but I was born in 1999. And I mean, asking ourselves why me and other people are more obsessed with the past than with the present is a good call to think more about the current cultural condition we live in.

Dungeon Juntz 2 Deluxe Edition opens with air raid sirens and explosions. Some questions the use of war sounds as triggering, but others find they can raise awareness for a foreign audience. What is your take?



Dungeon Juntz is not my album and it was apparently produced by DJ Bishop, my friend from Dnipro. Some people think that’s my other alias because of one journalism quotation mistake that happened in 2019.

Apart from that, I think it’s okay to use anything you want in your art and I find arguments which relate to triggering as completely impotent and destructive to art itself.

It’s okay for art to be triggering, it’s okay for art to be violent. You know, siren stuff is quite innocent comparing to other stuff in Memphis rap or 90s hip hop in general. The lyrics of most tracks are blatantly sexist and homophobic, sometimes touching such sensitive topics as rape and murder. And from the logic of contemporary liberal moralists, we should stop listening to this music at once.

And I think such attitude is not a part of performative activism but rather a tool of capitalist machine to reprogram undesired art into complete sterile and flaccid material that could be played at yoga classes in a gentrified neighborhood or get fit in an matcha latte advertisement. We already can see examples of this by looking at techno scene and how it was appropriated by the capital. That’s what I like about Memphis rap and other extreme genres, you just can’t take out the bad thing out of it because it’s a freak music for freaks in itself.

But don’t get me wrong, I’m not a part of this “anti-woke” campaign that we see nowadays, rallied by far right idiots and ultra rich parasites. I consider myself hyper progressive if I could say so, I firmly stand against all forms of xenophobia, I think that racism and sexism are huge systematic issues, I think that trans rights are human rights and that the system is completely broken and we should destroy it rather than assimilate into it.

So, I think that the context of this art is really important. I don’t associate myself with those bad things being said in music, neither I take it personal. And I wouldn’t create an art with blatantly stupid choices like me saying an n word or talking about raping somebody. Not because it will definitely offend someone but because I find it not corresponding with my artist vision and because I know the context and my privilege.

We should learn and understand the context behind the art when we create it, but it doesn’t mean that we should treat the past in same merit. I still use a lot of samples which contain n word or other offensive lyrics but again, I don’t associate myself with DJ sacred, it’s not me, and those samples are from the past, not newly created problems.

And when it comes to something not being so obviously bad like sexism, racism and homophobia, I think that anything works. Art should comfort the disturbed and disturb the comfortable, that’s a popular quote and I agree with it.

Are there any works from the past three and a half years, by Ukrainian artists that you feel have captured current events in a meaningful way?



Definitely there is a lot of decent new stuff that captures our feelings and fears about this imperialist war being waged on us. But none of it comes from a current corny and plain mainstream of Ukrainian culture, which resembles the culture of the US in 50’s, with it’s unrelenting conformism and constant searching for an enemy within. Currently, Ukrainian culture is predominantly conservative and hyper moralist and will ostracize anyone who doesn’t want to abide the rules.

I also think that we’ve suffered a lot from Russian colonialism but I don’t try to make a religion out of Ukrainian state and nation. We see people nowadays saying that Ukrainians who speak Russian are not Ukrainians, that Ukrainians who left the country are also not Ukrainians, and the same goes for people who don’t serve in the army or people who support Palestine, the list goes on and on. Either you a part of this new religion with Ukrainian Nation being your god, or you’re an another problem to be dealth with. Such attitude obviously made our current art really sterile and uninspired. Im tired of listening to the same fucking stuff about our brave heroes and how bad russians are. I get the point and I agree, but it doesn’t mean that our art should be only about this and in such a straightforward way.

I think Poly Chain is probably the most talented and self aware artist when it comes to electronic music of Ukraine, also people like Re:Drum and rusiiick. And I like what my friends from Kyiv and Kharkiv are doing. They’re making rap in russian language which immediately puts them into sphere of marginal and undesirable art, and they know that. They know that they’re not a part of this discourse, neither they want to participate in it. Moreover, instead of common topics in lyrics like being cool and rich and successful, they write about how miserable, broke and pathetic they are, being the lowest of the low in society terms. They create such music just for their friends who can relate to this feeling being ostracized. I find this idea very punk and sincere.

Which book / film / album / song / traditional dish / podcast / blog / artwork / building / meme best captures Ukraine for you?

Skryabin – Kazky is an amazing album from 90s which still captures our thoughts and feelings of today. Despair and raw talent, striving for better world in such a messed up conditions.

OCTOBER 6, 2025 – KYIV

Cre

My name is Denys, and I’m a DJ and vinyl collector from Kyiv. I’ve been DJing for five years now — it’s more than just a hobby, it’s something that truly makes me happy. Outside of that, I’m a graphic designer who works with branding and visual identities, but music is my real passion.

I first started playing under the name Crem, which is what most of my friends have called me for half of my life. But back in the early 2000s, I used to do graffiti and my tag was Cre. At some point, I decided to bring that name back. It’s a bit weird in a good way — short, catchy, and it really reflects my vibe.

I play vinyl-only, and I guess I’m a bit of a snob about it. But I love the physicality of records and the way you interact with them. I also enjoy the more limited, curated nature of the music I dig, and that’s definitely something I’m not planning to change.

Has the full-scale invasion changed the way you think about music and sound in general and did it change your playlist in any way?

The full-scale invasion changed everything — my life, my surroundings, and the way I experience music. During the first week, I couldn’t listen to music at all, but compared to many people I know, I returned to it quickly. Music became a lifeline, a way to stay grounded. I’ve always loved deeper, melancholic sounds, and this connection only grew stronger. These years also coincided with when I started intensively collecting and playing vinyl, so unfortunately the war inevitably became part of my journey and growth as a DJ, and of course it have affected my way a lot.

If I am not mistaken, you have played both at Strichka and Brave! Factory. How would you say the two festivals compare and do you have specific recipes to prepare your sets for these festivals?

Yes, I played at Strichka in 2023 and at Brave! Factory last year (it was b2b set with my bro Serhii Matiushenko). Since both festivals are organized by the Closer art center team, they share a similar vibe, but at the same time, they’re absolutely different.

Strichka is a more intimate festival, held within the old ribbon weaving factory where Closer is located. The crowd is smaller, the stage is more limited, but that also gives more room to experiment musically.

Brave! Factory, on the other hand, is one of the bigger festivals in Ukraine, though still very much rooted in subcultural, niche electronic music.

As for preparing sets, I think every DJ has their own recipe. For me, it’s crucial to understand who’s playing before and after you — to maintain a consistent vibe throughout the day. At the same time, I like to keep an element of surprise for myself. I don’t fully prepare my set in advance; I just pack a selection of records. The situation can feel one way during preparation, but in reality it’s often completely different — depending on the crowd’s mood, the sound, or the overall atmosphere. That’s why it’s important to have a variety of records on hand, so you can adapt to the moment.

How would you say martial law and curfew hours have affected the Ukrainian clubbing scene since the full-scale invasion and how does it feel to play daytime events? Is there a different kind of energy?

Daytime events became part of our scene during COVID. Back then, people didn’t really come to dance — it was more about hanging out, having a drink, and listening to slower music.

Now, even under martial law, daytime events are short and focused, usually with two, three or four DJs at most. People though still arrive late, so often the crowd only dances for a few hours. I personally try to get there earlier, to really connect with the music.

Playing during the day changes the vibe — it’s tricky to drop dark, night-oriented tracks under the sun. But as the day fades, DJs naturally shift toward deeper, more intense sounds. Overall, daytime events are compact, and sets need to be flexible, focused, and responsive to the moment.

Of course, because events — including festival ones — are now shorter, the club scene has faced real challenges. It’s not just about earning money; surviving as a club or promoter has become harder. But thanks to the underground community, where most things are driven by pure enthusiasm, old venues continue to exist and develop the culture, and plenty of new spots have opened up as well: ABO Records and Brukht are my favorite ones.

How do you see the electronic music scene developing in Ukraine considering many have left and many others are serving in the military?

Many people from the scene have left the country, including some of the more established names. In a way, that has opened space for new artists to emerge. At the same time, those who stayed and are serving in the military often have little or no time for music. Despite this, the Ukrainian electronic scene keeps adapting — new talents are stepping up, and the community’s passion continues to drive the culture forward.

How would you say the absence of international producers at parties and festivals in Ukraine has affected the music scene?

Certainly, there are fewer international guests playing at Ukrainian events now, but many still come — some even more than once. Personally, I’ve always been a big fan of our local artists. I feel like they understand the local crowd better, and honestly, it’s often the case that our DJs and producers play stronger sets than international guests.

That said, the absence of big international names has made it a bit harder for festivals and promoters to attract certain audiences — there are still people who come mainly for big names. But for me, that’s not what it’s about. The situation has actually motivated both established and emerging Ukrainian artists to keep improving and evolving. And I really enjoy being a small part of that process.

Are there any tracks of albums from Ukrainian artists that you feel have captured current events in a meaningful way?

The track I’d highlight is “Verity” from the compilation Various Connections Vol. 2 by Closer Connections. It’s deep, atmospheric techno that carries a lot of emotional weight. I feel like it reflects the intensity, uncertainty, and resilience of what’s happening in Ukraine right now.

What’s also special is that this compilation supports local artists and students involved in the scene, some of whom are serving on the frontlines. For me, tracks like this show how music can capture the mood of the moment and express collective emotions, while still being powerful on the dance floor.

Do you have any “guilty pleasures” in terms of listening habits?

Yes, I’d say my “guilty pleasure” is my love for early-to-mid 2000s progressive house. Some of it might sound a bit poppy at times, but for me it’s tied to a really important period in my lifelong journey with music. I still listen to a lot of tracks from that era, and I even collect them for my personal vinyl collection.

Which book / film / album / song / traditional dish / podcast / blog / artwork / building / meme best captures Ukraine for you?

If choosing the one, I’d probably be an old school hip-hop track “Bo vzhe toy den’, koly…” (“Because it’s that day when…”) by Vkhid u Zminnomu Vzutti (VUZV) band released in 1997. It’s kinda modern poetic meditation on burnout, emptiness, and the loss of internal balance, capturing the emotional crisis of someone who is waiting for release from the weight of the past and the fatigue of struggle.

What set of yours you’d like us to embed?

“DD 020.” These are my reflections on the full-scale war. It’s a sound journey that begins on the dark morning of February 24th, 2022 — the day everything changed. It starts with the sound of explosions, silence, fear, and disbelief. Those first explosions are sampled from old vinyl records, recorded back in the Soviet era — the same era that produced most of the bombs raining down on us at the beginning of the invasion. The rhythms grow heavier, mirroring the weight of loss, destruction, and the endless toll of war.

But within the chaos, there is a pulse — of defiance, of resistance, of an unbroken spirit. As the mix unfolds, grief transforms into grit. And though death still walks beside us, so does hope. The story ends not in silence, but in light — in the belief that freedom will return, and we will dance again.

 

OCTOBER 18, 2025 – KYIV

photo by Yuliia Kostyrenko

Ksena

My name is Ksena. I was born in Kerch, Crimea, and moved to Kharkiv when I was sixteen. Since the beginning of the full-scale invasion, I’ve been based in Kyiv, and it’s here that I finally started DJing, something I had been dreaming about and putting off for many years.

Music has always been with me, it just changes its forms. I studied vocals and dance from the age of five, and I still sing today. As a teenager, I spent hours listening to albums and discovering new sounds. Later, I began creating playlists and sharing them online, and eventually started curating playlists for venues. Now I express my creativity through DJ mixes and sets.

Has the full-scale invasion changed the way you think about music and sound and has it changed your playlist?

I wouldn’t say the war has changed the way I perceive music, it’s more that my playlist has become darker. There’s more intensity now, more bass and drive. Sometimes emotions like anger or disappointment come to the surface, and they inevitably find their reflection in what I listen to.

I’m glad that I now have DJing as a tool to express those emotions, I can come to the studio and just play whatever I feel in the moment. A solo set for myself feels almost like a form of therapy.

As for calm, relaxing music, it has always been with me and still helps me find balance whenever I need it.

How would you describe the Ukrainian electronic music scene and how do you see it developing in times of war since many have left and many more are serving in the military?

There are many new names and formations of artists emerging, and new festivals are being born too. Festivals like Brudny Pes and Splav appeared after the beginning of the full-scale invasion, and you can really feel the concentration of energy in them. It’s an energy that has been building up for a long time and is now bursting out through music.

photo by Yuri Gryaznov

How would you say the loss of nightlife due to curfew hours has affected the clubbing scene in Ukraine and has it affected the way you prepare a deejay set in any way?

I guess my experience is a bit different because I wasn’t really part of the nightlife scene before 2023, when I started living in Kyiv. My musical identity was shaped more by the releases and albums I’ve listened to throughout my life rather than by clubs or parties, so it’s hard for me to make direct comparisons.

Honestly, I enjoy daytime parties. If some of them lasted for a week, I’m sure there would still be people who wouldn’t want to leave. But the way it is now, being home by midnight also feels right to me. I value my sleep routine, and I’m comfortable with it.

Who would you select for an ideal B2B set?

I’ve already had a few perfect matches in B2B sets, and some of them I’d love to repeat, like the one with Taqaddam. I’d also be really interested in playing with Bellis because I love the electro and breakbeat side of her selection. I have dark vibe tracks in my collection, but I’m not sure I’m ready to play a full solo set in that mood yet. B2B sets are always a space for experimentation and fresh sounds, and that’s what attracts me the most.

What percentage of Ukrainian tracks do you normally include in a set?

I follow many Ukrainian artists, and almost every published mix of mine includes one or two tracks by Ukrainian producers. When it comes to DJ sets, it’s not something I plan, it really depends on the mood. But I always have tracks by our artists on my USB, just in case. I also have vinyl records by Ukrainian producers that don’t quite fit the selection I usually play, but I still enjoy supporting their work. And who knows, maybe one day those tracks will find their place in my sets.

There were 15 international artists in the latest line up of Brave! Factory Fest. Do you think international names are ready to play festival in Ukraine again?

Kyiv clubs regularly invite international artists. Many artists have come to Ukraine more than once since the beginning of the full-scale invasion.

Traveling to Ukraine is not easy right now, the journey is long and can be quite stressful, and not everyone is ready for that. So the fact that artists still choose to come really deserves respect. When it comes to festivals, it can be even more complicated because sometimes you don’t know until the very last moment whether the artist will actually make it. And of course, anything can happen, one major explosion in the city could easily scare someone off, which is completely understandable.

I’ve read several posts from international artists describing the unique energy of Kyiv’s dance floors. I think it’s a very emotional experience for them to come and play here at a time like this, and all we can do is thank them for it.

Kerch, Crimea

You are from Crimea, so the war started for you back in 2014. What would you say are the most common misconceptions that still circulate about Crimea?

When I think about Crimea, the first thing that comes to mind is how powerful propaganda can be. We don’t really understand what it is until we see its effects. I would call it a disease, or even an epidemic. It spreads through people’s minds, and it’s constructed so cleverly that they start believing those thoughts are their own. It’s heartbreaking to watch how the mindset of your relatives or old friends changes, as if they become different people. And in that moment, they don’t realize that this way of thinking has been implanted.

It was very hard for me to come to terms with all of this, but I don’t really have a choice. You never fully grasp what propaganda is until someone close to you falls under its influence. Its power is enormous.

What does being Ukrainian mean for you?

First of all, it means being free and strong. But in the fourth year of the war, I wish people saw us not only as an unbreakable nation but also understood, even just a little, how much pain and stress we live with every single day.

community cafe

Which book song best captures Ukraine for you?

The first thing that came to my mind was Jamala’s song “Шлях додому”  (“The Way Home”). Jamala often explores the painful theme of the deportation of Crimean Tatars in her music. I’m not Crimean Tatar myself, but the lyrics of this song resonate with me deeply because they’re about searching for the way home. I listened to it when I was abroad, after leaving Kharkiv with just a backpack and my dog, on an evacuation train into the unknown. I’ve read the YouTube comments where people write about their hope to return to their hometowns, many of which are now under occupation. It’s heartbreaking and very moving. It’s surprising because I usually listen to completely different music, but this song has stayed with me. It perfectly captures my own feelings about everything that’s happening.

Another track that reflects my emotions is “Rykh” by Si Process. The fast tempo and tense drumming are exactly what I mentioned earlier, the kind of dynamic, emotional sound that has appeared in my playlist lately. When I listen to it, I feel a surge of energy, it’s a very special emotion.

 

NEW RELEASES

Lostlogic ~ Archaic

Different subgenres of electronics are combined again: breakbeat with trance, house with bass music; beats per minute range from the usual 136-145 to 100 beats per minute, which causes dissonance. The only thing that is constant in Lostlojic’s work is the romantic mood of “dancing through tears”, mysticism and hope. In the track with the participation of Vinnytsia resident Saturated Color, the problematic of one’s origin is explored and danced out – where are we from and where are we going, what is homeland in the 21st century. The composition Alternativ absorbed nostalgia for old computer strategies and the feeling of the presence of an extraterrestrial being within oneself. Downpour Baroque is dancing during a downpour, lightning breaks out in the middle of the dance floor amidst the bass. At the end, we are waiting for relaxation under the super-slow Archaїc, which seems to have been recorded using ancient methods of a destroyed previous civilization. After the previous album Anomaly, which was dedicated to futuristic downshifting and activity in the Chornobyl zone, a tangible continuation of the theme of studying the trauma of humanity in 1986 – on the cover of Archaїc there is a three-dimensional interpretation of the memorial complex “Monument to the Victims of the Chornobyl Tragedy”, which, like an anomaly, spins in the Kyiv sky. Serious electronics carved in stone!

 

Rescale Musicbox ~ Podil Underground Noises

Viktor Pushkar – composition, beats programming (Nord Modular G2), synths: DSI Prophet P12, Cherry Audio Voltage Modular + Roli Seaboard
Stanislav Bobrytsky – bass synth (Yamaha TX81Z), recording, mixing
Dmytro Arzumanov – guitar (1-2)

 

tofudj ~ care

Dedicated to all the friends who remain close and those who are no longer with us.

 

58918012 ~ Consonance

Hey, friends! I hope you are all doing well! As you can see and hear, this is my new album “Consonance”. During the time I worked on it, I had a problem with my left kidney, and it was pretty painful and stressful for me. Anyway, my main idea was to create something as light as possible. I mean, to create music that can play on repeat for hours and hours again, and not get boring.

I just wanted not to overload the music with timbres and melodies, but keep it listener-friendly and let it tell the story, with a minimum of sentences. Without expositions, midpoints, and climaxes…just by feelings and consonances.

Of course, it’s my subjective point of view. But I think this album sounds incredibly warm, soft, airy, and pleasant for the brain. This stuff will definitely teleport you into another dimension if you let it do so. Thanks for your time and support! Stand with Ukraine! Peace ❤

 

Demian Feriy ~ Utopicalypse

This album was created by me between 2021 and 2025, exploring ambient, minimalism, neo-classic, and liminal space music.

The album encapsulates a state of calm, hidden attention and alienation. It conveys the feeling of a “Utopycalipse” — the moment of an approaching end of the world that never arrives, unfolding on a warm and sunny day. This combination creates a pleasantly eerie atmosphere.

The compositions were created spontaneously. None of them were planned in advance. Their emergence was situational: for Instagram Reels, as a phone recording, for a collaboration at an art residency, or for a radio performance. Some tracks are the result of the first experiments with a MIDI guitar in 2021. Despite this chaotic nature, all the compositions are united by a common sensory and psychological identity.

For me, the sound of the album is associated with the empty streets of Borshchahivka on warm August and September days. Therefore, it was important to release it during this specific time of year.

 

Юрій Йосифович ~ Мої думи аж до тебе братньою сльозою

This is my fourth album, featuring songs written between 2022 and 2025. These difficult three years shifted me from authentic music toward writing my own songs. In particular, they gave rise to some of my favorite work – Caucasus, Prayer of War Nights, and Veronica. Of course, it would be better if there had been no reason for them.

 

Ship Her Son ~ Саундтрек до порядку денного

The second album from Ship Her Son maps the quiet panic of an ordinary day. Each track marks a moment in the life of a man under constant strain: waking after too little sleep with a head full of dark thoughts; trying to stay ironic and keep the routine alive; practicing calm, then losing it to intrusive visions of eternity; sitting through medical checkups, wondering what’s real; ending the night drained, chores un-done, insomnia still waiting.

The cover captures this blurred reality — a lone figure in headphones watching a fire burn in an empty field, never revealing whether it’s a dream or the world itself coming apart.

Musically, Soundtrack to the Daily Agenda pushes Ship Her Son into a heavier, more physical realm. Post-industrial foundations collide with noise-rock abrasion, ambient textures, industrial-rock drive, and flashes of techno, punk, and post-punk. It’s the project’s first release sung entirely in Ukrainian, and the first to feature live guest vocals instead of sampled fragments.

Recorded instrumentally over nearly three years in Lviv, the album gathers voices from across Ukraine: longtime collaborator Stepan Burban (Palindrom); Anton Slepakov, a legend of the Ukrainian scene (ВГНВЖ, warнякання); Eugene Tymchyk of Septa, The Nietzsche, and АНТАЙТЛД; Oleksandr Kuts of Vøvk; and Divuar of Zwyntar and Old Cat’s Drama. Their performances — raw, intimate, and unmistakably alive — turn personal anxiety into a collective, cathartic howl.

The result is a soundtrack for anyone who knows the weight of another relentless day and the restless night that follows.

 

Native Outsider ~ Episodes

Episodes is an image of the fragility of movement and change, where the slightest breath can transform an echo into a new form. The music lives in the spaces between dreams and awakening, between noise and silence. Native Outsider treats sound as matter: stretching time, turning noise into meditation, and transforming space into a place of encounter with one’s inner images.

This work exists on the boundary between ambient and sound poetry, where each layer reveals hidden states: from the delicate calm of spring dreams to ghostly afterglows forever etched by experience. There is no intrusive melody or excessive form here — only the pure movement of waves and the fragility of a moment that can be lived, but never held.

 

VA ~ VACUUM

Second VA on DISK_D and a fourth release DSKD004 is to be out on October 24-th. This time we have more participants, more sound-pressure, more aggression and more tracks with vocals. It also contains hypnotic techno, electro tracks, percussive music, old-school techno and sound collages like Nartsysy by Givem3kiss. Our releases for bandcamp are dj-friendly in format 44100 16 as to be read by most of dj-players.

 

Low Communication ~ Others

Low Communication is the project of Bohdan Linchevskyi from Ukraine. While he hasn’t been releasing music for a very long time, he has been active for quite some time, originally leaning toward an ambient style. In fact, in 2024 he released several works in quick succession on labels such as Byrd Out, Neotantra, and EQ, which were ambient, experimental, and soundscape-oriented projects.
However, under the name Low Communication, he does not confine himself to ambient, but continues to change and evolve within the broad field of electronic music.

The album released this time on FORM@ RECORDS is characterized throughout by strong beats and basslines. While rooted in a minimal sound, the tracks also feature dynamic shifts and clear melodies, reminiscent of late-90s Detroit minimal techno.
It seems certain that Bohdan will continue to accelerate his activities while transforming his style in the future.

 

v4w.enko ~ Sequenced Segments

Rhythmic and poly-rhythmic structures in one grid of sequences recorded in various time segments.

Each segment of the recording forwards to meditation on constant sequence of sound form which is differentiating on each new step.

4 tracks release.
All tracks recorded in max/msp 4.5.7

 

PURE TOOL ~ VA MULTITOOL VOL 2

The continuation of the “Multitool” series is a selection of diverse techno tools united by a single purpose: to generate pure dancefloor energy, where groove, textured layers, and deep basslines keep the body moving.
We’ve brought together artists from Ukraine, Argentina, Switzerland, and Germany to create music that ignites wherever the floor is burning.
Melancholic tones intertwine with raw textures and heavy low-end, while tribal rhythms and a distinct Detroit vibe break through at just the right moments.

 

lebben ~ цигарки vol. 2

цигарки [cigarettes] vol.2 is a continuation of the creative searches of lebben, a multi-instrumentalist from Bila Tserkva, who boldly combines recitative, hip-hop and lo-fi. The release includes 11 tracks, most of which are stories with broken rhythms, an improvisational atmosphere and a personal imprint of emotions. This is music about memories, dreams and short moments between inspiration and burnout from existence, the culmination of which is reflected in this release


SI Process ~ Боривітер

It seems to me that only Ukrainians will understand this name phonetically and meaningfully, because the combination of these words is absolutely unique. I first heard it at Alla Gorska’s exhibition and it especially hit home in my soul. I was incredibly impressed by the works and strength of spirit of this woman. A dedication to every Boryvitr among us, to everyone who steadfastly holds the wind of time on their shoulders. To every future and eternal.

 

Iklañ / eleOnora ~ Pastyr

“Tell me, shepherd, will teach how to die?”

 

VIEWING ROOM

(Gianmarco Del Re)

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

2 comments

  1. Pingback: ACL 2025 ~ Top Ten Experimental | a closer listen

  2. Pingback: ACL 2025 ~ Top Ten Rock, Post-Rock, Folk & Jazz | a closer listen

Leave a comment

This site uses Akismet to reduce spam. Learn how your comment data is processed.