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Concert: Sounds of Siberia - Yuliyana and Aidyn / Insect Factory

Thursday July 25 * 8pm * $10 * TICKETS

Yuliyana Krivoshapkina is the foremost master of the khomus, a style of jaw harp from the Sakha Republic (Yakutia). She began studying the khomus from her grandmother when she was just seven years old. She joined Yakutian folk group Ayarkhaan, and the group toured several international festivals, captivating thousands of world music fans with their distinct melodic sound. Today, Yuliyana is a solo performer and teacher of khomus enthusiasts all over the world. Her repertoire is versatile, featuring traditional singing and folk melodies accompanied by the khomus. Yuliyana's voice and khomus blend to create unique harmony that often evokes feelings of profound wonder. Audiences might hear the rustle of grass in the wind, the cry of a bird startled into the sky, and the quiet incantations of an ancient shamanic ritual. In 2019, Yuliyana joined renowned Tuvan throat singers Chirgilchin on their US tour, where she began her collaboration with Chirgilchin member Aidyn Byrtaan-ool. Aidyn is a student of legendary Tuvan throat singer Kongar-ool Ondar, who is best known for his role in the 1999 film Genghis Blues.

The collaboration between Yuliyana and Aidyn transports listeners to the vast expanse of Siberia. Stretching from Tuva in the south to Yakutia in the north, Siberia is a land of mountains, deserts, plains, and tundra. Aidyn's mastery of the different styles of throat singing takes listeners to the taiga and mountain brooks of Tuva, while Yuliyana brings the sounds of the birds, reindeer, and winds of the endless tundra of Yakutia. Around the same time that throat singing emerged out of the Tuvan nomadic lifestyle, the khomus became the backbone of Yakutian culture and the tool of powerful shamans. When heard together, these two musical styles are a transformative experience.

INSECT FACTORY is Washington, D.C.-based guitar-drone expert Jeff Barsky. "Barsky's work as Insect Factory is remarkable because he manages to avoid that pitfall of over-effecting his guitar work into an indistinct mass of noise, yet enough so that the album often bears little resemblance to the instrument. This ends up being abundantly clear from the opening moments of "We’re All Just Here for the Money." The shimmering melodies that appear early on sound more traditional, but the synth-like pulses are distinctly alien in comparison. By the end, the piece is a complex structure of interlocking layers of playing and treated loops, but one that retains a sense of form and order." (Brainwashed)