Dmitri Mazurov: Alien Implants

The Siberian composer and sound artist Dmitri Mazurov has left a notable imprint on his homeland's artistic landscape with his creativity spanning a wide range of genres: from new music and experimental electronics to techno and post-rock. Mazurov's self-professed mythology includes intrigue in remote and mysterious places, conspiracy theories and UFOs. His interest in the uncanny and fondness for blending the eclectic shine through in Alien Implants.

The album's predisposition leans towards electronics, with only three out of nine tracks incorporating acoustic instruments, and only one ditching any digital processing or pre-recorded material. This clever interlacing of electronic and acoustic textures results in a gripping musical experience painted in darker hues. It is, however, the acoustic works—brought to life by the Kymatic Ensemble and Roman Malyavkin—that are at the heart of the release, infusing a human touch into an otherwise sterile and barren sonic realm.

Following the opening, "Burevo," with its stir of booming and grainy electronics, "Mimicry" continues to explore the theme of overcoming raw force. The intense, earthy grittiness from the preceding work is embodied in the vigorous bowing of the double bass and the faltering blowing into the baritone saxophone juxtaposed against soaring guitars and live electronics. While such instrumentation is ubiquitous in evoking darker tones, Mazurov's mastery of it—alongside the structural unfolding of the piece—is spellbinding. Later in the album, the combination of bass clarinet, electric guitar, violin, double bass and electronics conjures up an even bleaker and more brooding atmosphere in "Alien Implants," which could easily serve as a soundtrack for a sci-fi film.

The album reaches its apogee with "Hauntology," a solo accordion piece. The music is characterized by repetition and raw viscerality: deep, growling notes, sharp clicks and gasps from the instrument paint a startling picture, as if the accordion's bellows, its metaphorical intestines, are being turned inside out. Towards the middle, the music gradually calms down and begins to quiver, eventually dwindling away. It is a superb composition with a strong character, evanescent in its atmospheric consistency. Another vibrant offering is "Weeping," which lives up to its name thanks to the haunting sound of a hair comb scraping against the strings of an acoustic guitar. Its unrelenting lament knows no bounds. Three electronic pieces round off the release: "Chemtrails," with its glowing synth pads; "Arx," characterized by an incessant bell-like sound; and "Morphing," whose futuristic soundscape evokes memories of first-person shooter video games from the early 2000s.

Alien Implants exudes a coherent and meticulously crafted ambiance, flowing from sparse to dense, electronic to acoustic, and from the mundane to the haunting. It is the fine balance of moods and textures, showcased on several quality works, that elevates it into a complete artistic statement. While a few electronic pieces lean towards the ordinary, the majority of the works are compelling and flavorsome, especially the acoustic ones. If you enjoy the dark and atmospheric, this one may be for you.

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