As is appearing from another world, the music of Poostosh is far from it’s infancy. Released in 2005, «Untime» is the third album of the Russian project, established in 2002 and led by Mikhail Salnikov (also MOX and QUTH) with Andrey Gavrilov, Andrey Kovalenko and some other rebels.
The Poostosh method of composing and recording leans toward improvisation and spontaneity and they create their tracks in one cut. But this doesn’t inhibit the meticulous interweaving present within their compositions: they add effects and new treatments to give the end sound a dreamy, drifting feel.
Though they’ve got a different nature, Poostosh is close to the works of Gentleman losers, Es and Paavoharju (in instrumentation, fragmented structure, and the distant voices in Dreaming and Detstvo). Widely improvised (resulting in a liberating feeling) Poostosh’s music never disturbs one’s ears — it’s always melodic (with the exception of the sonorous inventions in Man and Sky Wanderer).
As for the rest of the album, there’s a lot of guitar and vintage keyboards (laden with various effects), which are interplaying either in TV documentary (Swallowed By Untime) or in Pastorale manner (such River State Widening, bathing in watery universe).
Moreover, the voice, guitar and bass are perceived as if through an underwater filter and dissolved in faraway echoes (Soundtrack From «Tristesse») and then emerge in the middle of tundra (ethnic motives of flute and string instruments played by plucking in Tell Me About Peyote).
While travelling through this strange landscape, it’s easy to feel the influence of Harold Budd, Penguin Cafe Orchestra, This Mortail Coil and Alexei Rybnikov (Russian cinematographic composer).
Undoubtedly, if labels such as Type, Buro or Fonal heard the work of Poostosh, they wouldn’t pass them up.
