Александр ВОРОНИН  ABOUT

Alexander Voronin (12.12.1966 - 8.07.1998) worked with "Do major", "Nicolas Copernicus", "Entr'acte", "Igra" ("The Game"), "Acoustic-Kovcheg", "Komitet Okhrany Tepla" ("Committee of Warmth Protection"), "Soft Animals", "Aleatoric Orchestra", "Sakura", "Avvalon", Igor Granov band. He played in concerts with Sergey Letov, Umka, chamber musicians "Consonance", gypsy theatre "Romane". Participated in co-projects with Alexander Sokolov, Rada Tzapina, Ivan Sokolovsky, guitarist Tracy D.Drake (well-known by his work with Robert Fripp). Recorded two solo albums: "Traces of a Prophet or Almost a Requiem" (1990-1992) and "Geography" (1991-1998). Died in an accident.

Olga Arefieva on "Geography"
Irina Gurova's cover to "Geography" matches the content of the album perfectly - it is avant-garde, minimalist, philosophical. Geography. Anthropology. The essence of the world is fragile, this web is spun from almost invisible gossamers, it can be only perceived by silence. That's what Alexander Voronin's lonely flute is talking about, appealing to us from the world of the dead. He seems to have foreseen his sudden and obscure death. Some specific shiver is reflected in the mirror of the bays, natural settings of cave arches, walls of metro stations made by human hand. Rustle of sand, of someone walking, echo split up, indistinct murmur - and a silver snake of the flute, creeping along the worlds. Sorrow penetrates all its inhales, so it weeps on exhale. Death watches from behind the shoulder.

Ekaterina Koroleva on "Geography"
"Geography" is not the kind of music that wants to entertain or to please. It is written as a letter to a friend: about things that really matter, without resorting to any tricks, when understanding is based upon confidence. It requires an effort from the audience - not just because "Geography" is generously saturated with quotations and allusions: from Janis Joplin to Stockhauzen, from Timothy Raily and Phillip Glass to Bach, - but because the album's message insists to be heard.

This - without making any allowances - is music which has time as a main point of its speech. Improvisation here is not a mere narration of musical idea, but a projection of modus vivendi, when you find people of your kind by intuition. And this is the only way to be absolutely sincere. This idea - to make a snapshot of soul - arose from the solo concerts, or, rather, monologues, at someone's kitchens, on seashores, at local railway stations. So time and space were brought together in this four-dimensional album.