The Quiet Observation’ follows up 2015's 'Collage' and precedes a new album due next year.
Where ‘Collage’ was a bold, heavily layered and augmented work making expansive use of electronics and a mass of virtual instrumentation, ‘The Quiet Observation’ returns to a far more pared back, much less digital realm. A delicate, luminous work, it is heavily centred around Dmitry’s beautiful piano playing, with only minimal use of other instrumentation: glockenspiel, strings, and two tracks played on a virtual church organ.
The main theme written for a feature film of the same name, ‘Ptichka’ was the second score Dmitry made for Russian director Vladimir Back, and the product of a very intuitive collaboration. A dramatic piece appearing at the culmination of the movie, ‘Ptichka’ was recorded at Mosfilm, one of Russia’s most famous studios, where countless film scores and performances have been recorded. Both ‘Shelter’ and ‘The Lofty Sky’ also belong to the same soundtrack. Played on an organ emulation, both have a more ethereal quality and were inspired by Hans Zimmer’s brilliant ‘Interstellar’ score. As Dmitry relates: “I had never been in the position to play a church organ, so it was a revelation to actually hear such powerful and timeless sounds right under my fingers and to have the ability to control and sculpt such power in the way I want.”
leave this track out, but luckily I have now found a home for it on ‘The Quiet Observation’.”
Compiling these seven tracks together into a whole that sounds strikingly coherent, Dmitry remarks how “the magic of the music and arts in general is that it is free for reinterpretation. When I first put these isolated compositions together they were immediately freed of their old associations and started to tell a very different story. Now I see this EP as an experience of quiet observation: you stand in a room and some shadows change each other on the wall in front of you. First you see the shadows of someone running, maybe dancing, then you see something tragic happening, you don’t know what exactly. Then it suddenly dissolves and calming waves of warm light appear. Then some blurred memories from two hundred years ago slowly emerge, before it changes for the last time and all you can see in this room is a star-covered sky. You are not a participant. You can’t change anything. You are here just to observe.”
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vár spoils you with blurry melodies, intricate synth work, and washed-out drone aesthetics before fading amidst field recordings of ocean waves. it practically demands a replay immediately after the disc has run its time. childish, fickle, but at the same time ephemeral as spring itself miso