Alina Simone Covers the Music Of Yanka Dyagileva Everyone Is Crying Out To Me, Beware! | |
Лейбл: | Topple Records |
Каталог#: | TPL009 |
Формат: | Vinyl, LP, Альбом [4-панельный гейтфолд + конверт] |
Страна: | США |
Релиз: | 2009.09.18 |
Alina Simone Covers the Music Of Yanka Dyagileva Everyone Is Crying Out To Me, Beware! | |
Лейбл: | Topple Records |
Каталог#: | TPL009 |
Формат: | Vinyl, LP, Альбом [4-панельный гейтфолд + конверт] |
Страна: | США |
Релиз: | 2009.09.18 |
Треклист
Выходные данные
Recorded at METROSONIC STUDIOS in Brooklyn, May 29 & 30th, 2007
Produced, recorded and mixed by STEVE REVITTE
★ ★ ★
ALINA SIMONE: Vocals, Acoustic Guitar (1-7, 9, 10)
CHRIS BARREY: Arrangements (1,6,7,8) Electric Guitar (1,2,4,8) Bajo Sexto (6,7,9) Moog Synthesizer (8) Electric 12 String (7)
ALAN BEZOZI: Percussion (1,2,3,7,8)
JOHN LYNCH: Percussion (6)
SATISH: Trumpet (1,2,6)
GREG HEFFERNAN: Cello (2,3,10)
★ ★ ★
Russian translation of Yanka’s lyrics: KONST (with help from INNA SIMONE, ALEXANDER VILENKIN and HIEROMONK GREGORY)
★ ★ ★
Original Front and Back Cover Art: VLADIMIR ZIMAKOV, Gatefold Layout and Design: COLIN В
★ ★ ★
All songs written by Yanka Dyagileva copyright 1987-1991
★ Heartfelt thanks to: Chris Barrey for all the hard work and pure soul poured into this album, Steve Revitte, Alan Bezozi, Joshua Knobe, Konst for spending so many late nights toiling away on the translations, my parents — Alexander Vilenkin and Inna Simone — for help given every step of the way and your boundless support, Lena and Misha Antipov, punk monk Gregory for shining light on subtext in Yanka’s lyrics and for spiritual counsel, Erika, Durham Arts Council for providing funding, Royce and Steve and Duffy for embracing Russian indie rock. This album is dedicated to the memory of Yanka Dyagileva and everyone who has worked to preserve her legacy.
Штрихкод: 896464000911
Матрица диска (SIDE ONE): TPL 009-A
Матрица диска (SIDE TWO): TPL 009-B
Примечания
In the winter of 2001, I was taking a walk in Brighton Beach and ended up spending the afternoon with a couple of guys sitting on the curb singing Russian punk songs and beating an old acoustic guitar. a few weeks later when we met up for a Russian rock show in the Village, a cassette tape labeled simply ‘Yanka’ was pressed into my hand with the promise that I would like it...
Yana Stanislavovna Dyagileva’s extraordinary career lasted only four years, from 1987 to 1991, but it was long enough to establish ‘Yanka’ as an underground rock icon in the waning days of the Soviet Union. She was born in the industrial Siberian city of Novosibirsk on September 4, 1966 and grew up poor (by Soviet standards) in a one-story wooden house without indoor plumbing. This much is known about Yanka’s youth: she preferred boots to high heels, took piano lessons before switching to guitar, she kept to herself and filled notebooks with poetry. After high school, Yanka enrolled in a local engineering institute, in part to stay close to her mother who was dying of cancer. But the technical coursework did not hold her interest; she quit the institute in her second year and began instead to immerse herself in the local punk scene. In 1985, at a house-show in Novosibirsk, she met legendary punk-folk singer Sasha Bashlachev, and this friendship both changed her life and drew her deeper into the Russian rock underground. But it was Yanka’s complicated relationship with another man, Igor Letov, lead singer for the seminal Siberian punk band ‘Civil Defense,’ that led to her musical career.
They met at the first Novosibirsk Rock Festival in 1987 and within a few months Yanka moved to join Letov in his native city of Omsk. It was a short stay; Letov ran into trouble with authorities from the local Department for Internal Affairs and, shortly after Yanka arrived, she and Igor fled Siberia together. According to Letov’s recollections, they ‘travelled the whole country, lived with hippies, sang songs on the street, ate whatever God provided, stole food from the markets...’ Yanka and Igor lived on less than 40 cents a day, eating in municipal cafeterias and sleeping in basements, abandoned train cars, and attics.
It was on the road with Letov that she first began performing in public, as a back up vocalist for Civil Defense. By the end of 1987, Yanka was writing her own songs. Once it was safe to return, she made her first recordings with Letov’s help back in Siberia and also formed her own short-lived band. ‘the Great Octobers.’ This marked the start of four feverish years spent crisscrossing the Soviet Union by train, first accompanying Civil Defense and later simply as Yanka, performing mostly in people’s apartments, dormitories and the occasional local House of Culture. She recorded when she could, and the best versions of many of these songs survive only as live takes captured on a cheap portable cassette player. None of Yanka’s recordings were released commercially during her lifetime, but they circulated hand-to-hand as samizdat and she acquired a devoted cult following.
And the music? You could compare Yanka’s brash vocals to Patti Smith’s or trace her breathless strumming to the Russian bard tradition, but Yanka truly created her own genre, a hybrid of Siberian punk, traditional Russian folk and western rock. She married surreal lyricism to haunting melodies, mirroring influences that spanned from the Velvet Underground to field recordings of Russian folk songs that she collected herself in Siberian villages. Her songs are ironic tangles of communist slogans, Russian fairy tales, Soviet army anthems and apocalyptic impressions of a faded nation. You picture the low ceilings and tea-cup strewn kitchen tables of shabby Khrushchevkas. These songs are postcards of her inner state, deeply personal and perhaps, by definition, untranslatable.
As Yanka’s fame grew, the Soviet Union unraveled and so did her closest friendships. Sasha Bashlachev committed suicide in 1988, and Yanka’s relationship with Letov, which was never easy or well defined, fell apart a year later. She continued to tour and record but battled increasingly heavy bouts of depression. After what turned out to be her final public performance at a rock festival in Irkutsk, Yanka returned home to Novosibirsk and made her last recordings there in 1991. She moved back to the wooden house on Yadrinsovskaya street where she spent her childhood and grew increasingly isolated, turning down invitations to perform. On May 9th, 1991, Yanka disappeared while taking a walk near her father’s summer home and apparently drowned in the nearby Inya River. She was 24 years old.
What remains in the wake of this remarkable life? Twenty-nine original songs, a handful of covers, a book of poetry. I am but one of a legion of fans, and it is honestly beyond me to encapsulate or explain Yanka’s legacy. the only way I can describe what Yanka’s music means to me is to say that it is the sound of a woman who struggled to define herself, against every expectation, and won.
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