Music, University of Birmingham
My project aims to explore the cultural and (bio)political significance of late and post-Soviet experimental music by following the career of improviser, composer and avant-garde pianist Sergei Kurekhin and his collaborators. Following his first solo release, The Ways of Freedom, in 1981, Kurekhin became a key figure in the informal music culture of Leningrad/St. Petersburg up until his untimely death in 1996. Kurekhin is perhaps best known musically as leader of Pop Mechanics (Pop-Mekhanika), a spontaneous postmodern orchestra known for its absurd theatrics, ever-fluctuating membership, and rapid shifting of styles within single performances; fusing high- and low-brow, old and new, in an eclectic collage that emphasised the ‘in-between’. Pop Mechanics offers the nucleus to a network of improvising musicians active in this period, with a notable number of musicians and artists of the 1980s Leningrad scene that were, at one time, part of the ensemble.
The temporal span of Kurekhin’s output offers a lens through which to better understand, contrast and compare cultural production during perestroika and after the fall of the Soviet Union. Studying the music, theatrics and lifestyles of Kurekhin and Pop Mechanics offers new insight into Soviet decline and illuminates what followed – demarcating a distinction between late and post-Soviet culture.
2021 'Ways of Freedom: Late Soviet Experimentalism, Stiob, and the Politics of Indistinction', SMI/ICTM-IE Plenary Conference, Trinity College Dublin (Online).
2019 'The Circuit Became the Score: The Ontology of David Tudor's Electronic Music', BFE/RMA Research Conference, University of Sheffield.