Neo-trance styles are now sweeping the rave scene as it evolves into a more sophisticated sub-culture, wrought with musical precision, elegance, and sharpness. The music itself evokes bodily undulation in what may be the simplest form of structuring songs, but in a manner so profound that the listeners feel not the impulse to analyze or define the song, but instead associate its sound to a personal sentimental event, moment, or image that has blessed their life with its collective experience.
Vladimir Dubyshkin’s Budni Nashego Kolhoza is an EP that manages to find the perfect balance between simplicity and complexity, overlaying a plethora of elements in a fugue-progression fashion without overpowering the listener. Furthermore, the time signature of every individual track never changes, because Vladimir knows that simple is fantastic when trying to cater to his congenial brothers and sisters in techno dancing. Despite every track’s obsession with mechanical accuracy, the EP never loses its unadulterated quality; the bass, the percussion, the ghostly vocal elements, all cajole one another into piercing through the rigid nerve of their audience in a vixen-like attempt to allow for supple movement at the behest of the female energy that permeates throughout the EP.
The introductory song Rural Woman pertains no discrepancy between its sound, its sonic metaphor, and its feel. Casting an entrancing spell, the divided and strobing female vocal elements eventually unite into a chant that this mysterious rural woman weaves so that she may come closer to your world, but only if you are willing to come closer to hers. After you have been captured by the allure of this femme-fatale, comes the Grasshopper’s Opinion your intermediate friend in the rave scene has of the tectonic shift from more modern to more traditional ambiences in electronica, as your new girlfriend suggested. Not as soothing, but definitely galvanizing, the synthetic grasshopper call that conceals itself between the swinging warm bass and owling sonar changes its pattern unbeknownst to the listener, signaling to the listener that the subterfuge is complete, and one has already agreed to host a rave within the walls of the acoustic barn within the countryside. The Customs & Traditions while maintaining their aloofness manage to beguile the audience with their foreign ensemble of sounds without any careful layering. Instead of a contained development of electronica, the third track comes to grips with the ambiguity of whether merging the traditional with the modern is an improvement, a revolution, or a downgrade to the scene of the relentless ravers.
Finally, Elvis Has Left The Building, and the unhealthy dependence and attachment to the original secedes, and the collective musical complexity retains the best of both worlds. Out of all 4 tracks, the conclusive one becomes manifold in this EP. Like all previous tracks, the bass in this one serves as the foundation upon which any sampling experimentations’ incongruities become fitting in delivering the final songs’ alien sound. During the peak of the song when the triplet extraterrestrial-sounding melody is introduced, the bass comes to the front in matching its rhythmic notation with it. In other words, the defining point of the final track is its counterpoint – upon the bold attempt to fuse two worlds together, a new themed warehouse rave emerges where gyration enthusiasts meet up every weekend on their collective farm, or as Vladimir puts it, Budni Nashego Kolhoza.