Género: Etno Gothic
Artistas similares: Dead Can Dance, Bel Canto
Año de grabación: Pandaimoni, 2004.
Theodor Bastard es un dúo ruso con una fructífera carrera musical, como desconocida, que en la última década han dado cuerpo a seis trabajos, siendo este “Pustota” el más reciente de ellos.
Su música difícil de clasificar, pero destilan un sentimiento extremo sin duda alguna, y es que la angustia se desliza entre armonías orientales copándolo todo, rotos quejidos de máquinas de un futuro alienante que marcan el inexorable ritmo de las composiciones, y la voz serena y diáfana de Yana, aligerando una carga de dolor que en ocasiones parece inalterable, hipnótica, lisérgica.
Si bien las guitarras en este álbum son anecdóticas, no lo es su sentimiento, que le confiere a todo el trabajo una gran coherencia compositiva. Reflejo todo ello de la multi-etnicidad rusa que quiere ser occidental pero que siempre ha bebido de oriente, y es que es encrucijada de dos continentes, dualidad de espíritu de un potencial sonoro siempre escondido si de la observancia ortodoxa y académica de la música se escapa.
Theodor Bastard is a Russian duo with a fruitful musical race as unknown, that in the last decade has given birth to six works, being the most recent of them 'Pustota' . Their music it's difficult to classify, but distills an extreme feeling doubtless, and is that the anguish slides between Eastern harmonies winning it everything, broken complaints of machines of a alienante future that mark the inexorable rate of the compositions, and the calm and diaphanous voice of Yana, lightening a load of pain that sometimes seems unalterable, hypnotic, lysergic.
Although the guitars in this album are anecdotal, it is not it his feeling that confers to all the work a great compositional coherence to him. Reflection of that is the Russian multi-etnicity that wants to be western but always in the east, and that's because the crossroads of two continents, duality of spirit of a always hidden sonorous potential of the orthodox and academic musical observance.
Theodor Bastard is a Russian duo with a fruitful musical race as unknown, that in the last decade has given birth to six works, being the most recent of them 'Pustota' . Their music it's difficult to classify, but distills an extreme feeling doubtless, and is that the anguish slides between Eastern harmonies winning it everything, broken complaints of machines of a alienante future that mark the inexorable rate of the compositions, and the calm and diaphanous voice of Yana, lightening a load of pain that sometimes seems unalterable, hypnotic, lysergic.
Although the guitars in this album are anecdotal, it is not it his feeling that confers to all the work a great compositional coherence to him. Reflection of that is the Russian multi-etnicity that wants to be western but always in the east, and that's because the crossroads of two continents, duality of spirit of a always hidden sonorous potential of the orthodox and academic musical observance.
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