Aural Aggravation

2nd May 2025

Christopher Nosnibor

British-Israeli krautfolk collective staraya derevnya are the epitome of obscure and underground, and it’s precisely for releases like Garden window escape that Aural Aggravation exists. Obscure and underground are not criticisms or judgements here: the world of music is broad and exciting because it affords room for all forms of expression. I’m not going to touch on politics or anything else that may impinge on this as an exploration of a creative work, and suffice it to say that I in no way consider any government to be representative of all of the people, especially not the artists, the creatives. staraya derevnya are the kind of artists who exist not only beyond politics, but simply beyond, and Garden window escape is one of those albums which isn’t only bold in its experimental, but

Precisely what ‘Tight-lipped thief’, the album’s first track expresses, is unclear to me. While containing traditional folk elements, the experimental edge is strong, and it twitters and tweaks, like a squeaky toy for a dog or a baby, over an array of clattering percussion, and the cumulative outcome is a wild, murky, jazzy cacophony, whereby the muttered vocals are largely submerged beneath a discordant tumult.

This isn’t only discordant, but it’s also pretty dark: while ‘What I keep in my closet’ brings a sandpapery scrape and a monotonous vocal yelp, and the effect is cumulative, like sandpaper applied to the skin slowly but steadily, becoming increasingly sore over time, before the woozy, warping, dissonant drone of the twelve-minute ‘Half-deceased uncle’ offers up new levels of discomfiture. It’s a gloopy Krauty swell and surge, combining elements of Suicide and Throbbing Gristle with the electronic pulsations of Chris and Cosey’s Trance, along with some low and heavy drone and tooting horns which evoke the spirit of Joujouka, but with a sci-fi swirl a creeping uneasiness and a tension which pulls away as the chords, the limbs, and ultimately the senses. Noises peel and lurch over a loping rhythm which plugs and plods away relentlessly for quite some minutes. There’s an acoustic guitar strumming away amidst the pings and pows and muffled vocal mutterings which melt together in this lo-fi sonic froth which occasionally calls to mind the breathy discordant tension of Xiu Xiu.

‘Cork flight operation’ grumbles and rumbles on, and on, and constructed around a sparse guitar, it’s faintly evocative of later Earth, but instead of rolling beats, there’s an insistent crunching thud like slow-marching feet and there’s rippling synths and slow drones backing the almost melody of the vocals.

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Amidst squealing circuitry and melting synths, ‘Onwards, through the garden window’ emerges, sparse and gloomy. The hushed vocal, thick with a syrupy distortion, is menacing, the instrumentation borders on jazz but with an industrial / dark ambient edge, which is unsettling, uncomfortable, and this is how Garden window escape slowly grows its unsettling sonic tendrils. There is nothing easy or accessible about it, but it is strangely compelling.

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