Sunday 17 May 2009
Cisfinitum - Unmoeglichkeit / Audiochemie 2002
Cisfinitum- Unmoeglichkeit /Audiochemie
2 tracks from "Land[schaft]" 2*10'' compilation , released by ColdLands dist.
recorded in 2002 by E.Voronovsky and R.Norvila
download :
rapidshare
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info
two reviews on GOTHRONIC and some on chinese
Cisfinitum "V" 2003
released by Waystyx records in 2003 , ltd. 696 copies
get it here
http://rapidshare.com/files/221656133/Cisfinitum_V_2003.rar.html
ifolder
256 kbps
Cisfinitum- "Nevmenosis"
more info: http://www.aferecords.com/releases/afe110lcd.htm
sound sample
Cisfinitum sound sits in a wonderful place between chorale and classical based ambience, subtle industrial and electronica elements to make music that’s both haunting & beautiful yet at times edgy and head swimming- but it’s always captivating and deeply atmospheric.
Die Tonmalereien auf “Nevmenosis” stehen für einzelne private Lebenseindrücke des russischen Akteurs Evgeny Voronovsky, welche er uns emotional berührend mit Cisfinitum zugänglich macht und denjenigen in einer limitierten Auflage von 150 Exemplaren über Afe Records offenbart, die gepflegte Drones wie anspruchsvollen (Dark) Ambient zu schätzen wissen!
Cisfinitum - Devotio (10") [2006]
01 (A) - Untitled (13:06)
02 (B) - Untitled (11:49)
Limited to 500 copies.
Dedicated to our immortality.
download here
review:
The one, admittedly hear-say, story about Cisfinitum that I can't seem to forget is how Evgeny Voronovsky managed to effortlessly empty Cologne's Kulturbunker during one of his concerts by forcefully washing over his audience with wave upon wave of harmfully voluminous sonics. By the time of that concert, he had already gradually risen from the depth of the Russian underground to a veritable star of the scene, performing at Bremen's St. Peter's Cathedral in 2005 as part of Drone Record's triumphant label night. Despite the confrontational character of the Cologne event, that status never seemed in danger of collapsing, as hard-boiled spectators assembled in the ante to follow the gig from the safe side of the door. I wasn't there on that particular evening but the thought of a lonely man filling the empty innards of the Bunker with brute plates of sound and loosing himself in the monster he himself created, never left my mind.
Rapoon- Cisfinitum 2006 live
V/A · Escaping From Colour
QPOP CD045
CD in digifile
limited edition 500
total time: 79:22
1. Francisco Lopez “Untitled #193”
2. TV Pow “Ladder Friends Remix”
3. Machinefabriek “Drijfzand”
4. Troum “Farawer”
5. Steve Roden “Colorscape Forming”
6. Jorge Castro “Depths”
7. Paulo Raposo “Tidal Winds”
8. Aidan Baker “Percussive Drone”
9. Anla Courtis “Rapooned Rapunga”
10. Gert-Jan Prins “Raponsje”
11. Heimir Bjorgulfsson “Obmam Ognom”
12. Mike Shiflet “Version Belize”
13. Family Underground “Tube”
14. Ronnie Sundin “Distant Demons”
15. Cisfinitum & Rapoon “Live in Ikra, Moscow 2006”
The conception, the idea, realisation and sound sources of this CD are all based on original sound material (loops and sounds) from Rapoon's “Tribal Sci Fi” CD-ROM (courtesy of Sony/Sonic Foundry). Not the entire original Rapoon's tracks have been re-mixed or re-composed, but the general “sound” (or the sound aesthetic of Rapoon's music) instead. All the artists have provided their own original compositions, that less or more based on the audio-sources from Rapoon.
Thank you very much for all contributors!
http://www.quasipop.org/catalogue/qpopcd045/
download
Cisfinitum, Miguel Ruiz, and Aleksei Borisov: “Ornaments”
very American review about "Ornaments" cd
source: http://www.moscow.ucla.edu/?p=2272
"Yesterday an important recording from last year reappeared on shop shelves. It involves two Russian musicians - Aleksei Borisov and Evgenii Voronovskii (aka Cisfinitum) - plus their Madrid-based colleague, Miguel Ruiz.
Using a rare, if not forgotten form of creative interaction - “mail art” - together with overt references to the droning backdrop that once framed Iurii Gargarin, “Ornaments” is a telling example of how Russia’s classic experimenters are engaging today’s social networks of virtuality. They do so with stamps, mailmen, and the re-referencing of a spacewalk 47 years ago.
“Old school,” in several senses.
Borisov is something of a legend in Russian experimental electronica. Although by education a political historian, he was quickly involved in music after graduating from Moscow State University. Despite the cultural difficulties of being in the Soviet Union of the early ’80s, Borisov was able to work with several outfits who stayed abreast of fashions in European music, such as new wave, ska, and electronica. The struggle between art and academia began… By 1989 he had abandoned his job as a researcher in Moscow’s Institute of International Relations and decided to embrace music professionally.
Needless to say, after 1991 Borisov’s opportunities for travel, together with access to foreign media, grew swiftly. Perhaps his two most notable collaborations have been with the electro-industrial folk ensemble Volga and the avantgarde jazz collective, Gosplan Trio. Our brief notes, nonetheless, cannot do justice to the enormous range of festival performances in Borisov’s CV. He also has much experience as a DJ - though on the basis of “Ornaments” alone, newcomers would be unlikely to boogie… It’s not exactly hi-NRG.
Borisov’s output was - and remains - adamantly committed to the removal of generic borders. He also sees his discography in the broader context of lessening geographic specificity, too. It’s something of a post-imperial gesture:
“I’m not aiming to combine intellectualism with music, I’m just incorporating my background - both professionally and as general experience - into forms of musical expression. I think it’s pretty important not to deny who you are and where you’re coming from, not to try and follow the standards of the international electronic music scene, even, but to bring something idiosyncratic to it. Something personal.” A tightly-cordoned realm becomes nowhere in particular.
The story of “Ornaments” maps these ideas and intentions very nicely. Perhaps its most striking expression of erasure - and of unexpected, new interaction - comes in the context of generational difference(s). Despite Borisov’s senior standing in this fleetingly composed trio of himself (above), Voronovskii (below), and Ruiz, he is responsible for the most fashionable and arguably youthful aspect of “Ornaments” - its rhythm section.
The ominous drone that marks most of the work is increasingly punctuated by the distant bursts of a drum machine. These are Borisov’s rhythms, as Voronovskii remembers.
“I edited the [initial ambient] mix that Miguel had sent me, and then I added some rhythmic elements that I had in supply. When I listened back to it all, I came to the conclusion that there were still gaps in the work. And that’s what we managed to fill with some of Aleksei’s materials. They’d been lying around in the studio for more than a year, waiting their turn. They were on a disc of analog drum-machine stuff; things that Aleksei had recorded a long time ago.”
“Once I had put those rhythms into the recording, then it was clear we had to get his voice and guitar in there, too..! I think the result is something very uncharacteristic for the three of us. It’s a kind of dark ambient work with trance rhythms.”
This was not a fast process: Ruiz (above) and Voronovskii exchanged tapes by mail for almost nine months before Borisov’s contribution was included. Voronovskii made a trip to Madrid; Ruiz made a trip to Iaroslavl… and so on.
Trip after trip, layer after layer, the work slowly came together in defiance of genres, geography - and impending geriatrics.
Thus there emerged an authorless tale made “nowhere in particular” and begun by a Spaniard who was “charmed by the snowy landscapes of Russia.” In fact, after the release of “Ornaments,” Ruiz would say that these same (visibly) empty spaces had directly inspired the audible textures of the CD.
The album’s nine tracks were designed to embody not only the boundless, ever-opening fields of snow, but the kind of vacuous soundscapes that allowed Ruiz to express his “love and respect for Iurii Gagarin - in fact for all the early cosmonauts.”
“The main aim of ‘Ornaments’ is to combine two kinds of meditative and hypnotic music: trance and drone-ambient; to put some trance in drone and vice versa. The artists take the main hypnotic structures of trance and drone (straight bass-drum and hum) and put them together. And they do without melodies. At least there are no melodies in their natural form: one has to catch or imagine them in noise patterns.”
Four men in the middle of nowhere: Borisov, Voronovskii, Ruiz, and a bewildered reviewer. Forty-seven years after the event that inspired them, in the middle of a snowy field they start to establish new networks with the help of a very old metaphor and a handful of dog-eared stamps.
How Russian."
"Ornaments" avaliable for download here
source: http://www.moscow.ucla.edu/?p=2272
"Yesterday an important recording from last year reappeared on shop shelves. It involves two Russian musicians - Aleksei Borisov and Evgenii Voronovskii (aka Cisfinitum) - plus their Madrid-based colleague, Miguel Ruiz.
Using a rare, if not forgotten form of creative interaction - “mail art” - together with overt references to the droning backdrop that once framed Iurii Gargarin, “Ornaments” is a telling example of how Russia’s classic experimenters are engaging today’s social networks of virtuality. They do so with stamps, mailmen, and the re-referencing of a spacewalk 47 years ago.
“Old school,” in several senses.
Borisov is something of a legend in Russian experimental electronica. Although by education a political historian, he was quickly involved in music after graduating from Moscow State University. Despite the cultural difficulties of being in the Soviet Union of the early ’80s, Borisov was able to work with several outfits who stayed abreast of fashions in European music, such as new wave, ska, and electronica. The struggle between art and academia began… By 1989 he had abandoned his job as a researcher in Moscow’s Institute of International Relations and decided to embrace music professionally.
Needless to say, after 1991 Borisov’s opportunities for travel, together with access to foreign media, grew swiftly. Perhaps his two most notable collaborations have been with the electro-industrial folk ensemble Volga and the avantgarde jazz collective, Gosplan Trio. Our brief notes, nonetheless, cannot do justice to the enormous range of festival performances in Borisov’s CV. He also has much experience as a DJ - though on the basis of “Ornaments” alone, newcomers would be unlikely to boogie… It’s not exactly hi-NRG.
Borisov’s output was - and remains - adamantly committed to the removal of generic borders. He also sees his discography in the broader context of lessening geographic specificity, too. It’s something of a post-imperial gesture:
“I’m not aiming to combine intellectualism with music, I’m just incorporating my background - both professionally and as general experience - into forms of musical expression. I think it’s pretty important not to deny who you are and where you’re coming from, not to try and follow the standards of the international electronic music scene, even, but to bring something idiosyncratic to it. Something personal.” A tightly-cordoned realm becomes nowhere in particular.
The story of “Ornaments” maps these ideas and intentions very nicely. Perhaps its most striking expression of erasure - and of unexpected, new interaction - comes in the context of generational difference(s). Despite Borisov’s senior standing in this fleetingly composed trio of himself (above), Voronovskii (below), and Ruiz, he is responsible for the most fashionable and arguably youthful aspect of “Ornaments” - its rhythm section.
The ominous drone that marks most of the work is increasingly punctuated by the distant bursts of a drum machine. These are Borisov’s rhythms, as Voronovskii remembers.
“I edited the [initial ambient] mix that Miguel had sent me, and then I added some rhythmic elements that I had in supply. When I listened back to it all, I came to the conclusion that there were still gaps in the work. And that’s what we managed to fill with some of Aleksei’s materials. They’d been lying around in the studio for more than a year, waiting their turn. They were on a disc of analog drum-machine stuff; things that Aleksei had recorded a long time ago.”
“Once I had put those rhythms into the recording, then it was clear we had to get his voice and guitar in there, too..! I think the result is something very uncharacteristic for the three of us. It’s a kind of dark ambient work with trance rhythms.”
This was not a fast process: Ruiz (above) and Voronovskii exchanged tapes by mail for almost nine months before Borisov’s contribution was included. Voronovskii made a trip to Madrid; Ruiz made a trip to Iaroslavl… and so on.
Trip after trip, layer after layer, the work slowly came together in defiance of genres, geography - and impending geriatrics.
Thus there emerged an authorless tale made “nowhere in particular” and begun by a Spaniard who was “charmed by the snowy landscapes of Russia.” In fact, after the release of “Ornaments,” Ruiz would say that these same (visibly) empty spaces had directly inspired the audible textures of the CD.
The album’s nine tracks were designed to embody not only the boundless, ever-opening fields of snow, but the kind of vacuous soundscapes that allowed Ruiz to express his “love and respect for Iurii Gagarin - in fact for all the early cosmonauts.”
“The main aim of ‘Ornaments’ is to combine two kinds of meditative and hypnotic music: trance and drone-ambient; to put some trance in drone and vice versa. The artists take the main hypnotic structures of trance and drone (straight bass-drum and hum) and put them together. And they do without melodies. At least there are no melodies in their natural form: one has to catch or imagine them in noise patterns.”
Four men in the middle of nowhere: Borisov, Voronovskii, Ruiz, and a bewildered reviewer. Forty-seven years after the event that inspired them, in the middle of a snowy field they start to establish new networks with the help of a very old metaphor and a handful of dog-eared stamps.
How Russian."
"Ornaments" avaliable for download here
Cisfinitumaaaa
collaboration between Cisfinitum and Maaaa, MC/ CDR ltd. out now
http://triangle.abgurd.com
review (russian, untranslatable)
Адская часть луп, трещин и харш-волн фрактального шума, уровень звука скачет, прерывающие ритм остановки. Trama Hell Drone неплохо вводит в курс дела, просто и зашкварник. Вторая композиция Advantage Of Usociability в начале не пестрит жестковатыми примитивными узорами, но примитивно же… кто-то несёт в неполных вёдрах воды какие то бряцающие предметы, до кучи фон сдобрен волокущимся время от времени хламом, по всей видимости железяки, и иже с ним проволока стеклоподобие и что-то ещё. Без искусственных, пластмассовых и слегка подгнивших кольчатых червей тут не обошлось, Старопетельный далёкий рык и дигитальное внеутробное, гортанное, но не похоже ни на что. Кто-то что-то всё никак не дойдёт, по кривой дорожке, разболтало. Грохот и грязный мрак хвойного кармана. Мгновенно вырастающая между пальцами плесень. Бесячая, сырая и неудобная запись. Мне нравится этот дебильный и отнюдь недобрый ритуал. Побочная оцинкованная радость. Время от времени взрываются бомбы больших листов железа. Куётся и куётся, медленно куётся куево. Victoria Bufo - некая карельская жаба. Кучепоподобное резиновое стягивание и растягивание жаб. Ночной садистский обряд над маленькими хладнокровными. Слишком приземлённая красота. Рептилесаунд. Спустя некоторое время после прослушивания этой жабомузыки, начинает казаться, что в они уже повсюду, одно и тоже, они уже в животе. А я сейчас так плотно покушал. Пища усваивается в новом слизистом режиме, уже помимо нутра. Оранжевый чёрный цвет. Яд к яду. Жаба к жабе. Академическое пение невидимых болотных див. Пузыристый и естественный продукт. Dead Bird Shaurma заканчивает процесс приготовления всевозможных жертв всевозможным невидимым богам. Кипящее холодное булькалово и тонкие струйки гула, шершавые петельки, местами прорывающие кожаный пузырь экзотической птицы. Мир пресмыкающихся поёт и трещит во всей своей продовольственной деликатесной красе. Похряпывание то есть то нет в прискакивании. Большой мерзкий жабун без одной ноги, спешит на костылях к дюймовочке которую как истребитель умахнула природная конкретика и романтика тёмного сырого болота. Самое главное, что не жарко.
Ostroga
Analoges Russland 2008
v.a. "Analoges Russland"
LP with music from Russia, 333 copies, handmade cover
A: N.E.M.O. , Roboti, Private Entertainment, Klax, Roboti, Private Entertainment
B: Roboti, N.E.M.O., Electrodynamique, Private Entertainment, Klax
hertz 025
(August 2008)
more info http://www.kernkrach.de/
v/a vinyl compilation including 2 tracks of N.E.M.O . project recorded by E.Voronovsky & Yaroslav Pavshin in winter 2000
Collection of mp3 releases
0 vs 0 (1999)
Landschaft (2000)
Malgyl (2001)
Live at Ru.Noise (with Alexei Borisov and CDR) (2004)
get it here:
Hieronder alle vier de netlabel-releases van Cisfinitum. Het eerste album (uit 1998!) is duidelijk anders dan het nieuwere materiaal. Vrijwel geen viool, en meer gebruik makend van metalige geluiden. Malgyl en Landschaft zijn helemaal in balans tussen mooi en moeilijk.
Hypnoz- Breathe of Earth
Hypnoz is a project from Moscow suburb town Fryazino, which endowed the lovers of post-industrial music with such names as Hum and Staruha Mha.
[...]
The basis of most of the tracks for "Breath of Earth" was recorded by Dmitry Zuboff together with Evgeny Voronovsky (Cisfinitum) during their joint night psychedelic sessions, and this is evidently felt in their mood. Stylistically this can be called tranquil electronic ambient with a remarkable experimental touch – but who thinks about it while recording? Slowly twisting sound helixes, drawing inside the astral subspaces, pulsating rhythms, cosmic sounds of old analogue synthesizers, – all this produces an appropriate effect on the listener's mind, and there's nothing more to demand from music
http://zhb.radionoise.ru/eng/zhb-xv.html.
Russian artists often have a special skill to make music which appeals to the deepest emotions, and encapsulates a profound mysticism. A prime example of this school is Hypnoz, a projekt by Dmitry Zubov, assisted by Evgeny Voronovsky of Cisfinitum.
Breath of Earth is, in accordance with the name, earthy mysticism, music that expresses the unique feeling of the "brown seasons", late autumn and early spring, when the wet earth lies bare. The music takes the shape of kraut-ish (but also drony) ambient, make with analogue synthesizers. Many artists today make this type of psychedelic and slightly retro ambient, but something in Hypnoz just hits the spot. They make the recipe work perfectly, and find that hypnotic flow that drags you with it. It is easy to be spellbound by its beautifully thick frequencies, fascinating half-melodies and pulsating rhythms.
This is among the best releases I have heard this year, and gets my warmest recommendations.
http://www.kuolleenmusiikinyhdistys.net/arvostelut/levyh/hypnoz-breathofearth.html
Cisfinitum - Tactio
Vital Weekly review (by Frans de Waard, April 22, 2008) :
CISFINITUM
"TACTIO" (CD by Mechanoise Labs)
One of Russia's older forces of all things dark, ambient and at times a bit
industrial is the work of Evgeny Voronovsky, who goes by the name of
Cisfinitum. He has released his music on Monochrome Vision, Waystyx, Ewers
Tonkunst and Drone Records. In November 2005 he played a concert in Bremen
in the St. Petri Dom and the recording here presents his music, using both
the acoustic environment of the church as well a direct recording of the
music. Cisfinitum's music is a blend of synthesized drone/ambient sounds
much along the lines of say Lustmord. But to top things of Cisfinitum adds a
blend of pulsating sounds, which over the course of the concert becomes to
live. First, half way through as church bells but towards the end things are
almost minimal techno like pulsating, with a fat drone like synthesizer
still heavily in control of the mood. On tape there is the addition also of
a baroque violin (an instrument which Evgeny is formally trained in), but
that is stretched out to an
extent that they fit the drone like capacities of the rest. The six pieces
flow into eachother and form one long piece, which is, I must admit, nothing
new under the ambient drone sun, but Cisfinitum's work can easily meet the
best in the genre, and is one of Russia's biggest talents. (FdW)
Address: http://www.mechanoise-labs.com/releases/mn033
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