Reviews
Olegh Kolyada, titolare del progetto e dell'etichetta produttrice, rende tributo alla Ukrainian Insurgent Army in un album uscito a fine 2012 e di cui noi vi parliamo solo adesso in un momento, guarda caso, molto difficile per il Paese natale di questo autore. Il disco illustra, attraverso 13 brevi tracce a cui partecipa una lunga lista di nomi di prim'ordine (While Angels Watch, Furvus, :Golgatha:, Our God Weeps, Lonsai Maïkov/Dissonant Elephant, Gnomonclast e Luftwaffe), la storia di questa armata/movimento che lottò dal 1942 in poi per l'indipendenza delle proprie terre e si oppose alle politiche occupazioniste degli stati confinanti. Kolyada impronta tutto su temi campionati e declamazioni vocali per evocare la grandezza, il pathos e la tragicità di momenti sconosciuti al mondo occidentale. Le voci vengono immerse in temi classici e sinfonici, motivi di clavicembalo e arie religiose, a loro volta unite con echi locali e folclorici che prendono corpo attraverso probabili campionamenti di percussioni tradizionali. I vari rumori che rifiniscono le tracce fungono da collante per fissare i suoni in determinate situazioni, ricostruendo così fulgide immagini storiche. Ogni traccia è correlata dalle indicazioni di provenienza dei samples utilizzati, evidenziando la volontà di illustrare il percorso intrapreso tra gli archivi audio. Olegh si afferma come uno dei maggiori (se non l'unico) autori di area post-industriale capace di cantare le vicende della propria nazione senza cadere in cliché abusati o percorrere schemi triti. Una piccola lezione di storia che suona beffarda di questi tempi, fatta con rara passionalità. Solo 200 le copie prodotte in un bel digipak arricchito di tutte le informazioni necessarie per seguire lo svolgimento dell'opera. Disponibili anche le versioni download, oltre a un'edizione di sole 10 copie ormai sold-out arricchita di vari gadget, poster e manifesti, ma soprattutto di un libro di 350 pagine sull'argomento.
by Michele Viali at Darkroom Magazine (Italy)
Source URL: http://www.darkroom-magazine.it/ita/104/Recensione.php?r=3131
У каждого своя правда. Правда, проходящая красной нитью через все сложные хитросплетения и искажения истории, которую пишут, как правило, победители. Соглашаться с этой правдой или нет – личное дело каждого. Деятельность Украинской Повстанческой Армии (УПА), в «союзное» время получала, по понятным причинам, однозначно негативную оценку, да и сейчас изрядно бередит общественность, вызывая громогласные споры и бесконечные ревизии минувших событий, в водовороте которых до сих пор трудно разделить противостоящие стороны на «правых» и «виноватых», ибо в хаосе первой половины двадцатого века все успели натворить и кровавых грехов, и великих подвигов, следуя своей Правде. Смело бросая вызов политкорректности (и, видимо, тем «москалям», для которых даже обложка диска станет красной тряпкой, брошенной в лицо), Олег Коляда создал альбом, посвященный семидесятилетнему юбилею этой военной организации, воздавая дань уважения тем, кого он искренне считает защитниками своей Родины от «красной» и «фашистской» агрессии. На этом факте и остановимся, не вдаваясь в политику и национальные вопросы – просто теперь слушатель точно предупрежден и может сам решать, стоит ли ему слушать этот диск или нет.
Не испытывая особенного восторга от выбранной темы, замечу, что слушать «УПА» все-таки стоит. Хотя бы для того, чтобы в полной мере понять культурный, исторический, духовный и религиозный контекст украинского национализма. Олег Коляда в рамках «Ода Релікта», как правило, выступает в качестве ревизора истории, извлекая из человеческой памяти образы и звуковые «реликты», не просто помогающие прочувствовать тот временной пласт, о котором идет речь – они и есть то время, его беспокойное эхо. «Полевые записи», использованные на диске, сделаны в тех местах, где происходили боевые действия с участием этой армии. Здесь голосами птиц и шумом ветра наполнены лесные чащи, здесь на привале бойцы развлекают себя игрой на губной гармошке, кобзе и флейте, рядом с которыми в предвкушении битвы лязгает затвор винтовки и звучит голос Степана Бандеры, записанный, впрочем, уже в те годы, когда история УПА закончилась поражением. «Мирные» звуки сменяются грохотом сражений, вновь прокатившихся по этой земле с помощью участников клубов исторической реконструкции. Но боевые действия играют не самую главную роль – на ее место претендует то, что можно назвать «голосом народа»: духовные гимны (в том числе и «Боже Великий и Единый», который в Галиции исполняли в качестве национального гимна Украины), церковные литургии и фольклорные песни, марши легионеров, сопровождающие ритуальные процессии, характер которых меняется от героического величия «Triumph Of Ukrainian Insurgent Army» до трагизма «Stray Souls». Эти две композиции, созданные «сторонними» авторами (среди которых можно заметить звезд не первого эшелона, но вполне уверенных «середняков», способных иногда и уделать эстетствующих «ветеранов») – едва ли не лучшее, что случилось в рамках мартиал сцены за последнее время. В первом случае за мощнейший саундтрек, под который перед глазами встают картины сражения и сердце учащенно колотиться в груди, стоит благодарить композитора Олега Разумовского, а во втором случае похвалы удостоится Янош Мадура из «Our God Weeps». Вообще же финал альбома, предстающий в трагических оттенках, способен вызвать эмоции у многих, даже у тех, кто к самой идее восхваления УПА относится с агрессией. Из «иноземных» гостей стоит также отметить «Dissonant Elephant» и «Lonsai Maïkov», выдавших модный ныне милитари-поп на французском языке, участников «:Golgatha:» с вариацией на тему гимна украинских стрелков и «Furvus» с их католической средневековой музыкой.
Патриотический или радикально-националистический альбом получился у «Ода Релікта» - вопрос неоднозначный, но в таланте и смелости его автору не откажешь. В отрыве от идеологии (которая в тексте буклета изложена слишком уж «по-голливудски», здесь и «кровавая гэбня», и «Антихрист», воины УПА также представлены борцами за мир во всем мире и равенство наций, в число которых вырезаемые то тут то там поляки, евреи и сами украинцы, не готовые вступать в ряды лесных братьев, видимо, изначально не входили) получился очень сильный, образный и обошедшийся без излишнего пафоса, взамен которого на первый план выставлена героика, драматизм и подлинный антураж тех событий, альбом.
by maeror3
Source URL: http://maeror3.livejournal.com/296983.html
Esiste in Europa ancora una piccola legione di musicisti che vedono nel neofolk ‘in trincea’ la possibilità di propagandare cultura, espandere al mondo l’identità di un Continente ferito, forse già lacerato ma che guardando il proprio passato si può ritenere orgoglioso di essere una grande stirpe.
Gli europei sono un grande popolo e non sarà mai una convenzione tra capi di Stato a stabilirne le linee, è un sentimento, una passione costruita nel sangue, nell’amore, nell’ideale enciclopedico, nella musica.
Olegh Kolyada nasce in Ucraina ma è tutta l’Europa, slavonica ed occidentale che lo innalza a portavoce della sua bandiera, bella e classica, marziale perché Europa è stata il campo di battaglia assoluto di filosofie e delusioni, illusioni e lacerazioni, un sangue che ancora scorre nelle nostre vene leggendario e sofferente.
Oggi Oda Relicta non è più in Twilight Records: tre album con la label ‘principe’ del folk-noir marziale ma la scelta di Olegh, la svolta di Olegh, è stata quella di produrre la sua musica tramite Old Captain, aprendosi con tenacia ed intelligenza anche ad altri progetti del noise-industrial che ‘bruciano’ ad Est delle cortine teutoni, soffocate dalla mancanza d’attenzione; il cuore di Olegh è quello di un uomo di coraggio e sensibilità, “УПА“ è soprattutto sensibilità nel comporre, nel plasmare la cultura classica di tutti noi al servizio del bello, “УПА“ è estetica e musica, soffice nel suo incedere, “Stray Soul” è un capolavoro di bizantinismo e gotico fusi tra voci di angeli e tormenti di un Werther senza più dolori ma disilluso.
Così come “Pantheon Of Glory” ha la potenza lirica di Verdi o di Musorgskij, o del connazionale, Oleksander Koshetz: immensa ed aperta su ellenismi figurati, speranze terse come la parola, l’onore, vanificate nell’umore piangente, eroico ma gemente di “Triumph Of Ukrainina Insurgent Army”, un brano dove la tromba è il destino, i cori ne sono il compimento, le raffiche iniziali di mitraglia il monito mortale.
Il folk marziale Olegh lo vuole assieme ad amici, condividendo la propria visuale nell’esprimere sinfonie celesti e militaresche, “From Dreams Into Ranks” è costruita assieme ai tedeschi :Golgatha: da poco alfieri del genere in Trisol ma è la dolcezza del cantato francese, il brio della musicalità di “Parakleisis” (la Francia è rappresentata dalla bella voce di Mathieu Broquerie a.k.a. Dissonant Elephant), il languore della chitarra di Lonsai Maikov, rendono il brano una canzone d’altri tempi, garbata e malinconica, epica e romantica.
Da segnalare anche la presenza di Gnomonclast, Luftwaffe e Jànos Madura (Our God Weeps): tutti attorno ad Olegh perché Oda Relicta non è un act solo ucraino e nella bella e cinematica “Black Forest” quasi alla fine dell’album, è forte lo spirito sonoro dell’Est ma è forte anche la corsa degli archi, del vento, di tutta l’orchestra che s’innalza su tutti gli alberi, su tutti i cuori verdi per divenire l’inno di “УПА“, un inno per tutti noi.
by Nicola Tenani (Sounds Behind The Corner)
Source URL: http://www.soundsbehindthecorner.org/the-grave/868-oda-relicta---ukrainian-insurgent-army.html
Schade, aber das wird wohl die letzte Veröffentlichung von OLEGH KOLYADA als ODA RELICTA gewesen sein. So hat es der engagierte Ukrainer zumindest im Vorfeld angekündigt. Mehr um sein Label und seine zahlreichen anderen Projekte sowie sein Studium will er sich kümmern. Dabei empfand ich ODA RELICTA immer als das zentrale Standbein, das schönste seiner Kinder. Quer durch die ukrainische Geschichte zog er damit; aus militärischer, politischer, kirchlicher und gesellschaftlicher Sicht. Als Empfehlung sei hier noch einmal das erste Vollzeitalbum "The Crown & The Plough" (Besprechung) genannt, basierend auf kunstvoll verschachtelten Märschen.
Das aktuelle Album ist ein würdevoller Abschluss, vereint es doch offenbar alle Themen und Musikstile der bisherigen Werke, was zu einer bisweilen wild anmutenden, aber immer durchgeplanten Mischung aus Marsch- und Filmmusik, Neoklassik, Kirchenhymnen, Folklore, Soundtrack sowie Field Recordings führt. Auch stimmlich hat OLEGH für sein ODA-Abschlusswerk groß eingekauft, als Gäste treten unter anderem Musiker von WHILE ANGELS WATCH, DISSONANT ELEPHANT, LONSAI MAIKOV oder LUFTWAFFE auf, so dass auch die Texte zwischen Englisch, Französisch und Ukrainisch variieren. OLEGH greift wie immer auf bestehende Kompositionen zurück, lässt diese neu einspielen oder umkomponieren und fügt die Ergebnisse kunstvoll in ein Gesamtkonzept ein.
Inhaltlich ist das Album der UIA, der Ukrainian Insurgent Army, gewidmet. Gegründet gegen Ende des Zweiten Weltkriegs als militärischer Arm der ukrainischen Nationalisten, bekämpfte sie in einer Reihe von Guerillakriegen die Deutschen, die Sowjets, die Tschechoslowaken und die Polen mit dem Ziel, einen unabhängigen Staat auf ukrainischem Territorium zu errichten. 70ster Jahrestag der Gründung war der 14. Oktober 2012, dem offiziellen Releasedatum der CD.
"UIA" startet mit einem sehr folkloristischen Part aus traditionellen Instrumenten, der an weite, grüne und friedliche Landschaften denken lässt. Bedrohlichere Einschübe aus kurzen Männer- und Frauenchor-Passagen lassen schon ahnen, dass es nicht so weiter geht. Die dunkle Stimme von DEV (WHILE ANGELS WATCH) präsentiert dann eine Art Gedicht, anschließend führt ein 'Trauermarsch' weiter, sehr getragen und leicht pathetisch, wohl in Anlehnung an die ukrainische Nationalhymne komponiert. Als Zwischenspiel tauchen Soundsamples auf, die aus dem Krieg stammen könnten, mit Mundharmonika-Begleitung und Knistern. Das erste Drittel beschließt eines der absolut soundtrack-würdigen Stücke, welches auch bei "Fluch Der Karibik" eingesetzt werden könnte. Mit seinen dramatischen Streichern, Trommeln und den Field Recordings klingt es original wie der Ausschnitt aus einem Film, inklusive Maschinengewehrfeuer. Auch ein Kirchenpsalm hat seinen Platz, entsprechend vorgetragen, also gregorianische Gesänge begleitet von historisch anmutenden Instrumenten.
Diese Aufzählung ist bei weitem noch nicht vollständig, vermittelt aber einen Eindruck der unglaublichen Fülle an Elementen, auf die OLEGH hier zurückgreift. Ich weiß gar nicht, wo ich zuerst hinhören soll. MIKE OLDFIELD, COLLECTION D'ARNELL ANDREA, SVARROGH oder 23 TRUBLION 23 sind mögliche Assoziationen, je nach Stück. Der stolze Ukrainer hat hier wirklich noch einmal alles aufgeboten, was ODA RELICTA in den vergangenen Jahren ausgemacht hat, inklusive seines Geschickes, aus vielen Einzelteilen ein durchhörbares Ganzes zu machen. Lebendig, spannend und dieses Mal ganz besonders filmisch erzählt OLEGH (s)eine Geschichte. Ein äußerst gelungener Abschluss für dieses Projekt.
by Michael We (NonPop)
Source URL: http://www.nonpop.de/nonpop/index.php?mkey=ODA-RELICTA-UIA-Ukrainian-Insurgent&type=review&area=1&p=articles&id=2320
Olegh Kolyada is a man whom has become quite the personification of his country’s willful, tough and historically militant and fiercely independent spirit. His previous release, “Lux Aeterna”, saw his very unique style of martial neoclassic orchestrations subdued, utilizing them into a strikingly sombre masterpiece on Gradual Hate Records and Twilight Records that was constructed in order to pay homage to the millions of Ukrainian men, women, and children whose lives were lost at the hands of the Soviet-controlled man-made famine of 1932-33. This follow up to that release, “Ukrainian Insurgent Army”, which has been produced by Olegh’s own label Old Captain, takes us back to the fight for Ukrainian independence during and after World War II, focusing on the obvious inspiration behind the release, the UIA. The resistance’s roots lie far deeper than their official founding date implies — October 14, 1942 — stretching back all the way to the late Middle Ages when the Kyivan Rus polity still existed and maintaining a centuries-old struggle for sovereignty.
The resistance, despite having no outside support (financial, weapons, or otherwise), was a strong force in those days, somehow mobilizing, against all odds, into highly organized groups and successfully defending the people of their country well into the 1950′s, as well as guiding them through post-war struggles, including yet another devastating famine. This resistance represents courage in its finest hour, especially in the days of World War II — men mobilized and armed, surrounded on all sides by Nazi and Soviet invaders, fighting a battle that was unwinnable, but sewing the seeds for future Ukrainians to finally recognize their dream of sovereignty. Soviet Russia’s war crimes involving Ukraine were great, and involved acting as imposters of the UIA, committing acts of violence in their disguise even after the war had ended. This is in addition to vast deportations and ethnic cleansing. Today, only a portion of Ukraine’s population observes the founding of the UIA because, in large part and for reasons unknown to sensible minds, the Soviet version of history is still the prevalent account. This makes Olegh’s humble album a very important piece of history — not only because it spreads the history of Ukraine’s struggles and the incredible courage of the men whom were part of that struggle, but because it is a public celebration of his country’s past; a country whose leaders still don’t seem to want to face that past even today.
It should be said that the UIA isn’t without criticism and war crimes of their own. There are those that view the resistance as being interwoven with the OUN (“Organization of Ukrainian Nationalists”) and thus representing a form of fascism in their own right, as well as a murky part of history involving multiple Ukrainian militant groups that ended with the slaughter of tens of thousands of civilian Poles in Eastern Galicia and Volhynia.
Each track on the release is broken down into a specific dedication and reasoning, as well as notes as to what was used for its composition as many songs within utilize samples of religious hymns and traditional marches. Additional levels of depth behind some tracks are reached by the inclusion of various other post-industrial artists including While Angels Watch, :Golgatha:, Luftwaffe / Gnomonclast, Our God Weeps, Dissonant Elephant, and Furvus. The opening track, for instance, features a poem written and orated by the heavily British voice of While Angels Watch. This poem discusses a lone protagonist whom crafts a bow and wand from Yew tree wood while experiencing a metaphysical state where the forest breathes and the soil bleeds the blood of his ancestors whom are tied to the land in a metaphorically blut und boden type sentiment. The poem otherwise paints a picture of a völkisch man who is focused on the traditions and remembrance of his ancestors, all the while weaving overtop of strangely Eastern-sounding traditional Ukrainian instrumentation (kobza and flute) as well as Gregorian Chant-like samples of a Volodymyr Kushpet performance.
This modest hint at a religious theme is brought into full materialization with “Pantheon of Glory” which is in reality the Church Hymn of Ukraine, “Oh Lord, Almighty and Gracious”. These two tracks, along with a third, “Into the Woods Whence Mouth-organ Heard”, represent a proverbial “calm before the storm” — a glance into the rural portions of Ukraine in those days, the peace and content lives of religious nationalist Ukrainians and, in the case of “Into the Woods…”, the care-free wandering harmonica / “mouth-organ” playing of a boy in his countryside, supported by field recordings. Along with this track is the lingering presence of a speech by Stepan Bandera, only hinting to the conscious mind that war is approaching, and the true martial elements of Olegh’s compositions are about to unfold with full fury.
Enter “Triumph of the Ukrainian Insurgent Army”, where a tension-filled string composition builds slowly over those country-side field recordings to hint at the coming of something dark on the horizon. This tension climaxes and is dispelled suddenly, welcoming only violent sound of artillery and an eventual epic brass horn requiem that ingeniously simultaneously represents the glory and the hopelessness of the arrival of that moment in history. This momentum is not kept up, however, instead welcoming another, this time very medieval, religious psalm in “Blazhen Toy Muzh” (“Unvanquished Knights” on the album). I’m unclear as to what is trying to be said here, but it appears to be attempting to connect the soldiers of the UIA to their previously mentioned historical ancestors in the late Middle Ages in Kyivan Rus.
“Parakleisis” is interesting as it stands on its own, both as an original composition with rhythmic electronic elements and as a composition by artists of which neither is Olegh: Dissonant Elephant and Lonsai Maikov. The track features beautifully harmonized male vocals that fit the sombre elements of the more spiritually themed tracks on the album, but the electronic elements seem out of place. These rhythmic elements persist, however, and bleed over into the following track, “Born in the Great Hour” which is a Ukrainian ritual process with thick tribalistic percussion and a flowing, inspiring if not victorious choral performance. “Under-aged Veteran (Gone) is also of interest as it features J1 Statik and NII Itiniti of Gnomonclast and the now-defunct Luftwaffe on vocals. The song serves as a moving liturgical tribute to the under-aged soldiers that fought for Ukraine’s independence as well as to the composer whom was murdered by a Soviet on a Christmas evening in 1921. This track is humbling and means something to me on a personal level as, in discussion, NII once told me “I have always taken the side of a child with a rock in his hand over a national force deploying tanks and drones” — thus it was a moment of deja vu where things tied together in an unexpected manner.
“Stray Souls” is one last unique composition by another artists on “Ukrainian Insurgent Army”, this time by the all-too-quiet as of late János Madura aka Our God Weeps, whose last published work outside of compilations was the Prodromus 7″ on Italy’s Ars Benevola Mater. This track is pretty typical of his previous compositions, featuring layers upon layers of epic orchestral and choral grandeur, albeit now seemingly much more professional sounding as his earlier works were compromised by an inferior recording quality. “Martirologue” is a harrowing and understandably melancholic requiem to the soldiers of the UIA, while “Black Forest” maintains this mood with another tension-filled composition, the Cossack pensive yet determined march, “The Wind does Blow”, which is one of the strongest highlights on the album and features an array of field recordings that instill a gloomy and Autumn-esque atmosphere. Fitting as an end, “Mnohaya Lita” is a religious march that is used as a wish for long life, effectively sending the listener off to “Go with God!” and with good cheer.
Some may call me an enthusiast of Kolyada’s music, and others still will undoubtedly call me sympathetic to nationalist militant groups because of this, but let me be frank: there isn’t nearly enough music in the post-industrial world right now that is this sincere. This music has sentimental and historical purpose, it reflects and educates on a time and place in Europe forgotten or unknown to many the world over, and it is simultaneously beautiful and experimental all the while utilizing an incredible array of both historical, often religious marches and contemporary musicians. We often talk a great deal about these subjects in neofolk/martial music, but how often do we actually come across a release with this kind of depth in so many angles? It is my opinion that Olegh Kolyada is one of the genre’s best kept secrets and most criminally overlooked composers and experimentalists, and if there is any doubt, this album is absolute proof to his dedication to his craft and his country. It’s a deserving tribute to the men that fought to preserve Kolyada’s ability to not only have a country to be so prideful of, but to exist at all. Without the protection of the UIA, who knows how many scores of families would not have made it through the terrors of Soviet and Nazi occupation.
Unfortunately only 200 people will get to experience this album in its full capacity, with a lucky 10 of those already possessing a sold out special edition which exists as one of the most elaborate editions known to the genre today.
Rating: 5/5
by Sage (Heaten Harvest)
Source URL: http://heathenharvest.org/2013/01/19/oda-relicta-ukrainian-insurgent-army/
