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2024
Good day for planting garlic
Recorded in 2023-2024, Moscow - St. Petersburg
(38 minutes 39 seconds. Not released anywhere)
We need to somehow survive the winter - my friend Sevka said a year ago in a conversation. Recently I came across an article by Martin Seligman about his "learned helplessness". For someone crushed by an atmospheric column weighing two hundred fourteen kilos, what is here, in this album, is an attempt to regain the desire to do anything at all, beaten to death. I really want after the polar winter comes an equally polar summer. We'll survive.
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2022
Fly Day
2022, St. Petersburg - Moscow
(45 minutes 47 seconds. Released into the clouds)
The sky still fell into the Danube, and time broke in half, into "before" and "after". It so happened that this album was also drawn into the rift. So half of the things are "before", half are "after", and a couple fell through. And it's smoking. Nothing more to add. Listen for yourself.
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2018
EP #2
Recorded in the summer of 2018, St. Petersburg, Russia.
(11 minutes 30 seconds. Released into the clouds)
A couple of depressive songs, recorded by inertia after the completion of Splash Back Vol#2. Plus experiments with a strange Chinese flute. I don't think I'll stretch this to an album concept, hence EP.
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2017
SPLASH BACK vol. II
Recorded in spring - summer 2017, St. Petersburg - Chelyabinsk, Russia.
(50 minutes 30 seconds. Released in MP3)
Again I remember old songs, this time only my own, from the late 70s and early 80s. Some had already been recorded. Reworked in the light of my current worldview. The entire album was arranged, mixed and mastered on a mobile phone, mainly in the metro, on the blue line (St. Petersburg). Live parts were recorded as best and wherever possible, also directly on the phone. Such downsizing. Well, I've always been attracted to the Zen principle - to get the maximum out of the minimum.
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2010
Decompression (EP)
Recorded in different seasons of different years from 2006 to 2010 in Chelyabinsk, Russia.
(15 minutes 15 seconds. Released into the clouds)
In the process of moving and archiving during the era of change, several interesting recordings were discovered, it’s impossible to remember where and for what purpose they were planned, but they unexpectedly fit into a certain depressive concept. So I thought, why not release a 15-minute EP with the long-planned title for an album that never happened for various reasons. The album was compiled in 2017, but dated 2010, in accordance with the time of the final mixing of the last recording.
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2003
SPLASH BACK vol. I
Recorded in autumn 2002 - summer 2003 in Chelyabinsk, Russia.
(48 minutes. Released on CD)
The album consists mainly of covers of old songs. Some of them I tried to recreate one-to-one, in some interpretations appeared. There are also a couple of new compositions, nothing special. In general, a midlife crisis..
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2002
Charisma of Epifan Elenbogen
Recorded in Chelyabinsk, in September 2002.
(33 minutes. Released on CD)
The album was recorded in one evening, with the participation of guitarist from Moscow, Maxim Kudelkin. A few hours of improvisations as a duo resulted in half an hour of selected material, which is presented in this album.
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2001
Fools and Roads
Recorded in Chelyabinsk, in January - April 2001.
(52 minutes. Released on CD)
Album based on poems by Sanya Gornostaev.
All music by Dmitry Kuznetsov. Again a minimalist
instrumental composition. The album is recorded as one track, without pauses.
Cakewalk, guitar, harmonica, microphone. All as usual...
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2000
Something about the Life of Hedgehogs
Mastering and recording - Qusnetsoft Home Studio, 2000.
(54 minutes. Released on CD)
Continuation of the avant-garde theme of "Two Fools", this time in a minimalist style. I tried to minimize the number of musical instruments used, especially various synthetic sounds. As a result, the album features only guitars, drums and a mechanical "hammond". Well, occasionally flutes and harmonica.
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2000
Two Fools
Chelyabinsk, 2000, January - April
(52 minutes. Released on CD)
52 minutes of guitar avant-garde. This album is so different from what the ensemble did before that I initially wanted to release it as my solo album. There's only one song here. Everything else is my musical research. Actually, what I had dreamed of doing for several years. As it seems to me, it turned out "from the heart".
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1999
Thirty Five
Recorded in March - December 1999 in Chelyabinsk
(59 minutes. Released on CD)
The use of new technologies allowed a certain level of quality to be achieved in this album. Although the overall concept of the album looks traditional for LETIT, even perhaps somewhat more lyrical, some songs, such as "Radio Reactor", "M.L.", "Zhabonka", as it seems to me, appear experimental against the general background.
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1998
Rights and Duties of Passengers
Recording Qusnetsoft Home Studio, Chelyabinsk, August - December 1998.
Sound engineering and mastering - Dima G. Kuznetsov
(62 minutes. Released on CD)
The album was recorded in a record short time - from August 18, 1998 to December 1999. The lyrics are mostly by Dima G. Kuznetsov. This album has a more "live" sound thanks to the live guitar. I wanted to get an "informal", dirty sound. Which, it seems to me, I achieved to some extent. Some songs sound naturally like "guitar relaxation". Used were IBM PC Pentium 200/MMX, FastTracker II (Triton), CoolEdit Pro (Syntrillium), 5-string guitar and a domestic condenser microphone MKE-9. The song "Submarine" unexpectedly turned out in an experimental "acid" style, thanks to the software synth ReBirth. Backing vocals - Sveta Kuznetsova.
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1998
PENICILLIN
Dedicated to the memory of Emad (Dodi) Al Fayed. Chelyabinsk, 1998.
(43 minutes. Released on CD)
The idea and concept of the album was proposed by Sanya Gornostaev. As a result, the album turned out to be aggressive, compared to all previous ones. Used were IBM PC Pentium 166/MMX, FastTracker II (Triton), CoolEdit Pro (Syntrillium). No live instruments were used. German poems read by Vadim Kuznetsov.
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1996
Ronalds on a Branch
Chelyabinsk, 1996
(42 minutes. Released in XM format)
An album released after more than a year break with new, near-CD quality. Some compositions, such as the 12-minute "XII" and "Expedition", were created several years ago. Used were IBM PC 386SX/40, FastTracker II (Triton) and CubicPlayer. No special mixing or mastering was done. All songs were simply taken one-to-one from FastTracker. Backing vocals - Sveta Kuznetsova, Vadim Kuznetsov.
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1994
SMELLS AND SOUNDS THAT AROSE INDIFFERENTLY IN THE SOUTHEAST DURING APPROXIMATE REVELATIONS WITH DOUBTFUL ADVANCEMENTS INWARD
Chelyabinsk, 1994
(46 minutes. Released on tape)
The last of the albums made on the 4-channel tracker SoundWave by Evgeny Zabolotny. A channel mixer by Bob Malyanov was used, which allowed 10-20 channel recording. Most of the lyrics by Sanya Gornostaev. Used was the Stereo Thing by Alex Tihan and the OLYMP 005 tape recorder.
Archival recording
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1993
Night Shift
Chelyabinsk, 1993
(44 minutes. Released on tape)
An album with a pronounced concept. I think this is one of the best albums of the ensemble with lyrics by Sanya Gornostaev. Used were IBM PC 386SX/40 with SoundWave tracker by Evgeny Zabolotny, Covox StereoThing by Alex Tihan and NOTA 203-1 tape recorder.
Archival recording
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1992
Left Hand Rule
Chelyabinsk, 1992
(43 minutes. Released on tape)
An album made conceptual by the excellent lyrics of Sanya Gornostaev. And songs like "Hold on!" and "Autumn Optimistic", as it seems to me, still remain the best songs of the LETIT ensemble. The album was made on Scream Tracker. Used were COVOX, 4-channel mixer, NOTA 203-1. Backing vocals - Vadim "Petrovich" Romanov.
Archival recording
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1991
SONGS!
MONO, Chelyabinsk, 1991
(39 minutes. Released on tape)
The first "computer" album, which was made on an unregistered version of ScreamTracker by Sami Tamilehto. This version lacked module saving functions, so everything had to be invented, arranged and recorded within one day. Later, vocals and guitars were overdubbed separately. The first album with excellent lyrics by Sanya Gornostaev. Used were IBM PC 386, COVOX, NOTA 203-1 and a 4-channel mixer. Guitar solos by Vadim Romanov. Backing vocals by Vadim Romanov and Sanya Tatarinov.
Archival recording
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1990
EZZA
The LETIT ensemble and Lenya Slukin. Recorded in Sverdlovsk, in December 1990.
(42 minutes. Released on tape)
The album was recorded in Sverdlovsk, in the winter of 1990. Most of the music was made on CASSIO MT keyboards by Leonid Slukin. Used were NOTA 203-1 tape recorders, NOTA cassette, 4-channel mixer, guitar, enameled pan, scissors, etc.
Archival recording
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1989
E.K.
Recorded in different places in Chelyabinsk at various times in 1989.
(40 minutes. Released on tape)
The album was recorded for more than a year. It has a somewhat "garage" sound. The tale of Man-Eaters and Turtles was invented by Lisa Romanova. Guitar solos and keyboard experiments - Vadim "Petrovich" Romanov. Some bass guitar parts - Sanya Tatarinov. Used were a NOTA 203-1 reel-to-reel tape recorder with glass heads, a 4-channel mixer, a Chinese "balalaika" CASSIO, FAEMI 1M and an analog piece from a burnt digital drum machine.
Archival recording
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1988
Iran-Iraq Conflict
Chelyabinsk, 1988
(45 minutes. Released on tape)
The album was recorded in the spring of 1988 by successive overdubbing, using two reel-to-reel tape recorders and a homemade mixing console. A digital (on the 155 series) drum machine with analog sound generators was used, guitars, FAEMI-1M keys. The sound, as they say, "in the spirit of the times", in the spirit of Russian Rock at the beginning of Perestroika. Backing vocals - Katya Kuznetsova.
Archival recording
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