GLEB KOLYADIN

Sometimes I find myself making impulse purchases. This was the case with the latest project from the male half of "IAMTHEMORNING." Yes, "Gleb Kolyadin," the Russian pianist who graduated with acclaim from the St. Petersburg Classical Conservatory under the direction of Professor Vladimir Polyakov. I don't know the reasons; I can only imagine. A fleeting preview triggered this impulse: I had to have it. Modula will now be an integral part of my music collection. Just as his previous opus, "The Outland," had struck me.

A prerequisite, no doubt due to the man's virtuosity, especially since it combines with the organic warmth of the century-old "Broadwood" piano. That was all I needed. I was as if bewitched, captivated without being aware of its structure or its themes. "Gleb" has that ability? I would say? Immersive in his music, which oscillates between hypnotic repetition and harmonic soaring, where, moreover, the piano is the common thread. "Parallax," which instigated this unexpected acquisition, and "Glimmer," which confirmed to me that I had made the right choice. The influences of Philip Glass emerge, defined by the evolution of the hypnotic repetitive motifs. The feeling of immersion, almost cinematic. As if enveloped in a contemplative state, of escape. At times, I felt as if I were plunged into the oceanic abyss of the "Mobula" ray's habitat, a sensation further amplified by "Fractured," reinforcing this impression of abysmal immensity. I didn't know if I was in the ocean depths or in the interstellar. So much so that I had to learn more about this project.

Gleb Kolyadin's latest project, Modula, hit stores on February 28th. Above all, its strength lies in its ability to captivate even before we understand its structure or themes. I find his immersive signature, his virtuosity, and his capacity for exploration. I mentioned earlier the influences of Philip Glass, particularly in terms of motifs. I find a wealth of textures. His approach to minimalist jazz, à la Tigran Hamasyan, or the progressive explorations of Keith Emerson. The addition of folk and jazz adds an additional richness, giving Modula a dizzying sense of sonic journey.

Before continuing the narrative of new sounds, the album consists of 14 short pieces from his approach to "new sounds," drawn from his vast musical archive inspired by "polonium cubes." This project represents evolution and change over time. As stated on his label's page: the idea of ​​an aquatic, science-fictional journey. As the album title and its artwork suggest: "Mobula," a graceful ocean creature. In this regard, this isn't the first time he's delved into his musical archives. This was already the case with his self-titled debut album in 2018.

Undeniably, "Gleb Kolyadin" surprises. Pleasantly, I should say! It certainly doesn't have the texture of "The Outland," which is more progressive, but not only that... However, the juxtaposition of sound fragments, the structure, remind me of short story collections or science fiction novellas, where each story explores a different facet of the same universe. Where each piece is like a short film or a sound vignette capturing a fragment of this imaginary planet evoked by the album. His cinematic approach to composition and the immersive atmosphere. The alternation between contemplative moments, electronic pulses, and folk textures gives the impression of traveling through different scenes, the emotions they arouse, and the landscapes that reinforce this idea. To this, I would add that with "Gleb Kolyadin," and particularly in the context of "Modula," we sense in certain transitions, in the crescendos, sudden, unexpected ruptures. As if he abandons all logic to follow an emotion or a spontaneous idea. A controlled abandonment, if I may say so. Ah! That's where I was going with this. I have this feeling that the opus is split into two parts, starting with "Transient." The modus operandi clearly changes. We move from an introspective, sometimes meditative space like "Parallax" and "Glimmer," to something more organic, unstable, alive, almost chaotic in places. It's at this moment that the magic happens. And the artist's intention doesn't matter. What matters is what I experienced. This awakening where the rhythms become more complex, the texture denser, the motifs less cyclical, the contrasts accentuated. We feel that something is blossoming or cracking. "Kolyadin" has this narrative genius of not creating pieces, but states of consciousness. And in Modula, this pivotal moment around "Transient" resonates like a body capture, a descent into a more concrete, rhythmic, textured material.

To conclude, I have the impression that "Gleb Kolyadin" pushes this even further: he retains the poetic essence of "IAMTHEMORING" but injects it with a rawer, more free, sometimes even more mathematical, even contemporary jazz.

{translated from French to English by admin -- reviews should be submitted in English}

This album is the best possible evidence that there's no Russian progressive as a developed scene/school. Once upon a time I mentioned this on the PA forum - and was immediately booed by special collaborators, prog reviewers, senior members etc. How!? What?! Do you know Aviva? Do you know Little Tragedies? Do you know Dawn Dialogue? - and so on and on. Yes, yes. I do. Make no mistake. In total, about 150 prog artists from Russia are listed here on PA. (Or more, I checked a year ago.) But they don't form a national scene/school. And the brilliant 2018 solo album by Gleb Kolyadin puts an end in proving this.

Nobody knows how it turns out. Most of historical bands of 1970s-1980s so-called Russian rock (which was in fact Soviet underground) were distinctively Russian and formed a whole, a real (though partially semi-professional) school, a musical movement. Just remember DDT, Mashina Vremeni, Alisa, Brigada S, Agata Kristi, Chaif, Nautilus Pompilius, Aquarium, Nastya, Yanka, Piknik, Grazhdanskaya Oborona and other projects by late great Yegor Letov... well, even hooligans like DK, Romych Neumoev or Chorny Lukich were distinctively Russian. I don't want to say that they systematically and professionally used, or reworked, or rearranged Russian traditional music in their works. No, not at all. Far from that. So-called 'national spirit' in music is truly impossible to be verbalized - but easily diagnosed by ear. Kerrs Pink is Norwegian, Genesis is English, Eloy is German, Kansas is American, Topos Uranos is Brazilian, Asia Minor is Turkish, Czeslaw Niemen, SBB and Abraxas are Polish - but...

...but Riverside is global. No Polish national spirit may be found in their music, despite all its splendour. And as global are Russian 1990s-2010s prog artists en masse. On the other hand, Russian national spirit is present in the music of old proggy/somewhat-close-to-prog bands like Dawn Dialogue, Oblachny Kray, Araks or Urfin Juice. But perhaps they were not prog enough and/or (with the exception of Araks) not professional enough to form a Russian prog scene. Yes they were distinctively Russian, but (with the exception of Araks!) dangerously close to what we in Russia call 'samodeyatelnost' (amateur performance). In fact, they belong to the same school as Aquarium and other old Russian rockers. Quite Russian and well crafted as a composer is Nastya, but her music is rather indie than prog. Distinctively Russian and highly professional was and still is Kalinov Most, but this greatest band is usually found to have too strong folky, psychy and bluesy touch to be included in the prog community. Maybe Andrei Misin is the only true progster from that old generation.

Kolyadin and his band Iamthemorning are purely cosmopolite Russian progsters. Their albums (all amazing in all respects I admit!) miss the same thing that was present in old 'Russian rock' but is usually missing in modern 'Russian prog'. Kolyadin's music is global, supranational if you like, and it does not put any start to what might be called genuine Russian progressive school. If we discuss the musical level (composition, arrangements, instrumentation, musicianship) of Kolyadin's solo album, then undoubtedly it's a masterpiece (5 stars). But if we consider it a work by a Russian artist, then it's rather 'good but non essential' (3 stars; that's why I give 4 stars as an average...). Just because it should start a movement in current Russian music but didn't.

Glinka said: a nation creates music, we artists only arrange it. Russian music needs new Glinka - can Kolyadin become him?

Sure. Why not? He is talented enough and, on the other hand, crafted enough for that. But instead, he does his best to pass another exam for the degree of 'progster like everybody else'. Yes he passed this exam perfectly well again. He formed a sort of supergroup for his solo album, the only two tracks with vocal are sung in some language that doesn't even remind Russian, and some people already say that Kolyadin is 'another Emerson'. Most likely they think it's a compliment. I'd say it's rather a condemnation. Why should Kolyadin become Emerson The Second (or Banks, Lord, Watkins, Moraz or anyone else) while he has all opportunities to be Kolyadin The First And Only? The only thing needed for that and still missing in his music is national spirit. And in this respect I (as a dedicated listener) rely on Kolyadin more than on other current Russian progsters, because very slight 'prodromes of Russianness' may nevertheless be heard in some of his virtuoso piano-dominated pieces. Hardly but heard.

P.S. Looks like I completely forgot about the track-by-track investigation principle. Excusez-moi, I'll try at least to end up with it. As a diehard prog fan I should mark first of all the only track with duration typical for epic suite, i.e. 10-minute Confluence. But its musical tissue sounds homogenous with the surrounding material, and can faintly be distinguished from it by ear. In fact, the entire album is one giant epic suite. An excellent epic suite, with no doubt.

IAMTHEMORNING's musical mastermind has gone rogue! And we are so glad he did! This kind of creativity should not be slowed or held back. In the typical piano-based chamber music constructions common to IAMTHEMORNING's albums (especially their debut), Gleb has opened himself up to the collaborative inputs of some of London and Petersburg's best--and the outcome is outstanding.

1. "Insight" (4:11) reminds me of the sound, style, and support of John Tout with Renaissance. When the synth solos happen then there is a bit more of a Keith Emerson feel, but really, this is more akin to the intros to "Trip to the Fair" and "Mother Russia." Nice guitar work from Vlad Avy. (9/10)

2. "Astral Architecture" (6:29) delicate solo piano work is eventually joined by deep vocal of Antimatter's Mick Moss. Equally delicate toms, cymbals, and percussion join in, then synth and cello. As it builds, so does Gleb's piano intensity. Wonderful! Crescendo in the fourth minute cascades to the opening quietude before the mounting menace of drums, bass, and guitar join in. Awesome song. (9.5/10)

3. "White Dawn" (2:30) (4/5)

4. "Kaleidoscope" (5:50) Now this is a Keith Emerson-like piece. Nice to have maestros Gavin Harrison and Nick Beggs to weave together with as Carl Palmer and Greg Lake would have in days long gone by. An uncredited female voice sings vocalise during the third minute as vibraphone also plays a significant part in this gorgeous section. Flute joins in at 4:45. Nice overture-like feel to this one. That's a good flute player! Gleb takes the final solo on a couple vintage-sounding synths. Nice tune! (9/10)

5. "Eidolon" (2:10) stride-like piano blues. The melody sounds quite familiar--something from old-time jazz. Awesome, haunting ending! (5/5)

6. "Into The Void" (1:44) a variation on the previous song with different tempo and dynamics. Sounds like a song from IAMTHEMORNING's first album. (4/5)

7. "The Room" (4:13) opens with a kind of VINCE GUARALDI feel to it before becoming more modern jazz-rock infused. Nice work from Gavin and Travis. Delicate solo piano interlude in the middle before diving back into the rock medium at 2:20. Nice soli from synth and sax in the hepped up second half. (9/10)

8. "Confluence" (10:23) opens with a little Satie-like feel before heavily treated vocals of Steve Hogarth join in-- talking. Fretless bass and seaside synth noises join in at the end of the third minute. Around 3:40 a koto-like fast "plucked" keyboard sound rises from beneath to take over supplying the main fabric of music over which drums, bass, and piano play. This is stunning! The next section has toms, hand drums, and harp(?) building its stunning weave while piano does his thing and just before rock rhythm section (guitars, bass, drum kit) drive the song more insistently. The harp and koto/dulcimer/zither sound take the fore at the end of the ninth minute, gelling in a delightful weave with the piano and percussives to the final seaside fadeout. Fantastic! (9.5/10)

9. "Constellation / The Bell" (3:16) this solo piano piece has a very classical, romantic feel to it, though the main melody is more modern. What a pianist! The second half contains the participation of some female voices/vocalists performing an eery ghostly melody in the lead fore. Wow! That was not expected! (5/5)

10. "Echo / Sigh / Strand" (2:25) more grandiose piano-based music, this time supported by all kinds of hand percussives. The second part is an extraordinary display of two-hand piano play. The third part sees some eerie guitar and synth sounds joining in as the song builds to a final crescendo. (5/5)

11. "Penrose Stairs" (5:01) this one could also be a Keith Emerson song--with its many disjointed stop and start sections all precisely sequenced with and by the piano. Nice acoustic guitar work (I assume by Vlad). Not my favorite kind of music or style, but I can certainly appreciate the virtuosity on display here. (9/10)

12. "Storyteller" (3:19) opens with a low end bass piano arpeggio that reminds me of Peter Gunn as well as the opening to RETURN TO FOREVER's "Sorceress." The collective appearance of the full rock retinue gives it more of a RENAISSANCE feel. The recorded theatric "radio" voice joins in before we return to instrumental. A wicked and wild extended synth solo spans the second and third minutes, playing right up to the end. (8/10)

13. "The Best Of Days" (3:24) rondo piano chord sequence supports the singing voice of Steve Hogarth. The music may be too pretty for Steve's voice and lyrics, but I still like it. This one perhaps should have been saved for Marjana. One can imagine what Marjana's stunning voice could have done with this one. What gorgeous music! (9.5/10)

Five stars; a masterpiece of classically-oriented progressive rock music. Truly, I can think of few contemporary composers able to express the type of instrumental virtuosity that Gleb possesses. Check this album out! It's available on KSCOPE, of course.