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Sekta Phoenixa

Sekta Phoenixa

Sekta Phoenixa


Секта Феникса [Sekta Phoenixa], The Sect of the Phoenix Location: Tomsk Years active: 1999 – 2003 Styles: post-industrial, noise-improv, techno-punk, dark folk, post-rock Sekta Phoenixa, a musical & extra-musical formation, arose in Tomsk in 1999 and dissolved in 2003. The name was taken after a Jorge Luis Borges’ short story describing a secret society, the members of which, “indistinguishable from the rest of the world”, had nothing in common Read more on Last.fm
Секта Феникса [Sekta Phoenixa], The Sect of the Phoenix Location: Tomsk Years active: 1999 – 2003 Styles: post-industrial, noise-improv, techno-punk, dark folk, post-rock Sekta Phoenixa, a musical & extra-musical formation, arose in Tomsk in 1999 and dissolved in 2003. The name was taken after a Jorge Luis Borges’ short story describing a secret society, the members of which, “indistinguishable from the rest of the world”, had nothing in common, neither language nor memory – nothing but “the Secret”, constituted of a trivial rite, – “the Secret”, which was sacred and ridiculous at the same time. Sekta Phoenixa, having initially started as a noise-improvisational, cold sounding techno-punk band, shortly developed into a form of musical, artistic, poetical, and even social and religious experiment. The key ideas of musical and extra-musical activities of the Sect were spontaneity, impersonality and ambiguity; the output of these activities was an intersection of sound and textual series, and their process had the moment for its element.

Avoiding any predetermination or program, as well as any apparent leadership, and being open to miscellaneous chance factors, the Sect produced mostly improvised music, which could vary stylistically from minimalistic or meditative ambient pieces to industrial mixed with some avant-jazz elements, and from brutal noise – especially live – to dark folk songs, and to “post-rock” of sorts (in a broad sense) – or, trying to say it more definitely, “post-glam” or “after-prog-rock” – especially shortly before the disbanding, when, not intending to be a “rock group”, the sectarians literally played rock (as one may play the fool). Overall, the sound of the Sect was marked by the use of assorted lo-fi equipment, old-fashioned analogue synthesizers, guitars and metallic percussion. Due to its anarchism and “acephality”, Sekta Phoenixa’s concerts were often chaotic, and thus disturbing, raising the scent of upheaval in the air. The gigs were frequently accompanied with dissemination of apocalyptic manifestos or showing self-made films; the Sect also carried out a series of provocative and controversial performances in collaboration with avant-garde artist and actor V.

Atom, directing then the futurist theatric group TTS-1. Playing upon the ambiguity of its name, Sekta Phoenixa was often considered to be a “totalitarian sect”, and so exercised in obscurantism willingly, contouring the (quasi)religion of “death of god”, and more than this – experiencing that form of sociality, which was the amorphous, pointless religiosity that had nothing for its object – nothing but the absence and crush of any sort of authority. ————————————————————————————————————————————— The last staff: johnjane – synthesizers, el. & ac. guitars, bass, percussion serpent – el.

guitar, bass, synthesizers, percussion, voice stropov – voice, words, films, bass, percussion psvsv – drums, percussion Former members: noyzi – el. guitar (2002-03) constantiner – bass, percussion (2000-02) turtlefish – French horn (2000) Timur Timofeyev – bass, synthesizers (1999, 2002) Viktoriya Yegorova – percussion (2000) A.F. – metal percussion (2002) Discography: 1999 – Воздействие [Vozdeystvije], Impact (tape / CDr) 2000 – Клетка [Kletka], The Cage (tape) 2001 – «…готовится выйти на Свет и сожрать Солнце» […gotovitsya vyjti na Svet i sojrat Solntse], “…going to come to the Light and devour the Sun” (tape) 2008 – Воздействие [Vozdeystvije], Impact (CD re-mastered, PROVOLOKA PRVLK0001 / TOMSK001) (stropov, 2009) Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..

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