JOURNEY TO THE WORLD OF CONCRETE FORMS

Eugene explained that his music is an embodiment of his imagination of high. Much higher, even more that we can imagine. This music is about new and high city of the future.

Eugene told us that high-pitched sounds are high buildings, whose height is impossible to imagine. These buildings are the embodiment of civilization's achievement. It has the hue of heaven's color. It is very technogenic and pure, close to perfection. Low-pitched sounds are the embodiment of the chaos. This means that the parts of buildings on the bottom level and its environment are in disorder, dust, darkness, all that is the opposite of perfection. Thus the listener, but first of all the author, is a traveler who is an alien to this invented environment. He flies above these skyscrapers, sometimes sharply falling to the real slums, making maneuvers. The city of the future. Thus, there are no people, no human beings at all. They have disappeared at a time of misfortune.

It is very difficult to say, what it was. This theme is well enough chewed and digested by the fantastic brain of the composer of the twentieth century. It is simple to think up something that associates with this theme of highs and lows. The idea of the abandoned city seems attractive. And here now we fly above these unimaginable buildings and constructions of space scale and we understand the magnificence of humanity in an unknown century, we understand all their negligence, perversity before perfection, a perfection of forms and universal order. Something in this city is constantly moving, monumentalism of forms spirals upwards. There are constant internal dynamics and complex order. Sounds constantly become more complex and develop to enrich the general picture. Recurrence of melodic sounds, tonality, and effects is a photo increase which allows us to like the generated image.

Emptiness is present. It plays the leading part. Each sound and maneuver asks, “Is it possible for me to enter here? Won’t I disturb your rest?” The calmness of the empty city cannot be broken, especially when it has been conceived.

Actually the author very seldom conceives a composition that could be correlated with something more or less concrete. In our case the situation is more than outstanding. The idea, a visual image, defines all audio-line. This facilitates a considerable problem to the listener, who within the limits of travel, encounters positive and not so positive events. Compositions are definitely building lines of non-uniform plots incorporated by one general theme.

I want to repeat that the idea of the author is remarkably performed - travel turns out. Something similar was in the atmosphere in Solaris by Tarkovsky. A trip on a vehicle through the city of the future through a tunnel and then a trip through the long bridge.

It is the perfect soundtrack to a film which has not been filmed.