In Borshch 5, we enter sweaty basements and concrete cathedrals and explore the culture of darkness born out of protest. In unsettling environments, we embrace the shadows and challenge our senses with obscure electronic music. When do you feel comfortable with your discomfort? What happens when the lights go off, and the only source of illumination you’re left with is blurry haze or an abrupt stroboscopic pulse? Conversation with Deena Abdelwahed, Lucrecia Dalt, and Alessandro Adriani question the ambiguity of ‘dark’ sound and psychological impact of unpolished music. Artist portraits of Animistic Beliefs, Rrose, Klein, Ziúr deconstruct the dark areas where sins, injustice, and disquiet are as human and real as pleasures and joy. This issue of Borshch considers entering the dark as an act of coming home, to the cave where the primary source of life is hidden.
Object Blue: We All Live With Imposter Syndrome
Object Blue speaks about her gentle acceptance, therapy, and almost religious healing properties of her “pretty and brutal” music.
Rave Mantras With Aïsha Devi
What is similar between the loops and repetition of electronic music on the throbbing techno dancefloor and an ancient shamanic ritual in a virgin rainforest?
When Jasss Became Weightless
Where is the line that separates the need for self-improvement as a musician, an artist, or a friend from the tyrant who does not allow her or himself to make mistakes and feel pain, and channels their frustrations into people around?
Iron Sight Reveals His Naked Feelings
Most people have soft ears
Borshch 4 explores the power of music to reach the darkest corners of the psyche and drive out an unquiet spirit. To purge, transform, heal, and enlighten. After a radical personal transformation, Aïsha Devi makes music with an intention to purge and heal people. Awoken after a physical trauma, Prequel Tapes reclaims his forgotten sound and reveals a new musical identity. Marie Davidson confesses about obsessive and destructive behaviors since her teenage years and the role of music in her process. Without shame of living with chronic depression, Object Blue resorts to the healing capabilities of music and feels bare and incomplete without it. Knocked down after a panic attack Jasss discovers the heavyweight of self-tyranny and faces the dark layers of her true self. Bergsonist creates sonic weapons to soothe anxieties, while Iron Sight explains how distorted sound becomes armor for a sensitive nature. In the pursuit of a sound mind, the issue provokes openness and honest dialogues to remind ourselves of the transformative power of music and underground communities and to rediscover empathy.
In Borshch 3, together with Jeff Mills, we take a bold leap forward to speculate on what we, fragile human-beings and machine music addicts, can expect in the technology-driven future. We meet Dasha Rush, an electronic musician who also finds her muse in the nature of celestial bodies, to explore her ideas envisioned in Dark Hearts of Space. When speaking about techno music beyond the dance floor, we asked Jeff Mills to introduce people whose vision and art proved to be inspiring for his process. In this issue, we speak to the artists who also see electronic music as an independent art form integral to their craft: a poet, an actor, a film director. Jessica Care Moore, Akaji Maro, Jacqueline Caux are Jeff’s collaborators who made him seek new outlooks on familiar subjects. Kelly Snook, a planetary scientist and instrument inventor, joins this circle of deep thinkers to discuss Mills' ideas about our expansion into outer space and to propose new scenarios of a hopeful future.
Borshch 2 discovers new releases and reissued wisdoms, soaks up the sense of revolt manifested in communities, and adheres to the purity of the DIY culture. The magazine introduces extended interviews with Volruptus, the youngster of the second issue who lands on the cover, as well as techno titans Steffi, Perc, and Rødhåd. Gudrun Gut, BBC Radiophonic Workshop, and Species of Fishes offer precious history lessons on the emergence of electronic music in different cultural contexts and inspire to dream of unearthly sounds. Loke Rahbek of Posh Isolation tells a story of the punk and noise scene in Copenhagen. The issue also discusses the ideas behind the curation of Berlin Atonal in conversations with the festival organizers and Varg in the role of a guest curator. And finally, Borshch breaks away from misconceptions and sheds light on the gradual development of electronic music culture in Kyiv, with presidents and revolutions aside.
In Borshch 1, Fatima Al Qadiri confronts readers with the delusions of social freedoms encoded in her album Brute. Robert Henke explains the elegant solutions in his audiovisual laser installation Fragile Territories. Bjørn Svin and Carl Emil Carlsen implement organic forms and complex 3D mapping in the Silicium project. The Portuguese illustrator Tombo speaks about his surrealist drawings for the album covers' of Nina Kraviz's label трип. Another disciples of трип, electro duo PTU, make reading suggestions for space travels, long Russian winters, and endless summers. Red Axes present their Garzen Records and advocate for the fundamental influences and a childish state of mind. David Armengou at the head of Berlin's Echo Bücher contributes to the local community with a curation of books and magazines and other gems on electronic and experimental music. The non-orthodox thinkers of Tbilisi's electronic music scene seek justice and speak of the impact their local scene has on the shift in the Georgian mentality.