{"id":1922,"date":"2023-06-14T23:55:51","date_gmt":"2023-06-14T20:55:51","guid":{"rendered":"https:\/\/bagnik-zine.net\/?p=1922"},"modified":"2023-06-14T23:55:51","modified_gmt":"2023-06-14T20:55:51","slug":"%d1%80%d0%b5%d1%86%d0%b5%d0%bd%d0%b7%d0%b8%d1%8f-transnadeznost-monomyth","status":"publish","type":"post","link":"https:\/\/bagnik-zine.net\/en\/arch\/1922\/","title":{"rendered":"Review: TRANSNADE\u017dNOST\u2019 \u2013 Monomyth"},"content":{"rendered":"

Year of release:<\/span>\u00a02018
\nLabel:<\/span>\u00a0addicted label<\/a>
\nRating:<\/span>\u00a07,5 \/ 10<\/span><\/p>\n

With this review, I start a fascinating, ahem, trip on the releases of a Moscow label without name and logo. Both the nameless label itself and its releases are an almost perfect embodiment of what I try to avoid in music and music-related work. In simple words, this is some kind of wild drug-heavy shit that I, on my own accord, would not touch with a shovel - as I informed the label owner, who came to me with a request to review the discs. Nevertheless, this did not frighten the stubborn Anton Kitaev, and soon I went to the post office for a pack of eight releases containing all sorts of oddities, erupted by human minds, throats and hands under the influence of various substances and circumstances. The debut album of the band with the savage name TRANSNADE\u017dNOST \u2019left the most pleasant and comprehensible impression, so I'll start with it.<\/p>\n

\u201cMonomyth\u201d is psychedelic rock, which in fact means a jumble of experimental genres popular in the early 70s: stoner, prog, space, hard, as well as a little blues, surf and fuck knows what else - I am not an expert. The album is almost entirely instrumental, which means that you can evaluate it exclusively with your ears. I am glad to inform you that you can enjoy listening to \u201cMonomyth\u201d without resorting to additional stimulants. There is quite good music here, rarely transforming into pointless mess, and never into jerking off the guitar. Both guitars, bass and drums work in a tight bunch, not allowing themselves to scatter wherever. The sound is enriched by glockenspiel and, if I am not mistaken, maracas. Compositions have rather traditional structures, although it can be difficult to recognize them, since it seems that the main riff may break off after fifteen seconds, and the allegedly decorative solo following it can stretch for four to five minutes of a \u201csong in a song\u201d.<\/p>\n

The mood of the album varies from dreamy to frivolous to a little gloomy. According to subjective sensations, the vigorous parts are total success, while the \u201ccosmic\u201d ones are not all equally useful - only the measured thing \u201cStar Child\u201d is almost impeccable, and, by the way, contains a good trumpet part. The mystical \u201cHuldra\u201d, the only song with vocals, gives almost nothing to the album; it only gives you confidence that this band does not need vocals. The vocal itself is neither bad nor good, it just seems superfluous here. If all the other tracks give some emotions, then \u201cHuldra\u201d, paradoxically, leaves nothing. Fortunately, the last two things on the disc are very good. \"Chewbacca\" is fluid and intriguing, while 12-minute \"Day\/Night\" successfully combines simplicity with dynamics and a soothing atmosphere.<\/p>\n

The album was published in 200 copies in a 4-panel digipack. Simple and stylish design conveys almost all the emotions and images embedded into music. As usual, you can get a detailed overlook on\u00a0on a video<\/a>. You can order a compact disc at label's Bandcamp.<\/p>\n

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