Things (2017)
Produced by Max Roudenko

Kseny Fedorova — piano, gusli, punk console, vocal
Max Roudenko — electric bass, melodica
Ilya Varfolomeev — drums, percussion

Alexander Timofeev — saxophone for “Japanese”
Choir in “Shostak” — Aydar Abdrakhmanov, Vlad Avy, Artem Kochurov,
Ilya Varfolomeev, Egor Yurkevich, Max Roudenko

Music by KUBIKMAGGI except “Summertime” by Vlad Avy
Lyrics by Kseny Fedorova

Recorded at Ocean Sound Recordings, Giske, Norway by Daniil Koronkevich, additional engineer Henning Svoren except saxophone for “Japanese” recorded
at Vintage Sound Studio, Moscow, Russia by Vladimir Rozdin and muezzin for “Schostak” recorded in the streets of Tel Aviv, Israel by Kseny Fedorova
Mixed by Max Roudenko, St. Petersburg, Russia
Mastered at Arf! Mastering, NYC, USA by Alan Silverman

Cover photo by Fittingoff

released 11 July 2017

Synthesizing some fundamental and richly inventive concepts of the last few years, “Things” now offers audiences six resultant — substantial — compositions. Driven by an anxious, yet inspired psychological state, those six tracks rush from avant-garde improvisation to blues — and then to reggae. They span the dizzying distances between stately Soviet film music and radical minimalism; between jazz, pop, rock… and everything else that Kubikmaggi’s members have encountered. In a word, “Things” reflects their listening experiences of the recent past, the present, and future. It reflects contradictory, yet fertile states of yearning, joy, wellbeing, humor — and an ever-present mood of estrangement.

Suites (2012)
Produced by KUBIKMAGGI

Kseny Fedorova — vocal, piano
Max Roudenko — electric bass, melodica
Ilya Varfolomeev — drums, percussion

Music by Kseny Fedorova, Max Roudenko
Words by Kseny Fedorova
Arranged by KUBIKMAGGI

Recorded at Ocean Sound Recordings, Giske, Norway by John Rips,
additional engineer Henning Svoren exept percussion for “Tapping”
recorded at Nikitskaya Records, Moscow, Russia by Nikolay Orel.
“Waiting For The Train” was recorded in 2009 at GEZ-21 Club
in St. Petersburg, Russia by John Rips.

Artwork — Alisa Ryabova

released 13 November 2012

We'd rather not translate things into words. Literary content and linear themes are both alien to music. Let's give music а chance to develop according to its own rules.

And yet, if we must speak, then let's begin from an opposing angle from whatever's absent in Kubikmaggi's 'Suites.' For a start, there's neither a narrative line, nor any formal development in the traditional sense. You shouldn't expect any avant-garde experimentation, either, at least not as it's typically understood. We'rе not interested in stylistic games for their own sake. We don't focus on any one musical direction.

We never try to be comprehensible on the level of text alone; instead we strive for comprehension through whatever lies beyond language and form. There will always be a point where incomprehensibility arises. Yet that same point allows us to show how accepted norms or conventionality merely offer superficial benefits. Surface beauty; the suspect ways in which reputation is achieved or maintained; universal simplicity and comfort: in these ways the modern world enthralls its residents, often through multimedia experience. The same happens in the arts.
As Kubikmaggi and in this new album we try reminding both ourselves and the surrounding world of one thing. The work of human hands should never lead to an illusionary belief in 'boundless potentials.'

The 'Suites' LP embodies a constant juxtaposition of styles - and familiar phrasing, too. It's full of contrasts that bring with them shifting moods. Sometimes those emotions will contradict one another, but that helps us move towards valuable discoveries.
We love anything that obliges you to struggle through its complexity in order to make a discovery. Revelation never happens quickly. Anything that's comprehended quickly will then vanish at the same speed…" (KUBIKMAGGI)

"Kubikmaggi remain one of Russia's most challenging and rewarding outfits. Dovetailing the free jazz, intellectual rock, and classical traditions of windswept northern Europe, these musicians treat their audience with rare and promising respect. Undaunted by baroque complexity or risk, they invite listeners to bypass the conventions of primetime enterprise. And there, where familiarity ends, genuine revelation often begins." (David MacFadyen)

Needless (2008)
Produced by KUBIKMAGGI

Kseny Fedorova — vocal, piano
Vlad Avdeyev — guitar, back vocal
Max Roudenko — bass, sempler
Il’ya Varfolomeyev — drums, percussion, flute, back vocal

Texts & music — Kseny Fedorova
Arangments — Vlad Avdeyev, Max Roudenko

Recorded at St. Petersburg Recording Studio
Audio engineer — John Rips
Mastering — Leonid Fedorov (Ulitka Records)

Design — Max Roudenko
Artist — Andrey “Baron” Karlin, Kseny Fedorova

released 16 October 2008

Indie academism. The raw meat of Russian Jazz.

Based fully on the subtlest nuances of sound-picking and dynamics, the sound of the trio makes one rediscover the interaction of the instruments present. Refused as they did the common role of arrangements basement, the bass and the drums are often the bright soloists in the songs, while the voice is only an equal instrument in the overall performance.

Keeping the best traditions of modernism, music of KUBIKMAGGI implies an essential part of reflection and interaction. The audience is often induced in the construction of this musical puzzle. Their recent release ‘Ono ne trebuetsa’ (translates as "Needless") (Ulitka Records, 2008) is a good example of this kind of interaction. Abandoning the common attempt of many jazz albums to render the music with its primeval sound, the sound producer of ‘Ono ne trebuetsa’ acts more like a crowning element in the process of music creation. Unusual mixing techniques, often based on sharp contrasts and sound effects are going to keep you amused even if you are not a big fan of jazz or avant-guard.

When asked to give an overview of their creative work, the musicians shrug their shoulders and say, "Give a listen". Being the quintessence of post-modernism, KUBIKMAGGI music is so diverse, that it’s really heard to describe it in words. Some will enjoy the echoes of Tori Amos and Fiona Apple, some will be overwhelmed by allusions on Victor Wooten and Mr. Bungle. It’s also possible that some will imagine the heritage of Auktyon. But just like in Dali’s ‘Face of Mae West’, it’s only in combination of the bright and unique artistic approach and the music itself, these details can form a wholesome image of KUBIKMAGGI. Indeed, they are the face of Russian art-jazz.

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