We'd rather not translate things into words. Literary content and linear themes are both alien to music. Let's give music а chance to develop according to its own rules.
And yet, if we must speak, then let's begin from an opposing anglefrom whatever's absent in Kubikmaggi's 'Suites.' For a start, there's neither a narrative line, nor any formal development in the traditional sense. You shouldn't expect any avant-garde experimentation, either, at least not as it's typically understood. We'rе not interested in stylistic games for their own sake. We don't focus on any one musical direction.
We never try to be comprehensible on the level of text alone; instead we strive for comprehension through whatever lies beyond language and form. There will always be a point where incomprehensibility arises. Yet that same point allows us to show how accepted norms or conventionality merely offer superficial benefits.
Surface beauty; the suspect ways in which reputation is achieved or maintained; universal simplicity and comfort: in these ways the modern world enthralls its residents, often through multimedia experience. The same happens in the arts.
The 'Suites' LP embodies a constant juxtaposition of styles - and familiar phrasing, too. It's full of contrasts that bring with them shifting moods. Sometimes those emotions will contradict one another, but that helps us move towards valuable discoveries.
"Kubikmaggi remain one of Russia's most challenging and rewarding outfits. Dovetailing the free jazz, intellectual rock, and classical traditions of windswept northern Europe, these musicians treat their audience with rare and promising respect. Undaunted by baroque complexity or risk, they invite listeners to bypass the conventions of primetime enterprise. And there, where familiarity ends, genuine revelation often begins." (David MacFadyen)
Indie academism. The raw meat of Russian Jazz.
Based fully on the subtlest nuances of sound-picking and dynamics, the sound of the trio makes one rediscover the interaction of the instruments present. Refused as they did the common role of arrangements basement, the bass and the drums are often the bright soloists in the songs, while the voice is only an equal instrument in the overall performance.
Keeping the best traditions of modernism, music of KUBIKMAGGI implies an essential part of reflection and interaction. The audience is often induced in the construction of this musical puzzle. Their recent release ‘Ono ne trebuetsa’ (translates as "Needless") (Ulitka Records, 2008) is a good example of this kind of interaction. Abandoning the common attempt of many jazz albums to render the music with its primeval sound, the sound producer of ‘Ono ne trebuetsa’ acts more like a crowning element in the process of music creation. Unusual mixing techniques, often based on sharp contrasts and sound effects are going to keep you amused even if you are not a big fan of jazz or avant-guard.
When asked to give an overview of their creative work, the musicians shrug their shoulders and say, "Give a listen". Being the quintessence of post-modernism, KUBIKMAGGI music is so diverse, that it’s really heard to describe it in words. Some will enjoy the echoes of Tori Amos and Fiona Apple, some will be overwhelmed by allusions on Victor Wooten and Mr. Bungle. It’s also possible that some will imagine the heritage of Auktyon. But just like in Dali’s ‘Face of Mae West’, it’s only in combination of the bright and unique artistic approach and the music itself, these details can form a wholesome image of KUBIKMAGGI. Indeed, they are the face of Russian art-jazz.
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