Initial idea of collaboration with Miguel Ruiz appeared during his Moscow tour, participation of Alexei Borisov being implied. In early spring of 2006 Miguel sent me a disc with ambient recordings. They were free of rhythms and very atmospheric. Performing in Madrid in summer, I brought him these mercilessly edited treks, which he could hardly identify as his own compositions. Miguel added some rhythms and I received a new version from him in autumn. We worked at the distance by means of e-mail, as a genuine group, keeping mail-art traditions of the 80-s. Then I edited Miguel's mix once more, added my own rhythmic compositions in stock. After running it through we arrived at a conclusion that there were some lacunas that could be successfully filled by Borisov's materials that resided in my studio waiting for their chance to come. It was a disc with the rhythms of analogous drum-machines long ago recorded by Alexei. So, after adding his treks I realized that Borisov ought to record additional voice, guitar and so on… It was winter again. Early in January Alex delivered two treks supplemented with various queer sounds, which served me as a material for the final version of the album. I sent to Miguel and received highly approving answer from him. I believe that this record is utterly extrinsic for the three of us, a kind of dark-ambient with trans-rhythms…
The idea of Ornaments project showed up after my first concert in Moscow where I met Eugeny Voronovsky.
On February 06 I proposed him collaboration in a joint project, full of unexpected The idea of Ornaments project showed up after my first concert in Moscow where I met Eugeny Voronovsky.
On February 06 I proposed him collaboration in a joint project, full of unexpected ambient soundscapes & audio surgery sketches. Before it I heard Cisfinitum´s "Bezdna", his album for Monochrome Vision label and it was an amazing experience: those deep sounds were among the best I ever heard. We exchanged several basic tracks & loops by mail during the following nine months. When Eugeny visited me in Madrid in summer, we, among other things, discussed the idea of a violin processed by a modular synthesizer.
Later Alexei Borisov was invited to the project. When I met him during a short trip to Yaroslavl, I already knew him as one of the early experimental artists in Russia. Eugeny said he was impressed by the flat Castilian golden fields in august, on the other hand, I was fascinated by the frozen Russian landscape in winter. I believe these two powerful pictures are the main source of inspiration in this album, along with our devotion & respect to Yuri Gagarin and the early Soviet cosmonauts.
Miguel A. Ruiz August, 2007
Table and chairs, summer 8th, nature descending into the night, thus giving occasion for realization of realism the simple. The deed is intrinsic; perhaps, it underlies the life of colors, shaping ornamental pattern of our steel society.
Reciprocal encounter of the day, something from psychopathic realm when sleeping nature embraces soap. Brightness of coal and faceless of powders tell us about the denial of homeopathy, as long as human element is provided solely by the afield outlet. New daily agenda, ornamentality of flesh and patter, speak-spoke, hempen Russian, local in essence. Piles, open-work in table-cloth the white, placed into a chemical solution -- ear by year, egg-sized mouth. Toxicality of the night is confirmed by the documents from Madrid.
Eyes and ears, cold mouth, male or female. Straight and steadfast. Fennel in blossom, dictator says and spits upon the mike, thus upsetting set-phrase ornament. Moscow sleeping, USA slumbering -- steam-iron troubles, match-head, spring the thick, autumn 2nd by number, Spanish by season.
Vertical-line, pine-tree, hake, halibut, but sweet-heart and steadfast -- hazel and water, hazed-over as never before. Assumptive reference for assumption of an office, documentation and simply decoction of eucalyptus africani, tame as brutus antique.