The newest, thirty-six release from FFM Records comes from Moscow's Motherfathers, a band founded by Dmitrii Peitsch and currently in relative hibernation, due to the development of side projects such as UDAR, iAd (Poison), or Ninja Glam. Discord begs a range of expressive outlets. One pithy assessment of these ongoing efforts appeared on a Moscow blog. "Ninja Glam are an electronic/dance outfit, made from members of other bands around the capital. The artists' main goal is to evoke some unwavering state of consciousness. This is done through illogical and ultra-primitive, even meditative[!] music." Beyond logic or common sense lies an unwise consideration of "ultra-primitive" urges. These have been primal screams - but without the therapy.
The same has always been true of Motherfathers, whose lineup until this year consisted of Mr. Peitsch, Maks Elizarov, Ol'ga Nosova, and Natasha Gutartseva of Bamblebee. All of these folks - most often Nosova - have also called upon the services of electronic founding father Aleksei Borisov.
Fascinatingly, Dmitrii Peitsch defended his dissertation last year on "Anarchist Terror During the First Russian Revolution." That academic interest shows clear parallels with the music. How, then, did those early twentieth-century rebels express their desire for civic freedom? Attention was first paid to the torching of police stations and gun stores - in order to weaken the law and increase the insurgents' firepower. The businesses and homes of wealthy industrialists were attacked regularly in a number of Russian towns. By 1907, however the government began to rearm itself and fight back... Things did not end well.
Motherfathers may have described themselves in 2013 as "musical anarchists, working on the border of electronic avant garde and heavy, psychedelic rock." History, however, has not given anarchy much room in which to operate.
DP: "The tracks were recorded at home in the summer of 2013. They started as an improvisation. I remember the weather was very warm, but overcast. It was constantly raining! As a result, once everything was finished, we both felt the result was something summery, tropical, and even suitable for the beach... in some sense! Strangely enough, we felt some associations with the film Miami Vice  and its [original TV] Jan Hammer soundtrack. Perhaps not in the actual music itself, but certainly in the general mood. Later on we'd joke that we had produced some sort of combination of Chris Rea with techno!"