Mujuice has managed to replicate his studio electronics whilst incorporating an element of unpredictability and improvisation more often associated with live bands.
RUSSIA is perhaps not the first thing that springs to mind when one thinks about electronic music, but this may be about to change. After all, it only takes one particularly original or captivating artist to put a place on the map; Key West was hardly a literary hotspot at the turn of the last century, but then Hemingway happened, and now its home to over forty published writers—not bad for a measly five square miles!
The artist I’m alluding to is Moscow-based Roma Litvinov, or Mujuice, who’s particular brand of electronic music exhibits that fusion of musicality and originality that seems to inhere in the work of all the electronic music world’s giants; with a back-catalog that defies being pinned down by even the canniest of genre neologisms (“drumstep,”, “neurotech,” “dubwank,” et cetera), Mujuice certainly appears more shepherd than a sheep. However, the lack of any single, and therefore sellable “sound,” means that any success is sure to be of the hard won, sturdy variety.
Mujuice’s first LP , Superqueer, was released in 2004. Characterized by a sparse, minimalist sound—think early Modeselektor—this early work demonstrates the Russian’s ear for a good sample and genuine abilities as a song-writer—see especially the haunting, yet oddly catchy, “Esli Net.” Later work moves away from the explicitly minimal and introduces more complex drum patterns, occasional vocals (courtesy of Mujuice himself), bursts of aggression and a whole range of additional influences—jazz, grunge, classical, you name it.
Currently experimenting with live instrumentation, Mujuice’s live show has become something of a sensation. And whilst it’s true that electronic/live instrumentation crossovers past have achieved at best mixed results—Clark’s live drummer worked well, Alarm Will Sound’s Aphex Twin covers are incredible, the BBC’s dubstep orchestra…well, not so much—Mujuice has managed to replicate his studio electronics whilst incorporating an element of unpredictability and improvisation more often associated with live bands. Actually, attaining the right balance between achieving an organic sound and maintaining access to the vast spectrum of sounds available exclusively to the electronic musician, may be the modern artist’s greatest challenge. Viewed in this light, Mujuice’s live shows may go a good way towards addressing the dilemma.
Mujuice’s Downshifting album is available from Moscow’s independent label How2make, along with the more recent, Mistakes & Regrets EP.
