1. Revlon [5:26]
  2. Old and Metallic [3:01]
  3. Dense drift [5:39]
  4. Blue Vinyl [2:29]
  5. After the Prime Time [2:54] MP3 soundclip of After the Prime Time [3:00]
  6. Dew [4:09]
  7. Opuscule [1:20]
  8. L.Y. Match [2:52]
  9. Zaraza (Volume I) [9:34]
  10. Polished Surface of a Table [4:25]
  11. Rotor [3:00]
  12. My Voices [4:23]
  13. Bridal Book [2:00]
All music composed, arranged & performed by Alexei Borisov
Track 2 recorded live in Tallinn, april 2003.
Produced by Artemiy Artemiev
Mastered by Edward Antonenko at "Electroshock Records" studio in November 2003

Voices by:
Alexei Borisov - track 5, 8, 10, 11, 12
Angela Manukjan - track 6
Natalja Bessarabova - track 8
Dmitry Zuboff - track 5 Alexei Borisov is able to surpass barriers and shape music alien to any conventionalism. This album has a mysterious character, oniric, surreal, where sound collages and audio distortion take an important role.
Borisov explores sound in different constructions and aspects. The most radical areas of Electroacoustic Music and the most abstract ones of Ambient constitute the stage where the pieces in this CD are developed.

2004. Dominique Chevant live in Minnesota. I suffer through Minnesota winters, which are long, dark, and often feature sub-zero temperatures. That said, and while consciously avoiding the stigma of cultural relativity, I can hardly begin to imagine the intensity of the same cold season in Russia.
Polished Surface of a Table sounds like this, a lonely winter in a dreary basement, men weary and bright-eyed from the cold. The record, a near-continuous electroacoustic soundscape, is the work of Alexei Borisov with production assistance from Russia-based Electroshock Records founder and acclaimed avant-garde composer Artemiy Artemiev.
As most electroacoustic recordings are, ...Table is a conceptual work. On one level, it is a revolving camera focusing on common room objects, zooming from birds-eye view to dense magnification, converting sight to sound through the subjective filter of Borisov's imagination. On other levels, it is an exploration of the sounds of lives passing by the room, anxious voices heard through open windows, hurried footsteps on cracked concrete sidewalks.
Borisov thrives off improvisation on a microcosmic scale, spending lavish amounts of time exploring timbre and pitch, constructing sound on sound. He works well contrasting thick, multi-layered sections with spacious interludes, using dynamics not as a function of volume swell, but rather of the sound saturation achieved by stacking parts on top of one another.
Sounds pitched at the top of the sound spectrum ring against deep, sweeping drones provide additional contrast.
Many of the thirteen compositions invoke morphed sounds modified into rhythmic structures, carefully-constructed repetition that brings a sense of unity to the record. Borisov is also in strong command of electronic music composition staples, using panning, resonance, filter cut-offs, loops and others to create a sense of theme and variations on multiple sound sources. There is a cold, often mechanical feel here, invoking images of ritualistic-driven industry. Nothing seems to be done without intention, adding to the unrushed, calculated feel.

...Table opens with "Revlon", a composition littered with oscillating, resonant squelches and warbled voices, resembling a blustery cityscape, with distant melodies echoing from basement barrooms in the brief hours before sunrise.
It meanders through the noise-driven chaos of "Old and Metallic", and the detuned, sing-song, wavering "Dense Drift" and "Blue Vinyl", before resting on a percussive loop and multiple modified voices bouncing across channels in "After the Prime Time".
There are images of a neglected radio left on all night, community programming replaced by static at sign-off time and no one around to silence the white noise.
Borisov betrays his ear for haunting melody with the prepared voice and swimming strings on "Dew", a halfway mark for the record, as it progresses into the second half with a gradually increasing frenetic sense.

Like other recordings on the Electroshock label, Borisov's Polished Surface of a Table is a well-constructed, carefully-prepared offering that speaks volumes to the quality of the label's catalogue.
Though Borisov's compositions may not yet seem fully realized, they bear great potential. Add to this the fact that Artemiev's name is stamped next to 'producer' on many of the releases, and it's easy to make the claim that this progressively-minded label can easily turn more than a few heads in the years to come.

2004. Brian Voerding Alexander Borishov is another in the new breed of Russian experimental artists that the Electroshock label is nurturing. By relying on pitch changing of samples, Borishov has created fourteen pieces of structured noise that occasionally borders on paranoia.

By switching on and off static, the composer regulates not only the sound we hear but also the impact it makes as on "Old and Metallic" where a background conversation appears to be short-circuited in the course of a three-minutes.
The follow-up track, "Dense Drift" has a low-end frequency that is pretty scary in these headphones as the tension mounts throughout the piece. Although the approach is industrial to many of the songs, there isnít a lot of found metallic instrumentation used in the pieces. There is some melodic interplay in a few places on the CD even if it is only masked by odd manipulations and quavering tones.
When it all comes together well is represented on tracks such as "After the Prime Time" that recall a few of Brian Enoís sinister pulsings during the "Music for Films" era. Angela Manukjanís lead vocals are severely shredded on "Dew" with the sparks of the electric shocks prevalent in the track.
"Zaraza (Volume I)" reminds of a few of Bill Laswellís scratchy dub experiments gone slightly awry.

Overall itís a violent but restrained sound form that will endear the album to many industrial music fans worldwide.

Jeff Melton