"A Wish for Free Verse" is a dance electro-piece inspired by the evocative dark and erotic poem of Arthur Rimbaud’s “Bottom,” of the 19th century, which in turn was a direct reference to William Shakespeare's "A Midsummer Night's Dream" of the 16th century. A piece that delves into themes of transformation, desire, and the subconscious. It was created to evoke an otherworldly and immersive experience, blending the rhythmic pulses and psy-ambient layers features of electro music with the poetic depth of the themes.

In intertwining Rimbaud’s vivid imagery with the enchanting magic of Shakespeare’s “A Midsummer Night’s Dream,” (a piece where Bottom, the donkey comes from) I aim to create a portal into a realm where dream and reality blur, inviting listeners to explore the depths of the human psyche.

Throughout the track, direct quotations in both Russian and French are woven into the fabric of the composition, rendered in a spoken-word stylistic approach by male and female voices. These snippets carry a meaning that enriches the narrative, adding layers of cultural depth and poetic nuance. Additionally, the insertion of human breathing is intentionally incorporated as my signature branding element, symbolizing the organic, human essence amidst the electronic landscape.

My intention with this work is to refresh and reimagine these timeless texts through the language of electronic dance music, capturing their surreal and poetic essence anew.

Electronic reinterpretation of Arthur Rimbaud's Age d’Or, weaving the poem’s fevered imagery with a contemporary, synth-driven soundscape. The original French text anchors the track while free-style translations into Portuguese and Russian unfold alongside, forming a multilingual emotional context where longing, revolt, and the myth of a golden age resonate across tongues.

Thanks to sonyablack's cool and punchy drums in the production, I was strongly inspired to create the project's entire mix centering on one self-oscillating bass the three-lingual dialogue affectionately expressed by synthesised voices.

Featuring various sonic elements such as special effects, low-frequency pulses, fragmented textures, and story-developing noises, the experience draws you into an aural narrative. It holds you at the intersection of rhythmic movement and literary forms, causing your foot to tap in time with the rhythm while your intellect processes the text within its triple auditory layers.Listen as three languages refract the same dream, turning language into feeling rather than exact meaning.

"Spring Yawnfest" ventures into a poetic exploration of time and transience, inspired by Charles d'Orléans’ simple yet poignant old-fashion sonnet "Le temps a lasse son montéau," penned around 15 century during the late Middle Ages originally written in Old French

In this piece, I intertwine the historical dimension of d'Orléans’ words with the modern intricacies of IDM, creating a dialogue between past and present. The entire track is crafted using solely analogue synthesizers, including all birds-like sounds, meticulously synthesized to evoke organic qualities of nature. By merging timeless themes of fleeting time and the eternal natural world with contemporary electronic textures, this work invites listeners to reflect on the enduring human perception of a springtime across ages.

Additionally, I incorporated digitalized voices of men and women reading out the poem, blending human vocalizations with electronic manipulation to deepen the immersive experience. I also made it obvious my addiction to glitch aesthetics, deliberately including fragmented, distorted, glitchy elements, cropping and chaotically mixing the verse phrases throughout the piece. All to reinforce the idea of slightly misconceptional perceptions of an old regime mindset which unfortunately may often be called boring and slow.

"Za Gribami" which is literally can be translated to "Mushroom Hunting" is what finishes one of the lines of poem Written into the notebook of Nataly Scavronski also known as “Осень. Оголенность тополей...” by Joseph Brodsky. Written in the quiet moments of reflection, the song was crafted in the early months of 2025, capturing the ongoing turmoil and the persistent shadows cast by the long-lasting war between Russia and the rest of the world.

I intentionally selected specific words and phrases from Brodsky’s poem — repeating them to evoke a sense of unending despair and hopelessness. I accentuate the drum parts with warm but aggressive kicks to express the intensity and aggression of this tumultuous time. The vocal part is scratched out by my own old-phone-voice, adding personal layer of emotion, vulnerability and yet dramatic expression referring to a human perception of the times as a "meaningful historical events". The repetition and surrounding sound effects such as shooting gun, wobbling doors, falling empty cartridges serve as a metaphor for the cyclical nature of war’s trauma, emphasizing how these feelings linger and intensify over time.

Brodsky’s language, with its stark honesty and profound introspection, provided a foundation for expressing the persistent hopelessness faced by countless individuals affected by this enduring conflict. By quoting and recycling these phrases, I aim to capture the relentless, inescapable atmosphere of despair, mirroring the emotional landscape of a world torn apart by war and the human toll it exacts.

‘Nach Aoibhinn Do Na hÉiníní’ a 17th century Irish love poem from An Duanaire (1600-1900), ever so melancholically voiced out by Barty Begley and nicely layered over my bulhing synth.

Nach aoibhinn do na héininí a éiríos go hard
‘s bhíos ag ceiliúr lena chéile ar an chraobh amháin,
ní mar sin dom féin is dom chéad míle grá
is fada óna cheile bhíos ár n-éirí gach lá.

Is báine í ná an lile, is deise í ná an sceimh,
is binne í na an veidhlín , ‘s soilsí ná an ghréin;
is fearr ná sin uile a huaislaeacht s a méin,
‘s a Dhé na flaitheasaibh, fuascail dom phein’

Overall, the piece functions as a socio-cultural electro-poetic performance, infused with the restless energy of Irish wind, capturing the complex interplay of familial obligation, cultural identity, and societal spectacle.

This artwork explores the performative tradition within the family and societal expectations around showcasing children. Set against the backdrop of a domestic dinner, it depicts a scene where the child is compelled to recite a poem in front of guests. And off he reads outrageously, an old Irish love poem ‘Nach Aoibhinn Do Na hÉiníní’ (read by Barty Begley), rather sad and depressing. The presence of a handsome guest offering admiring exclamation highlights the dominance of adults over children, while the mother’s little laugh emphasizes her emotional vulnerability and possibly her feelings of cultural dislocation or societal pressure. Then she asks to repeat...

Bram Stoker's "Dracula" red by Kara Shallenberg and Fox in the Stars, sampled and shaken up beyond recognition and nicely layered over multystyle lo-fi techno loop by Absurd Soundart. Beware, psy traps ahead!

Really this one is a funny collage with no serious ideology behind it. I've picked, cropped and compiled, phrases from the first two chapters of a novel and rolled out slightly surreal dialogue-centred scene based on an episode of introduction to Dracula.

Suddenly the entire thing turned into a tech-house party, with encouraging dance floor exclamations , "And again!", "Go!" etc. I find this track perfect for a morning 10 minutes hype, run, cardio or gym.

The whole thing is based on one (sarcastically) long loop, which as was noticed by one of the Sound Cloud listeners: "The beat goes through enough cool iterations to keep it from being painful. I am very impressed with the quality of timber you are achieving."

Thank you very much!