Dusted, Bill Meyer:
The album projects a massive presence, with long, low tones looming like moisture-burdened cloudbanks seen just before dusk. Squint with your ears, however, and you’ll hear a lot more happening, although it’s not always clear what it is. Electrical sounds sizzle and pulse, and radio captures mutter, flickering deep in the murk. Chase them with your ears, and you’ll happen upon another layer of sound, mostly collected on Russian streets and train platforms. Turn it up loud enough for everything to register and you’ll find yourself feeling very small indeed
Colta magazine,
“If you listen carefully and thoughtfully to the music here, you will definitely notice how the world around you changes: you start to notice events and sounds that were ignored before, and you discover whole new layers of slow and sparse information hidden everywhere in the most prominent place.”
Vital Weekly, Frans De Waard
Throughout these pieces, Belorukov goes for quite a dense sound. The synthesizer creates a thick, vast carpet of sound, and on top of that we hear whatever he adds; lots of field recordings there, also extensively layered, geography disappearing here. Also, more individual electronics are placed on top of that. The best thing is to put up the volume quite a bit, as some details may be lost at a lower volume. Once it is a bit louder, the multi-coloured music shines best.
loop.cl, Guillermo Escudero
This album was originally released on Polish Sublime Retreat label and consists of four tracks. in which a drone is built as a backbone and in between, internal recordings such as someone's steps, some indecipherable voices, the sustained note of the organ. All this causes a certain uneasiness. In “It Could Have Been Anybody” there is an unsteady atmosphere and when least expected, some bells and an interesting sample of an Italian song from the fifties or sixties emerge, showing that the dark edges that this track has drawn until now, fade and make a histrionic turn.
jazzword.com, Ken Waxma
"On his own, Belorukov’s solo CD unfolds with four tracks that segue from one tone to another, with continued properties that palimpsest-like advance intermittent pulsating drones. While pulsations often become noisier, more staccato and fragmented, like an unfolding plot they never fasten on a single timbre for too long."
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"Someone Has Always Come" is a third album by Ilia Belorukov in a series started with “There Was Hardly Anybody There” (Spina!Rec, 2016) and followed by "Nobody Ever Escaped From There" (Moving Furniture Records, 2018).
In the new works Ilia combines diverse sound sources to create
idiosyncratic electro-acoustic compositions. In 4 tracks you can hear elements of musique concrète, drone, ambient and virtual soundscapes based on field recordings, but these compositions are unique sonic worlds in themselves, transcending the boundaries of any particular genre.
The whole list of instrumentation used: 0-coast, modular synthesizer,
korg electribe amkII, vcv rack,electric organ,axolotl,electromagnetic
pickup,vinyl samples, ppooll, flutophone, alto saxophone, effects pedals, nord drum 2, field recordings on sony pcm-m10, zoom h2n, sansa clip in saint-petersburg, moscow, yaroslavl, nizhny novgorod, berlin, zurich, helsinki, biel/bienne, tarasovskaya
About Ilia Belorukov
Ilia Belorukov is a musician from Saint-Petersburg, Russia. He works in the directions of improvised, noise and electroacoustic music. He’s a member of different projects with local and foreign musicians. He collaborates with artists who work in other musical directions (from hardcore and metal to academic contemporary music); with dancers and painters; with theater. Ilia practices an experimental approach of sound extraction on alto saxophone with objects, uses electronics and other instruments. Also he is a founder of Intonema label (
www.intonema.org) and one of curators of Spina!rec label (
spinarec.bandcamp.com). Organizer of events in Russia, co-organizer of the SpinaFest and Teni Zvuka festivals in Saint-Petersburg. He writes reviews for his own blog on Syg.ma, was reviewer of Contemporary Music, Music & Time, Topot and GEZeta journals.
Ilia had played with such musicians as Keith Rowe, Alfredo Costa Monteiro, David Stackenas, Radu Malfatti, Lucio Capece, Jason Kahn, Birgit Ulher, Ignaz Schick, Jonas Kocher, Gaudenz Badrutt, Stefan Thut, Arturas Bumsteinas, Thomas Buckner, Bryan Eubanks, Jack Wright, Andrew Drury, Andrey Popovskiy, Alexei Borisov, Kurt Liedwart and many others. Released his works on labels Moving Furniture Records, Copy For Your Records, Ilse, Cabin Floor Esoterica (USA), Hideous Replica (UK), Creative Sources (Portugal), QuasiPop (Ukraine), 1000fussler (Germany), Mikroton, Intonema, Spina!Rec (Russia) and many others.
He participated in various festivals: SKIF, Teni Zvuka, Aposition, ReMusik (Saint-Petersburg); Noise & Fury, Long Arms, Tilde 2, RichterFest (Moscow); Budapest Spring Festival (Budapest); Gogolfest (Kiev); Jauna Muzika (Vilnius & Klaipeda); Angelica (Bologna); Baba Fest (Rome); Altera Festival (Naples); Jazz Bez (Lvov); John Cage Year (Lublin); Theses (Kemerovo); Helsinki City Festival, Chance Meeting (Helsinki); Mozg Festival (Bydgoszcz); MEX25 (Dortmund); SKOP Festival (Frankfurt); Wien Modern (Vienna) etc.
