15 Questions to Dmytro Fedorenko

Fifteen Questions just published an interview with Dmytro Fedorenko (Kotra / Variát) on the topic of Sound.


Great review on Variát from Vital Weekly

You may not have heard of Variát before, but it is the newest musical project from Dmytro Fedorenko, who worked earlier as Kotra. He recently stopped his Kvitnu label and now only concentrates on making music. There is indeed a bit of change here. As for instruments, he currently lists guitar, bass, synthesizer and drums, whereas, in the old days, I would think it was all electronics (digital and/or analogue) and drum machines. What remained was his approach to sonic overload. Many of the releases by Kvitnu were indebted to the legacy of Pan Sonic. That is brutal beats and ditto synthesizers. That brutality is also present here, but now he’s using instruments. Maybe Variát plays these live, and perhaps these are sampled; most likely, I would say it is a combination of both. Take, for instance, ‘There’s Lot Of Light Leaking All Over’, in which loops of guitar noise and drums (and bass, no doubt) battle against a solitary non-looped organ. The information recalls the use of “blown amps, toms played with a hammer, and drilled cymbals”, all of which I can easily see within the context of this record. One of the things this record is not is a dance record. To be fairer, I would call this is a rock record. A noise rock record, to be precise. I like this a lot. The fact that Fedorenko makes a radical break with his past music, and yet, for all the brutal approach, at the same time, he stays completely in line with his past. I find that quite an achievement. The wall of noise rock approach with real instruments, treated with electronic devices, sampled and giving them more strength via sound effects, makes these eight pieces strong music statements. Music that needs to be played loud or not at all. There is simply nothing in between. There is no escape, and total surrender is required, but something beautiful will be yours. (FdW)


Superb in-depth review on VARIÁT from Bad Alchemy magazine

Ganz Auge, Pupille, Black Hole mit Event Horizon, schon dass Dmytro Fedorenkos Aquarell-Artwork beim Anblick zurückblickt, als gigantischer kosmischer Abgrund, ist von enormer Sugggestivität. Auf der Rückseite ein Ring, ancient, wie eine von Patina überzogene Ausgrabung – Uroboros. Dazu verspricht der schon als Kotra und mit Kateryna Zavoloka als Cluster Lizard geschätzte Ukrainer als inzwischen einer meiner Lieblings-Berliner: A new wave… A new sound… A new beginning… An infinite becoming… A movement away from the stillness, to search self within self: ‘See, It’s You, Always’ und I already am what I am seeking. Rumis “Why am I seeking? I am the same as he. His essence speaks through me. I have been looking for myself” ist davon eine Variante, Pindars “Werde, der du bist”, das Nietzsche 7-fach variiert hat als Wahlspruch der Neuen, der fröhlich-Wissenden, Sich-selber-Schaffenden, eine andere. Fedorenko umkreist und variiert es in mit Gitarre, Bass, Synthesizer & Drums intoniertem Black Wave, der zähen Sludge und teeringen Post-Metal zu Doomgaze zermulmt und zerstampft. Steintrolls keltern die Zeit, raue Frequenzen zerren, feilen, nagen am Selbstverständnis von Raum und Zeit, von Licht und Nicht-Licht. Zu okkult-rituellen Beats setzt sich eine Armee der Finsternis in Marsch. Greifen sie uns an, oder sind nicht wir selber die Orks, wie ich nicht müde werde, ins Bewusstsein zu hämmern? Nietzsche riet, der Schlange den Kopf abzubeißen, Bataille visionierte ein souveräne Kopflosigkeit unter einer schwarzen Sonne, ein portugiesisches Sprichwort weiß aber: Wie man sich auch dreht und wendet, der Arsch bleibt immer hinten. Fedorenko sagt: ‘There’s Lots of Light Leaking All Over’. Morgenröte? Silberstreif? Den Schatten, den werfen wir selber, Melancholie und Wissen sind siamesische Zwillinge, eine platonische Einheit: ‘The Halves Are Once Again Together’. Beats stampfen und pauken, der Bass surrt und knurrt, die Gitarre wühlt, Synthisound schimmert, Cymbals zischen, Doom und Anti-Doom, das Drohende und eine sich schleppende Drangsal verwischen. So wie in „Nazis töten“ Objekt und Subjekt, wie in ‘Wake Up, Fire’ Feueralarm und “Fire Walk with Me”. Zavoloka überschrieb “Promeni”, ihre Feier der feurigen Elements, mit Burn the past and ignite the future now. Ich denke, dass Fedorenko da nah bei ihr ist.


Variát on three more radio stations around the World

ERR Klassikaraadio, Estonian national radio, Fantaasia program

The Parish News, Resonance Extra

Byte FM, Knuspern


Variát on ERR Klassikaraadio

Estonian national radio, Fantaasia program


  1. Rebecca Vasmant – Timing’s End
  2. Booker Stardrum – Steel Impression
  3. Aaron Dilloway & Lucrecia Dalt – Trueno
  4. e & H (eleOnora + Richard Thompson) – June session, Riga (19-06-19) – Pt II
  5. Maarja Nuut – Mees, kes aina igatses
  6. Kiwanoid – Enter The Untitled
  7. Stein Urheim & Jørgen Træen – Konglekjertelen
  8. Nytt Land – The Fires of Ragnarok
  9. Shiva Feshareki – Supernova
  10. Vinyl -Terror & -Horror – In Another World
  11. David Toop, Akio Suzuki, Lawrence English – Small Holes In The Sky
  12. Juhani Silvola – The Slow Smokeless Burning of Decay
  13. Kiri-Uu – Veimevaka jagamine
  14. Michael Wollny, Emile Parisien, Tim Lefebvre & Christian Lillinger – Michael Vs. Michael
  15. Sander Saarmets – Improvisatsioon Maajaamas 14.08.21
  16. Senyawa & Black to Comm – Istana Suara
  17. Kaspar – Check Point
  18. Variat – See, It’s You, Always
  19. Sofie Birch & Johan Caroe – Dod & Hav

VARIÁT on BBC Radio 3

Late Junction: Musical Purgatories


  1. Dos Santos – A Shot in the Dark
  2. Puce Mary – I Pray For Deliverance, The Size Of My Desires
  3. Rakhi Singh – Dhūṛa
  4. Desire Marea & Griffit Vigo – Tavern Kween (Griffit Vigo Remix)
  5. Scattered Purgatory 破地獄 – Limbo Litter
  6. Hildegard von Bingen – Symphonia et Ordo virtutum: O Euchari, in leta via
  7. Tanya Tagaq – Ajaaja
  8. Vera Kappeler & Peter Conradin Zumthor – Orthopedia Avantgarde
  9. Kaspar – Toupies
  10. Alasdair Roberts – A Lyke Wake Dirge
  11. Lucy Canchimbo – Alabao: “Sábado de mañana” (Saturday morning)
  12. Matteo Fargion & Andrea Spreafico – Canto 1
  13. Henry Threadgill – Now And Then
  14. Fimber Bravo – Call My Name
  15. VARIÁT – Wake Up, Fire
  16. MC Kono – Il Jini Song Wapi
  17. Francesco Giannico – Primum Mobile
  18. Dark Star Safari – Patria
  19. Glenn Astro – Flux
  20. Nikki Sheth – Paddabolela
  21. M. Ward – Migration Of Souls
  22. Mary Lattimore – A Unicorn Catches A Falling Star In He

Listen to the whole program here:


VARIÁT reviewed by Radioaktiv

VARIÁT – the new era of noise

Among his thousand artistic forms (abstract painter, photographer, producer and sound artist), Dmytro Fedorenko provides a new version of himself with the alter ego VARIÁT, a new experimental project that feeds on dissonant sounds, noise and corrosive synthesis.

Released on 10 September for the Prostir label, I Can See Everything From Here is his first album signed with this moniker, a sonic world of austere urban psychedelia, based on the themes of primitivism and mysticism within a contemporary digital age.

For the first song, Crowds Are Gone, Time’s Not Needed, VARIÁT synthesizes the sound of a guitar, transforming it into a dissonant storm full of rustles and noises of everyday objects that become the rhythmic part of the song. With ‘The Ancient of Seconds’ the guitar defines the boundaries of a metallic and difficult environment.
Synthesizers calibrated and treated to sound like traditional instruments mark the slow and obsessive rhythm of the track.

The compositional rigor of ‘See, It’s You, Always’ is to be found in its well-defined structure, an orderly chaos composed of sound detonations, a magmatic flow charged with noise with the aim of inflating the sound structure without ever exploding completely.

In ‘The Halves Are Once Again Together’ the guitar sounds are modulated to create a leaden and decadent atmosphere. A piece enclosed between the boundaries of noise and concrete music with sharp sounds like chainsaws, the sonic blasts become the hallmark of VARIÁT’s restlessness.

The album ends with the sound fragments of ‘Wake Up, Fire’, a production with jagged electronics embellished with oppressive pulsations. on ideas of transgression, reinvention and liberation as a search for new artistic boundaries for the achievement of a new aesthetic freedom.

Original text in Italian is here:


Electronic Sound magazine reviewed Variát in their recent issue

“Ukrainian experimental musician and multimedia artist Dmytro Fedorenko traverses a dark road on his debut album as Variát. Berlin-based Fedorenko takes a liberated approach to musique concrète via blown amps, metallic synths, drilled cymbals and raw textures of found objects. “Crowds Are Gone, Time’s Not Needed” buzzles and drones like an angry bee battering against a window pane, while “There’s Lots Of Light Leaking All Over” spits and fizzles like a sputtering candle.

Not for the faint-hearted, but still compelling stuff.”


Variát on KEPW 97.3 FM Eugene, Oregon

Spectra-Sonic Sound

Megan Alice Clune—-Cut Space
Lawrence English—-The Torso–3:34
philippe neau—-étang donné (edit)–13:33
juan josé calarco—-II–23:02
Jez riley French, Micheal Pisaro, Greg Stuart—-July Mountain (edit)–31:20
TOMOKO HOJO + RAHEL KRAFT—-caressing summer rice fields (edit)–42:17
Annea Lockwood with Yarn/Wire—-Into the Vanishing Point (edit)–51:06
Luca Formentini—-Traced–1:00:56
Modelbau—-Adventist World Radio–1:07:10
Modelbau—-Al-Quran Al-Karim–1:10:21
factor X w/ AMK—-Inoculate–1:12:56
Machinefabriek—-2 Re:Moving (feat. Anne Bakker) (edit)–1:23:54
Carlos Casas—-Panilan–1:32:11
VARIÁT—-The Ancient of Seconds–1:38:15
dogs versus shadows—-Part Three–1:43:52
Ning Yu & David Bird—-Petals–1:51:02


Dive deep into dissonant noise poetry from VARIÁT

from The Calvert Journal

VARIÁT is a new project from sound artist Dmytro Fedorenko. Now based in Berlin, Fedorenko is one of Ukraine’s most prolific pioneers of electronic music, working under aliases including Kotra and Cluster Lizard (together with the artist Kateryna Zavoloka). Fedorenko also works with video, photography, and painting, forging a complete, immersive landscape from the depths of his multi-disciplinary creativity. VARIÁT continues that tradition, allowing listeners to dive deep into what the artist describes as “dissonant noise poetry”.

VARIÁT blends ambient and metal with influences from psychedelic music and folk songs. One track in particular, “I Can See Everything From Here”, is a deep soundscape which fluctuates between being meditative, mysterious, and intense, although the record is better digested as a whole rather than in separate songs. In the wider wall of sound, genres melt away, making this a record which will awaken something different in everyone — and a journey worth embarking on.

Why you need to listen: Fedorenko’s project is not for the faint-hearted, but it is an experience guaranteed to broaden your musical horizons. By questioning genre boundaries, the project invites listeners to push beyond the novelty and immediacy which drive the contemporary music industry, and spend their time instead getting lost inside a cacophony that is constantly asking new questions.