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(1980-1989) Nex NG 4045 Selected works from 1980s. 3 original LP albums as 2 CDs. Symphony-Phonogram in 8 movements. Recorded 1988. Part 1 - 7:23 »
Part 2 - 5:56 →
Part 3 - 4:47 →
Part 4 - 5:45 →
Part 5 - 2:41 →
Part 6 - 5:52 →
Part 7 - 4:59 →
Part 8 - 7:33 →
The Night Ritual for Choir and Drums (from "Green Symphony" LP album). Recorded 1984 →
Psychodelic Fresco, or Lost Psychodelic. Fragment (bi-manual el.organ, vocal and el.effects) was recorded 1980, at an underground session, live performance, here it is reproduced from low-tech original source (MC tape) →
Untitled Fragment (from "Introduction into Intuition" album). Recorded 1989 →
Democracy of Noise (from "Introduction into Intuition" album). Recorded 1989 / →
Tracks 10-12 are bonuses.
Playing time: 79:41
© 1980, 1984, 1988, 1990, 2004 M.Chekalin
(p) 2004 NEX Records, NG 4045
All music composed, performed, mixed and produced by Mikhail Chekalin (synthesizers, organ, el.percussion, acoustic drums, vocal). All music performed live, in real time; studio work is done with the use of analogue multitrack taperecorder without recurrence to sequencer techniques and without computer editing as well. Sound recording engineer Igor Zamarayev (tracks from 9 to 12).
Art cover design replicates the original LP issue released by "Melodia", M'Ars Gallery, 1990. On the front cover & inside: "Early Morning" by Serghey Sharov, canvas, oil. Photo: M.Chekalin and his Electronic Music and Dynamics Light Graphics Studio, an audio-vision live performance, a fragment; also featuring D.Chekalin and S.Dorokhin (July 1989, Moscow Planetarium). Design conception: M.Chekalin.
This CD is also released as first part of 3 CD set Vol. 3 - Vol. 5
MIKHAIL CHEKALIN: 25 YEARS IN ELECTRONIC MUSIC
M. Chekalin's "L.P Age Period" (recordings from 1979-1990) in original CD series.
People who are tired of redundant cliches and want to discover something truly unique and special musically must give a listen (Eurockon the Web) to this latest installment in 4 CDs of reprinted for the first time, in complete and original version, the legendary 12 Melodiya L.P series of Mikhail Chekalin's works from 80s, via which he's taken the art of synth music way beyond it's generic form, states Audion (UK '93). From '79-'99 he has produced a series of albums that are extraordinary to say the least (Eurock on the Web '02}. Mikhail Chekalin is now considered one of the top maverick modern composers in Russia (Zoltan's Progressive Rock Web Page). Previously released were "Concerto Grosso 1" & "Concerto Grosso 2" (Boheme Music '01), an incredible long-lost gem not to be missed! (Gibraltar Encyclopedia of Progressive Rock) and "Meditative Music for a Prepared Organ" Vol. 1 & 2 (Citadel Records '03) which, according to Expose, left one duly impressed with the man's creative depth. LPs "Vocalize in Rapid" & "Post-pop - Non-pop" are yet to come as the next installment of the series.
The latest installment consists of 4 original L.P albums as 3 CDs with bonus tracks (previously unreleased): "Symphony-phonogram" '88 ("Ritual-night for Choir and Drums" '84; "Lost Psychodelica" '79; "Democracy of Noise" '89) "Borderline State" '88; "Green Symphony" '87 ("Psychedelic Vocalize" '80) "Between Spring and Autumn by Stealth" '86 ("Concerto for Piano, Synthesizer and Voice") The fourth CD presents "A Pagan Suite", previously unreleased and recorded at later date in 1990.
"Chekalin is certainly one of the most radical and innovative synthesists around, not only in Russia but globally" (A. Freeman. Audion '93 UK) whose pioneering work "breaking new musical ground" (Billboard '90) has layed foundations for philharmonic new age, in particular. His "is a highly charismatic and original work" (D. Bergstein i/e '93 USA) which "teems with such excitement, vitality and imagination that it invites no comparisons to eiti ier the Berlin School, the US scene or any..." (ibid.) "This music could have come out of Shostakovitch or Ives, if they had lived long enough to get hold of an orchestra, a few samplers and a computer (Steve Hegede. Zoltan's Progressive Rock....). "Chekalin's music is impossible to pigeon-hole" (Leo Records' booklet 2002 UK) Philharmonic new age, new classic, timeless avant-garde, classical meditative space music, progressive electronic & rock music, free jazz... "Literally stunning works of darkly textured ambient electronic soundscapes, mixed with dynamic symphonic rock-influenced tone poems that echo old European classicism. Chekalin's fusion of earlier styles and new musical tendencies has to be heard to be appreciated" (Eurock on the Web).
"The musical progress of Chekalin (b.1959) is a tight-rope walk between solid craft training and ideologically imposed restrictions of creativity by the Soviet system" (Erdenklang Catalogue. Germany '93). By the end of 70s he makes "his professional appearance as a key-boarder and arranger in rock-bands; f.e. the well-known "Samotsvety'" (ibid.) "In 1982 he abruptly stopped performing in public" (Leo Records...) coming up with an "aesthetic, social and political concept not to conform, mix or collaborate with anyone else" (The Wire. 2002 UK). "<...:> he decided to work as a soloist and despite the most unfavourable conditions to experiment with electronic instruments. <...> he became independent of the institutionally- controlled commissioning activities of the official music scene" (Erd. Catal.) As Keyboard, a review sacred for key-boarders states as early as '91, "Melodiya Records and Mikhail Chekalin don't get along. The 32-year old synthesist never bought the Soviet version of the corporate line: though the monopolistic label produced his first two albums, "Vocalise in Rapido" and "Post-Pop Non-Pop" he refused to record in their state-owned facilities. Now he has taken a further step toward artistic self-sufficiency by arranging with Moscow's avant-garde M'Ars Art Gallery to release a set: of 12 albums of original music... "ln the same '82nd begins "the next stage in Chekalin's artistic development was his audio-visual performances... During this period used to arranged his own performances" (Leo...) As Keyboard informs in 1988, "an experimental studio opened in Moscow that, according to composer M. Chekalin, its founding director, is the immediate successor to the Scriabin Studio. Chekalin's assistants, physicist D.Chekalin and industrial artist S.Dorokhin, built color organ of their own design, which gives Mikhail's music Kandinsky-style line and color arrangement".
"From the mid-80s Chekalin wrote music for theatre, films, ballets..." Among them the ice-ballet "Faust. The XXth Century" (direction by I.Bobrin '86) an event of unique stature; Brothers Strughatsky's s-f "The Kid" at the "Central Theatre for Children" ('84), "Archeology" by the well-known A.Shepenko at MKhAT ('90); A.Volodin's "A Stone-age Detective Story" at M.Bronnaya ('85); Shukshin's "When the Third Cock Crow Comes"; at the Theatre of Mimance ('82); soundtracks for feature films, animated cartoons, documentaries, TV documentaries, "...but his main concern remained his works recorded in his studio" (ibid.) "Influenced by the likes of Prokofiev, Stravinsky, Rachmaninoff and Eastern European folk he began to take advantage of the emerging synth/electronic technology of the late 70s - early 80s to create radical new woks" (Eurock on the Web) meanwhile "In seinen Kompositionen artikuliert sich ein eklektisch-philharmonischer Stil" (Erd. Catal.) "Chekalin considers his electronic phase as an intense training to integrate many different styles info a dynamic flow" (Chr.Salvesen, CCn'C Records' Catalogue, Germany 2001).
Now his "heartfelt: connection can bloom and flower in a classical orchestral presentation" (ibid.) of his "Last Seasons" (CCn'C Records Germany '01) including "Black Sguare" in four movements for grand symphony orchestra and chamber music cycle "Last Seasons"; celebrating the Millennium by the "Return to Forever - timeless avant-garde striving for the essence of life and music, powerful stream proceeding from Prokofiev, say, to Part, in the mystical tradition of Scriabin, Stravinsky, Schostakovitch..." (ibid.) "Probability Symphony in the Style of Jazz" ("Golden Years of the New Jazz" at Leo Records, Vol.2. UK, '02) appeals to yet another tradition: "this music is what we used to call 'progressive' before the name got misappropriated by Yes, Pink Floyd" (Jazzwise. May '02). According to JazzReview (UK), "it's rich, eventful, consistently enjoyable'; "much gripping improv and post-modern chamber music " For the Russian scene, moreover, M.Chekalin has proved to be the founder of ambient, having created the sonic entourage at the famous "20 Moscow Artists" Events (M'Ars Gallery later) at M.Gruzinskaya ulitsa in 80s.
Night Pulsation. Zweite CD des 34 jahrigen Moskauers, ein Querschnitt durch zehn Jahre seines Schaffens, mit elf TiteIn (1:41 bis 10:09), die vor allem zweierlei klarmachen: Erstens, Chekalin beherrscht die Kunst der symphonischen Klangdichtung aus dern Effeff, selbst wenn er sich dazu wie im knapp achtminutigen Titelstuck bloss einer Yamaha-Orgel und eines Harmonizers bedient; zweitens, Chekalins surreale Sounds tonen so transparent, dass man das Gefuhl hat, man konne durch die glasernen Klangwande hindurchmarscheren wie einst: Heinz Ruhmann im "Mann, der durch die Wand ging". <...> sondern sich immer neue Klangraurne auftun, in denen opulent orchestrierte Klassikzitate ebenso ihren Platz haben wie hauchzarte Synthiegespinste. Phantastisch fantasievolle Musik <...> Keyboards 7/93
Sinfonische Klangmalereien, Minimal Musik, okkulte Besanftigungsklange in New-Age-Nahe - der Moskowiter Klangpionier hat alles drauf. ME-sounds 6/93
Chekalin ladt <...> ein zu einer Odyssee ins Reich der Sinne. <...> Ein Muss fur Sammler elektronischer Musik und ein hervorragen- des Album, um in die Traumwelt der Synthesizer-Musik einzusteigen. Da verbinden sich tragende Melodiebogen mit faszinierend gestrickten Rhythmusteppichen zu beeindruckenden Soundpassagen, denen sich auch weite Improvisations- flachen offnen. <...> Im besten Sinne meditationsgeeignete "New Age Music" <...> Saarlouiser Rundschau 4/93
Die Musik des russischen Elektronik-Komponisten Chekalin erzeugt positive Emotionen. Seine eklektisch-philharmonischen Traumereien arbeiten mit dichten, schwebenden Klangteppichen, aus denen sich himmlische Chore, Naturgerausche und russische Instrumente schemenhaft erheben. Ein mystischer Trip durch unermesslic weite Landschaften. Aha 7/93
Chekalin entfuhrt: den Zuhorer in eine irisierende, symphonisch-elektronische Klangwelt. Mit grossem Erfindungsreichtum pulsiert seine Musik zwischen ruhigen, aber spannenden Momenten und dramatischen Hohepunkten. Vielschichtig und interessant, <...> die Musik <...> Keys 7/93 Rainer Kuhn
E'il primo esponente, se si esclude il compositore di soundtrack E.Artemyev, della nuova musica elettronica russa ad uscire dai confini di suo paese. <...> "sinfonie in stile new age" e esperimenti orientali, <....> e esplosioni coloristiche... New Sounds 7/8/93 Italy Ersilia Rozza
Chekalin is perhaps the leading artist from Russia in terms of cosmic synthesizer sound. He mixes pure space music with rhythmic soundscapes with ease, the result being a diverse sound that conceptually hangs together beautifully. Eurock 5 / 93 USA
Chekalin is a sonic sorcerer who summons forth the spirits of his Russian heritage and impregnates them with cosmic emotion. <...> Chekalin's voice is sometimes reminiscent of Peter Gabriel's vocal work on the "Passion" soundtrack. <...> Heartbeats Summer '93 USA
CG 1 & 2 Stil: elektronische Avantgard Musik, zeitgenossische Klassik <...> Dieses mal werden zwei Werke des russischen Keyboarders Mikhail Chekalin vorgestellt <...> nahm in den 80ern eine ganz besonde Rolle irn Independent Bereich seines Heimatlandes bzgl. Moderner elektronischer Musik ein. Neben Keyboards und Synthesizer bestimmen ebenso percussive Elemente die einerseits sehr meditativen, ausserst spharischen, geradezu minimalistischen, andererseits auch sehr experimenti- erfreudigen Weltenklange der beiden "Concerto Grosso" Werke. Obwohl nur von einer Person gespielt und ohne jegliche Overdubs aufgenommen, klingen manchen Passagen fast nach einem kleinen Kammerorchester, denen Chekalin hier und da auch einige sehr eigenwillige Gesangseinlagen zusteuert. Vieles wirkt uber weite Strecken eher avantgardistisch, atonal undinnerlich zerruttet <...> Nur etwas fur ganz, ganz offene Ohren! Progressive Newsletter # 40 Juni 2002
CG 1 <...> As the CD speeds treated to sinister Stravinsky-esque horns that ride along like on a slow moving trip to hell. The syncopated horn lines are uniquely Russian. Chekalin then proceeds to throw in, or layer if you will, all sorts of elements including 80s sampling, ethnic chant, manipulated sounds, and a roomful of instruments. The slow moving cinematic-like drone, led by Zappa-esque horns, builds in intensity and Charles Ives-like density before quieting down. Have I heard anything else like this? Never. <...> Zoltan's Progressive Rock Web Page. Steve Hegede
CG 1 & 2 <...> Not since many years back had I heard such originality wedded to listenable results. <...> Dynamics and surprises jolt the listener at every turn. <...> avant garde electro-acoustic or chamber music, with all its disjointed and plangent blasts of brass and percussive explosiveness. <...> what comes across as an avant band improvisation. <...> he shifts the mood towards a droning gothic vibe, with aleatoric rumbling and grumbling noises that may induce the listener to want to turn the lights back on. <...> The effect is stunning and makes perfect musical sense. <...> Expose. Mike Ezzo
CG 2 <...>This is progressive in the truest sense, in that it is expanding the definition of music <...> It is the kind of piece that headphones were made for, as a casual listening doesn't capture every nuance. <...> The "voice" in the title ("The Dream to Accompaniment with Voice...") might remind of the orgasmatic voice in Pink Floyd's "Great Gig in the Sky" -- earthy and free and uninhibited... Progressiveworld.Net: Reviews by Stephanie Sollow. Feb. 2003
Probability Symphony <...> Le cas Mikhail Chekalin reste resolument a part, en marge de la scene russe <...> Cette symphony souterraine du bizarre se tisse de maniere eclatante et tenebreuse a coups d'accords malencontreux aux claviers, de traits de guitare hurlante, de saxophone enfievre et de batterie fracassante. Une musique gloque et si brulante que par endroits on la sent qui se gondole... Improjazz. Avril 2002. Marc Sarrazy
To describe the reclusive M.Chekalin as Russia's Jea-Michel Jarre would be doing him (Chekalin) a disservice <...> it sounds like nothing else you've ever heard - too odd and disjointed to space out to, but far too scattered and blurred to appeal to those expecting a Russian Return to Forever, yet fascinating enough to make this listener at least want to search out more work by this obscure keyboard wizard. Signal to Noise. '02 USA Dan Warburton
Chekalin is frequently compared with Klaus Schulze, and on the surface it's not a bad comparison. <...> Others have compared his style to Peter Frohmader's dark synthesis. <...> this music really lies in between Schulze or early 'Tangerine Dream' and the more "Classical Electronic" realms of Morton Subotnik or the non-melodic early works of Wendy Carlos. <...> Chekalin prefers analog tape recorders and playing the compositions by hand rather than using computer technology <...> Excellent stuff. Personally, one of my favorite types of music is this intellectual, not very melodic electronic style, so I think Chekalin is amazing.(New Gibraltar Encyclopedia of Progressive Rock) |
