The album is Kedr’s escape from reality. She was born into a shifting and critical time for Russia’s Soviet Union – old values had been exhausted and were anathematized because of reconstruction. A sense of displacement drove Kedr to find herself. ‘Ariadna’ repeatedly explores the imagery and ideas of romanticism, mythical and fairytale themes.
Kedr also channels the places in her neighborhood on the outskirts of Moscow (affectionately dubbed by her as “BORDER MOSCOW”). There’s a river there where identical Soviet high-rises stand on both sides, with a bridge and garbage processing plant adjacent. Where nature and industry meet. The whole scene looks very apocalyptic, but also mystical and mysterious, especially at twilight.
Her inspiration for this record comes from the Izhevsk (sometimes referred to as “the capital of Russian electronic music”) sound of the 80s, including groups like Stuk Bambuka V XI Chasov (Bamboo Crash at 11AM) and Samtsy Dronta. The movement in Russian experimental music is especially inspiring, with acts likes Valery Chkalov, Sergey Kuryokhin and Pop Mechanica; in general, the late-Soviet period was very inspiring with all its figures in music, cinema, their energy and their approach towards life and art.