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The first record of an emblematic Kyiv duo — Alexey Shmurak and Oleh Shpudeiko (recording solo as Heinali) — Liebestod is a surreal journey through a multitude of song and dance clichés, poetic worlds, languages, and feelings — a meta-verse of a work.
Written through 2021-2022, it refers to Richard Wagner's “love-death” in its title: an ambivalent mood between exalted enjoyment and anticipation of death. The heroine of “Tristan and Isolde” lives through hours of unsettling discord before breaking into a final, rapturous union with her dead beloved and lifelessly sinking on Tristan’s body in a “vast wave of the world’s breath.” In the case of Shmurak and Shpudeiko, love-death indicates a music that speaks to the end of a small person’s small story and heralds an encounter with a macro narrative — history. The fragility of relationships and lives, the anxiety about the safety of the beloved, the separation, the longing for intimacy and peace, the nostalgia, the sense of horror of the impending events, and the acceptance of their colossal scale — these are the themes of this album.

The texts by Ivan Mazepa, Volodymyr Svidzinsky, Inger Christensen, and John Keats are waved into a conversation of a vulnerable, self-deprecating voice and electronics that gradually exert increasing pressure on the voice before inundating the entire space.

1. Heartily (2022), 10’25”
set to the text by Ivan Mazepa
2. Quietly (2022), 7.35”
set to the poem by Volodymyr Svidzinsky
3. Massacre (2022), 6’43”
set to the poem by Inger Christensen
4. Ode to a Nightingale (2021), 12’07”
set to the poem by John Keats

Recording and editing: Torsten Ottersberg
Mixing and mastering: Rashad Becker, Studio Clunk
Vinyl cut: Rashad Becker
Printed by optimal media GmbH

Art: Ilya Isupov
Cover photo featuring Ilya: Katya Libkind
Layout: Dasha Podoltseva

Liner notes: Sasha Andrusyk
Text editing: Lisa Biletska

Producer: Sasha Andrusyk
Assistant producer: Mykhailo Bogachov

LIMBO is a vocal exploration of liminality and an intensely personal project. Conceived by Viktoriia Vitrenko and developed with the Eclat Festival, it interrogates the stasis of waiting, delving into both poetic, speculative aspects and concrete, often unbearable manifestations. Composed mostly in late 2021, it is dedicated to Vitrenko’s friend and colleague, flutist Maria Kalesnikava, who is serving an eleven-year sentence in Belarus for organizing the 2020 protests. Through commissioned vocal cycles by Agata Zubel, Alla Zagaykevych, Ying Wang, and Sven-Ingo Koch, alongside Maxim Shalygin’s existing work, LIMBO delves into the suspension of those caught in-between—shaped by the uncertainty of Maria’s fate, the isolation of the pandemic, and the growing tensions leading to Russia’s full-scale invasion of Ukraine.

Recorded in 2022, already amid the invasion, LIMBO moves from the dark, jazz-inflected timbres of Zubel's 3 Songs to the whispers, Sprechgesang, and Ukrainian folk-like singing of Zagaykevych's Signs of Presence, through Wang's assertive Illuminations, Koch's bel canto and chanson in Simple Songs & Songs of Pining, and finally Shalygin's Songs of Holy Fools, where the voice seems to hover on the edge of the physical. Vitrenko’s dual role as vocalist and pianist blurs traditional boundaries, while Rashad Becker’s artful mixing amplifies the album’s exploration of spaces that resist closure.

The first-ever vinyl release of Gérard Grisey’s Vortex Temporum (to our knowledge). Movements I and II appear as a single track to preserve their spectral continuity. The LP features cover art by Dariia Kuzmych and comes with a zine of her ballpoint drawings, merging time and human tissue.

Ukho Ensemble Kyiv—17 soloists led by Luigi Gaggero—brings a distinctive phenomenological lens to 20th- and 21st-century music. With over 200 works performed, a focus on contemporary opera, and albums on Kairos and Winter&Winter, the ensemble, now dispersed by war, persists across borders.

Gérard Grisey
VORTEX TEMPORUM
(1994-1996)

Ukho Ensemble Kyiv

Dina Pysarenko, piano
Inna Vorobets, flutes
Dmytro Pashynskyi, clarinets
Rachel Koblyakov, violin
Andriy Savych, viola
Raphaël Ginzburg, cello

Conducted by Luigi Gaggero

Recorded at Musik der Jahrhunderte/ECLAT,
Stuttgart, Germany, Dec 2-3, 2022
Recorded, mixed, and mastered by Torsten Ottersberg

Art by Dariia Kuzmych
Layout by Dasha Podoltseva

Produced by Sasha Andrusyk

In admiration of Zenon Dashak and all Ukrainian musicians who chose to take up arms.

Cherven is an audio documentary composed of 53 overlapping recordings made across Kyiv, Chernihiv, and Volodarka during 2022–23. The work is dedicated to four of Ian's friends — Hena Kolesnyk, Kostya Kuzin, Bohdan Mazurenko, and Anton Petrochko — who were killed in the summer of 2023 while fighting near Bakhmut, Orikhiv, and Kupyansk. A personal diary of loss, it listens to a city away from the frontline but never beyond the war’s reach.

Commissioned by Ukho Music, the piece draws on material from Spektor’s long-running archive of on-site recordings. It avoids stylizing reality or arranging it into contrasts. Children’s voices appear as they do in Ian’s daily life; the music of mourning processions enters as it does in Kyiv’s everyday soundscape. Almost all the voices in Cherven — apart from those of priests, commanders, and hospital patients — belong to friends or neighbours. The story centres on four heroes who, with one exception, are never heard directly.

Though there is much “ambience” in the work, it is not an ambient release. No musical elements were added; about half of the material consists of fragments of conversation, overheard and later remembered — sometimes clear, often submerged in thenoise of other memories. The tracklist, which briefly describes each recorded situation, marks only the first occurrence of every track and is integral to the work.