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: