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.


Industrial Complexx reviewed VARIÁT

VARIÁT is the new musical project created by Dmytro Fedorenko, an Ukrainian artist with a long career in the field of sound and multimedia research. His 3 decades as an active artist and promoter make him one of his country’s greatest exponents of experimental music, and although there are many projects in which he has been involved, it is worth mentioning that in addition to VARIÁT, he has also signed his work since the late 90s as Kotra, and has directed the Kvitnu label until recently, and is also the head of Prostir together with Kateryna Zavoloka, his partner in the Cluster Lizard duo.

VARIÁT makes his debut with an album released on his label Prostir. I Can See Everything From Here is an 8-track in which Fedorenko shows us a transgressive behaviour and an extreme sonic treatment. However, the final process only dissolves different frequency ranges, subjected to a low fidelity, but this does not mean that VARIÁT’s work is devoid of other factors such as musicality and harmonic conjugation, as each cut has its own story and a unique modus operandi.

Within this album we can appreciate different primary elements, both rhythmic and melodic, and from synthesized machines to other stringed instruments or handmade percussion. VARIÁT demonstrates with I Can See Everything From Here their creative mastery from different scenarios. This release defines very well the sonic perception that this artist has accumulated over the years.


A good in-depth review for the upcoming Variát first album from Monolith Cocktail

Ukrainian multimedia artist and co-label launcher Dmyto Fedorenko makes an abrasive, thickset and caustic noisy statement of mystery and forebode on his latest dissonant album.

Under the Variát alias the static, fizzled and pulverized pulsating sonic sculptor uses a busted and transmogrified apparatus of blown amps, hammer thumped toms, cymbals that have been drilled to make unpredictable resonating distortions, and countless found objects to conjure up the most heavy and deep of savage and alien discomfort.

One artist’s reaction to the times we now live in, launched from Fedorenko’s own Prostir imprint that he set-up with fellow electronic music experimentalist Kateryna Zavoloka, the album’s eight fizzing contortions burble, squeal, scream and drone lethargically with unknown ritualistic invocation.

The accompanying PR notes tell me that this project (in part) was conceived last year as a ‘provocative outlet’ for transgression, reinvention and liberation. This all becomes a bestial, doomed industrial freedom when channeled through a fried crunched distortion. Unknown propelled craft hover as the stark brushes and scrapes of an electric guitar are magnified to sound like an unholy alliance of Sunn O))) and The Telescopes. Reversed sharpened blades, searing drones, metal machine music concrete, vaporised static, the sound of a robbed manic knocking on the gates of Hades and various bone and gristle menace converge as leviathans, secret ceremony and regurgitations emerge from the discordant mass.

Itchy-O, Faust and Emptyset bring in augurs and break the limits in a suffused display of heavy metal primitivism, as Variát craves out meaning, description and evocations from a corrosive block of fucked-up serpent like dark materials. It’s probably, exactly, the right sound we need at the moment.