This album was built from audiovisual lockdown sketches, recorded in St. Petersburg during Spring 2020. In other words, each sonic performance is accompanied both by a painterly, abstract study and a video reel. Those additional elements, in turn, are joined by a reconstruction of the board game “Memori” in two physical formats: as wooden cards and a shell game, known in Russian as “rakushki” — a term that harks back to the ancient Japanese game of “Kai-awase.”
All elements in this series are self-contained structures. They might last three to four minutes, though on occasion they persist for more than ten.
The piano overtones therein recall oncoming waves, understood as the forсe of inner experiences flowing through us — or upon which we sail.
Are such waves easily curtailed?
What if you compare internal forces with the wind that instigates a ocean wave? Or with water itself? Water flows constantly, despite any obstacles it encounters. Movement is its prime distinguishing factor. Obstacles merely direct water’s passage, accelerating or decelerating.
Waves flow into one another, recalling the transformation of inner states as they first capture us, then recede into other forms.
We may drown; perhaps we do not escape. We may persist or stop. But does this control posses an author? My own control is far from total, since totality belongs to energy alone. My physical effort, my ability to surrender, perhaps to resist or follow and then swim out: is that possibility always present? Indeed, what is opportunity in the first place? And is there a place of futility when a wave consumes all? Is there room for movement when an avenue is locked shut? Is there a place to rest or stop when our inner movement displays a forceful totality?
What is narration in the context of sound? Jazz invites such a comparison. Music is a language, yet something escapes the sound field of meaning in any definition: that which is uniquely inherent to sound itself.
I have no interest in formal rhythm — only in ways that structure establishes and instigates its beating.
released January 22, 2021
Ksenia Fedorova: prepared piano, voice, noise
Composed by: Ksenia Fedorova,  dedicated to Mikhail Alperin,  Folk lyrics and chants from a round-dance of the Pskov Region, “I Will Sow My Grief”
Mixed by: Ksenia Fedorova, Max Rudenko [3, 4, 6, 8, 10, 13, 17]
Artwork by: Ksenia Fedorova
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