At the end of March, two Tatarize albums from the musicians in the emigration of Tatar Kyz: Lar and Aigel were released. The Tatar Kyz: LAR poetess Dinara Rasuleva and the artist Allapop presented his debut (“ASh” – translated “meal”) – an audio password, in which the themes of war, violence, imperiality and the loss of the house are revealed through folklore and modern Tatar culture. The duet of Aigel Gaysina and Electron, Ilya Bararamia, speaks of the war and life in emigration. Their record “Killer Qiz” (“Killer Girl”) is a dance collection inspired by the disco sound of the 1990s. The authors from Tatarstan are looking for support in a new life and discussing the themes of inconvenient or completely prohibited in their homeland. The Medusa musical observer Alexander Shakirov explains why these two unlike emigrant work is important to hear first of all to the listeners in Russia. The “Loss of Communications with the Country” in recent years is associated with the correspondence conflict of “those who left” and “remaining”. Conflict, frankly, is pointless, since the person does not determine the whereabouts and passport, but what he does – and what he does not. However, the “loss of communication” has a very specific embodiment – this is the ability to speak and perceive what has been said. In Russia, military censorship is trying to wean people to call a spade a spade, breaking off the connection with reality. In exile, often getting the opportunity to speak out openly, people lose their usual language environment and context. In this sense, it is much heavier than those whose native language has a local link or completely replaced. For example, the majority of Tatar carriers live in Russia, therefore, from the point of view of the language environment, life in Tatarstan and communication in the circle of the Tatar diaspora, for example, in Berlin are incomparable. Rasulev’s ethnic group before moving from Kazan to Berlin in 2014 wrote poetry in Russian, leaving Tatar for communication within the family. Already in the emigration of Rasulev, she admitted that even in Kazan, Tatar was perceived by Russian -speaking from her environment as “shameful, dumb, rustic.” However, building a new life and glancing from the side of the former, Rasulov felt the need for public use of her native language. So the Tatar turned into its poetry, in which Dinara speaks not only about identity, but also about the war, the cult of violence and feminine. In March 2024, the Tatar Kyz: Lar group (translated-“Tatar girls”), which, in addition to Dynara Rasuleva, includes the artist Allapopp, released the album “Aş” (“Ash”). This work resembles an audio performance or a poetic experiment combining Tatar, Russian, English and German. “Ash” in a wide sense means a meal, and, more specifically, a feast in honor of the holiday or in memory of the departed person. Actually, Tatar Kyz: LAR dinner begins with the folk song “Ay Bılbılım” (“Ah, Nightingale”) – True, in a minute track, not a real choir sings, but generated with the help of artificial intelligence. This seems symbolic – the computer compensates for the inability to be in the Tatar village and hear the performance live. Another appeal to folklore – this time under a gloomy emboss. The name “Saq Soq” refers to the same name about two quarreling brothers, whom the mother cursed. They turned into birds and cannot live at home anymore and talk. The text itself is built in the form of a Tatar children’s count: at the end, the game participants should freeze or not blink. Here is the play of words: “Sak” means “cautious”, and the line at the end “Sak Bulygyz! Ishkolәr yaba ”(“ Be careful! The doors are closed ”) – already an announcement from public transport in modern Kazan. This can be considered a feeling of separation and at the same time the dangers of returning to Russia. Electropankovsky “Bury” (“Cut yourself in the Tatar leg – get rid of Russian blood”) and “Brosil” (“Sorry, says, but I am in love with Russia / I want it to kiss me, I would strangle and trample me”) and are dedicated to the Russian The Russian-impersian suppresses the Tatar (sometimes with the consent of the Tatars themselves). The only dance track on the album “Not a Cuckoo” explores the perception of otherness (“Then the boys asked: what kind of bird is this?”). In the composition “Soft” Tatar Kyz: LAR talk about the normalization of violence over women, mixing English with the Tatar: “Iʼm Soft and Shua Kүrә Unbreakable” (“I Soft and therefore will not break ”), and in the phrase on the German“ Kein Patriarchat ”(“ No Patriarchate ”), the Tatar“ Kan ”(“ Bloody ”) is heard. “Alma Eredә Min өdә” (“Inside the apple I am at home”) is a gloomy result, hinting at the tradition of silence problems, and not to find a house. In the track “Quyan” (“hare”) under Semple with the traditional Tatar vocals of Dinara, speaks of fear of society: “Kuyangnardan Kurka Kuyan” (“Hare is afraid of hares”). In “Közge” (Kөzge – “Mirror”), which is recorded with Aigel Gaysina from Aigel, the track “Puffed” is heard (“Glass, fragment of glass, bowl”). The song accepts the political color when Dinara Rasuleva says: “Without Eraktan Kergәn Idec / җirdә Inә tapkan Idec / Kolagynda Millәt үlә / ezlә Sulysh” (“We came from afar / found a needle / in the ears of a needle, the nation / caustic dies, begins with the album”). Closes the track “Zamova” (“plot”) – jointly with another emigrant, frontwall of the Silver Wedding group Sveta Ben from Belarus. The story, as a grandmother speaks of a sick granddaughter, is repeated in the Tatar and Belarusian: “Berkem Ulmi” – “NIKHTO NOT PAIRYE” (“No one dies”). Actually, in this artistic return to the roots – to the warm house to the grandmother, where the potato stove, on the table, on the table of Bәlesh (“pie”) and only boiled a kettle – Tatar Kyz: Lar is looking for support in a new life. A different group, closely connected with Tatarstan, Aigel, on the new album, “Killer Qiz” invites not to the feast, but not to the feast Immediately at the disco of the 1990s. The record became for the second Tatar -language duo after “Pyal” (2020). “After a long stupor, the first of my languages is Tatar, this is funny, and this is not the first time, it is like a factory tuning after the system has been restored as a default language,” the singer says about the new album “Killer Qiz”. I said in an interview with Yuri Dudu Aigel that she said that She remained in Russia after February 2022 to fix reality from the inside, but for a year she did not write a single song, and when the Aigel concerts began to be canceled due to their anti-war position, he had to leave. What can we say: the creators of the series “The Word of the kid”, filmed with state support and popular, including thanks to the soundtrack “Puffed”, did not indicate “Aigel” in the credits. In the title track of the Aigel album in the image of the DJ – whose work is dirty (“Pichorak Ash”), but the soul is pure (“Kүlem Saf”) – launches the music to the music to the music to the music. the dance floor duties to the death of the old tyrant, who “drank the blood of her people” (“Halygymny Kanyn echә-echә”). The magnificent electropop-ballad “Qupşıl” (“Shchegol”) is the humanistic statement of the duet about the need to try on someone else’s pain: “A person looks at the end of the beaks / she, she, she, she, she. Able to cry like a person? ” (“Koshchykaga Keshe Karya / Tomshyk Otyryndyndi Chykma – Kz Yasheme / Yylyi Belә, әllә ul and khetem?”). Further “Aigel” play on dissonance. TRASTEN TROWER “Barsı DA Bezdä” (“All of our – with us”) – the history of the couple’s escape from Russia: Major, Wachter and military unit are hooked on the wing of the plane, and, sitting on the fence, the flight is escorted (then Aigel Gaysin lists everyone in the mass grave): President, Patriarch, Poskovka, Partkom, School (“Әlәkche”), Kremlinboat and propagandon, Zet-singer (“Zet-җyrchy”), sofa troops (“Divan Gaskәrlәre”) and employees of Roskomnadzor (“Roskomnadzor Hezmәtkәrlәre”). The track “Assimilation”, on the contrary, is deprived of any enthusias “Why do we need a new house?”, “Have we left for forever?”, They talk about life in exile and admit that they sometimes forget Tatar words and switch to German. And in “Eine Menge” (“Many”), Aigel herself begins to read out on German an announcement about finding an apartment in Berlin, from which the song grows from – a lot of money is required for life in Europe, a lot of trenches are dug by those who lived nearby, a lot of blood in the forecasts of experts, many questions in the questionnaires of officials. “What is a real house? This is where you were born or where is buried? ” – Aigel thinks aloud. The screensaver for the tracks of the album on Utube – a keyboard on which only two keys “Home” and “Delete” are signed – also about the feeling of loss of the house. Aigel writes about the new time metaphorically and literally from nature: for example, in the techno-Boevik “Tönyak Balqışı” (“Northern Light”), the image of a wild bear suddenly arises, to which the singer admits love and asks not to kill her. Or in “Xäzer Betä Ul” (“now it will pass”), where Aigel Gaysin, preserving allegiance, sings about the reddened sea, blind sun and wind, which blows on fresh wounds. The discount sound of the 1990s in many ways echoes the real Tatarstan 1990s, when death, violence and impunity were part of the city landscape stuffed with gang groups. Groups of the group-Aigel and Tatar Kyz: Lar-return the Tatar language and culture from the disadvantaged school textbooks or state-owned socialists controlled by the authorities To reality. Tatar Kyz: LAR in their audio performance turn to folklore, symbols from everyday life and popular culture, as if with a mosaic, laying out new meanings from familiar symbols and thus actualizing the Tatar cultural code until 2025. The socio-political significance of two albums. In a situation where the vast majority of Tatarstan media and bloggers are silent-forced to because of military censorship or intentionally-because of the unwillingness to lose republican financing, and independent Tatarized media “Radio Liberty” threatens closure due to Trump’s populism, it is very important that someone publicly spoke Tatar. And he called everything his names: war – war, love – love, and “propagandons” – “propagandones”. This is the only way to complete it – speaking the Tatar Kyz: Lar and Aigel language – a protracted bloody rave and everyone to find his safe comfortable house.noize MC released the album “Not all at home”. And the clip of the same name, according to the plot of which the rapper goes to his native Belgorod, we talked with Ivan Alekseev about this piercing work of thenoize MC released the album “Not all at home”. And the clip of the same name, according to which the rapper goes to his native Belgorod, we talked with Ivan Alekseev about this piercing work by the anlet specifyr Shakirov (Tagstotranslate) News
