Anastasia Vronski is a versatile experimental musician from Perm, Russia. Since years she has been creating an impressive and quite diverse body of work. Many of her tracks can be classified as “drone “or “noise”, but they always have a specific, often intriguing qualities. Above all, she’s not an artist who will do the same twice, and maybe that’s why some of her pieces are sometimes self-published isolately. Since we thought many of them deserved more exposure, we decided to make a selection of such works in a compilation album : Estrangements, that will be published in two volumes. The first volume gathers tracks composed in 2013 & 2014 (selected with the artist’s approval) that seem to share some kind of minimalist mood, although they are very diverse. For each of them, Vronski has written a few words about the specific methodologies and ideas (see below) involved in the composition. But this doesn’t make her music less mysterious. Each track seems inhabited by a mysterious and poetic spirit whose intrinsic qualities will appear to attentive listeners even without reading anything. The 2nd volume will be published in 2019
Click on the picture to visit the download page on archive.org :
Direct download links
Free Music Archive mirror (mp3 only)
Bandcamp mirror (streaming only)
More info about the tracks provided by the artist :
1. Colors & Shapes (2013)
I made this track using basic sounds like sine waves and white noise to give the idea of colors and shapes, like a sonic abstract graffiti.
2. Zombie (2014)
I made part of this track by dancing… I played drum, tambourine, shaker and electric bass and then looped it. Then I taped a contact mic to the floor and danced like a zombie to the loop, like when they make crackling sounds in the movies. I added another layer of noise like a soundtrack, then voice. I wanted the track to be very natural, involving body movements like a zombie ritual.
3. Teardrops Condenser (2014)
I wanted to paint a minimal landscape by “condensing” the microscopic events that take place through the cables of my guitar pedals. There is no actual guitar involved in this composition and minimal interaction. It is the gear taking a life of its own.
4. Debris Install (2013)
Composition for radio, piano and voice – referencing respectively Keith Rowe, Cecil Taylor and Kurt Schwitters. The duration and number of occurences for each instrument is written down, while the distribution of sounds was picked randomly in the spirit of John Cage’s works with the I-Ching.