Kyiv’s ummsbiaus is simultaneously developing two complementary musical careers. The first is the path of FAVNA and FLORA, vocal releases that honor and celebrate feminine power through nature and myth. The second is a slate of suites: Enerhomor Suite, Metro Suite, Hydroelectric Suite and Intervals Suite, mostly instrumental works that incorporate field recordings and reflect on the current state of Ukraine. While the latter falls into our purview, we fully recommend the former, especially the recently released FLORA, which is available in multiple formats along with t-shirts, tote bags, posters, postcards, stickers and more. With any luck, these EPs will eventually be collected into a spectacular album; for now, we are enjoying them as they are unveiled.
What does it mean to say goodbye? For most of the world, it simply means “see you later.” But in Ukraine, even the most ordinary goodbye is laced with the potential for disruption. Intervals Suite No. 5, Op. 13 is built upon a continuous field recording of the Lyiv Train Station two weeks before Christmas. Some people are traveling, others going to work or returning home; others may be off to war or returning from war. Beneath every goodbye is a shiver of doubt that each person tries to shake.
First is the “10′ Arrival,” the platform awaiting the train, the anticipation of lovers waiting to see if their partners will return home, added to the drudgery of the daily commute. The string ensemble enters slowly as the wheels clack, the steam blows and the clicking becomes a metronome. Since the strings are soft, they recall hauntology: the ghosts of everyone who has ever ridden the rails. A burst of greetings is followed by near-silence, as if honoring those who are not there, whether they have been delayed momentarily or forever.
And then the boarding, with “lo-fi piano” that mingles easily with the seats. producing a fairy-tale feeling. In the distance, one can hear occluded announcements; in the foreground, another burst of steam. “1′ Last Call” bears added poignancy as one considers the more ominous meaning of the words. The music turns darker as ummsbiaus begins to sing: “when i leave, it will feel like a crack through the dark city skeleton boulevard … let the bones of mine sprout into flowers.” A stomp begins and ends; electronic pings offer only cold assurance.
The string ensemble returns in “Departure,” tugging at the heart. Will these be the last words? Will this be the last embrace? Will this be the final wave? No one knows. Most people fear to speak this truth, but ummsbiaus brings it to light. Juliet says to Romeo, “Parting is such sweet sorrow.” In Ukraine, every day brings the possibility of tragedy. Now the train is gone, and the waiting begins. (Richard Allen)
a closer listen 