Moscow-based quartet Volga finely balance archaic overtones sourced from conventional Russian folklore and hypnotic rhythms with modern day textures expressed via dense post-industrial electronics and processed acoustic instruments. This singular outlook offers the band a totally special sound as they link past and existing with each other with oriental and occidental musical types. Formed within the later part of the nineties, Volga released their eponymous debut album in 1999, and also have because delivered three albums and a number of live recordings and remix projects.

The voice of lead singer Anjela Manukian evokes the smooth tones of Kate Bush and also the many incarnations of Liz Fraser or Lisa Gerrard, yet there is a particular grain in her voice that's reminiscent from the spellbinding power of Le Mystère Des Voix Bulgares. Tearing through hypnotic percussions and post-industrial electronic experimentations, she apposes ancient Russian texts, sung in the variety of dialects, that she has collected throughout many years of studying Russian folklore. She is backed by multi-instrumentists Alexei Borisov, Roman Lebedev and Uri Balashov.

Pomol opens and closes in similar fashion, with Angela Manukian’s voice set very significantly as the primary focal point of each song. Elsewhere, it's framed with tribal drums and harsh post-industrial digital formations which are only softened through the addition of processed traditional instrumentation. All throughout, the music is deeply rooted in tradition, but the remedy utilized on each single aspect of those thirteen songs locations them at the heart of the contemporary experimental electronic scene. Tracks for example Corn, Sonnaja, Svaha, Tausen or Rubaha betray really little of their origins, but others, such as the title track, Kruchu or Detinushka, appear to bear the weight of centuries of history. The latter, with its exquisite guitar motifs and enthralling beauty, is undoubtedly the highlight from the album, but pieces like the fantastic Pomol, the high octane Tausen and Ropes or Volga Mother, with its crystalised dub, all convey a great deal of emotions and show very interesting offerings. The album closes with Manukian’s most beguiling vocal performance on the atmospheric and mysterious Sufi.

The album may originally be allow down by the rather rigid and martial element from the arrangements, however the post-industrial strategy adopted through the band, which contrasts greatly using the highly ornate vocals, really serves to emphasise the sheer beauty and complexity of the melodies. Volga discuss the hard amalgamation of tradition and modernism really nicely here and handle to create a rather impressive collection of emotional digital music.
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