In my last year’s review of a Vialka live gig, a certain recording session was mentioned, in addition to the similarity to Kruzenshtern & Parohod. So finally, here it is: the session and the match up.

The Vialka portion of this split album includes five original songs, four of which are sung in French (one features lyrics by Haruki Murakami and was previously released in a less impressive English version on the band’s Curiosities of Popular Customs) while the last one is in English. Language doesn’t matter much, though, as Vialka’s tongue is its ecstatic performance. The post-rock songs are a product of nothing but drums and baritone guitar, and still they include so many unpredictable twists and turns, as well as a convincing vocal performance that is full of drama and of wonderful pronunciation. On "USAisamonster," Marylise Frecheville sings with such a theatrical, prophetic tone that she manages to bring Dagmar Krause to mind (albeit less fragile).

However, as nuanced and rhythmically engaging as the recording is (especially when contrasted with the aforementioned, vague and punkier previous release), I sometimes wished that the duo would have chosen to use some overdubs in order to enrich its thrash-folk performance with yet another layer of cacophony, as was the case on the live set I had attended.

The Kruzenshtern & Parohod section comprises two previously recorded tracks and two new compositions, all of which are purely instrumental. The "with accordion" in the parenthesis of the familiar tracks indicates the band’s newest addition, but doesn’t really do the new versions justice, as these new arrangements provide a glance into both the evolution and the vision of K&P.

For starters, the version of "Tort" here sounds sharper than on the debut release, most possibly thanks to the skilled hands and ears of producer Udi Koomran, but it’s not only that; even "Young Ones," which has already been given the Koomran treatment on the album Songs sounds fresh, and this credit goes to K&P’s talent: much like in the band’s live setting, these musicians explore the fine line between free-jazz, chamber rock (at times hinting at Univers Zero) and post punk, all within the well-defined frames of their compositions. In other words, even if you know the piece, you can always count on K&P to revise it to some extent; and in the case of this set, the results are invigorating.

The comparison between the previously recorded versions of the aforementioned tracks with the versions found here also brings out the evident change in emphasis throughout the entire session: while on previous recordings, Igor Krutogolov’s bass and quirky vocals dominated, this K&P recording relies even more on Ruslan Gross’ clarinet excursions and Guy Shechter’s forceful drum bash for the variations and the drive. Latest recruit Olya Yelensky occasionally contrasts the wild temper with her soft accordion playing and at other times complements the playful themes, giving more flesh and ambience to the overall sound (this is a bit of what the Vialka material lacks). All in all, this recording holds some of the most beautiful thrashing I’ve ever listened to. (9/10)