Dark folk / prog artist Marjana Semkina (Iamthemorning) announces new album and streams first single

Sirin album out 31st May; ‘We Are The Ocean’ lyric video streaming now

Album guest features include Jim Grey (Caligula’s Horse) & Mick Moss (Antimatter).

Progressive dark folk artist Marjana Semkina has announced the release her second solo LP – Sirin – on 31st May 2024 along with a Kickstarter campaign. She has also unveiled the first single ‘We Are The Ocean’ along with a stunning lyric video.

Watch the lyric video for ‘We Are The Ocean’ here:

Pre-order Sirin here:

SIRIN by Marjana Semkina — Kickstarter

Known for her work as the vocalist of prog duo Iamthemorning, self-exiled Russian Marjana has forged a successful solo career with two critically acclaimed solo releases: her 2020 debut solo album Sleepwalking, and 2021 follow-up EP Disillusioned. Like its predecessors, Sirin is a journey of dark stories and fairy tales, told with Marjana’s uniquely captivating voice, on a foundation of detailed musical arrangements. However there is a prevailing darkness and grief, inspired by of Russian invasion of Ukraine, with the first single about by the protests.

On new single ‘We Are The Ocean’ Marjana comments: “This song was inspired by all of my Russian friends coming out to protest against the war when it started, despite the fact that there was a very good chance they’d get arrested for doing so – a lot did in the end. I wrote lyrics to this song on a train to one of those protests in London, Trafalgar Square in early March 2022.”

On the album Sirin, she continues: “Sirin is a mythical creature from ancient Slavic mythology, half-bird half-woman, she’s a harbinger of bad luck and death, and it’s believed that if you meet Sirin a big catastrophe will happen – except in case with the events surrounding this album it’s already happened. Sirin cries and mourns for humankind, and nothing can be more appropriate in this day and age. Sirin is one of very few creatures that can travel between worlds – a world of gods of light, a world of dark deities (in some versions an alternative to the underworld) and a world of mortals. This felt appropriate because the album is quite diverse in sound and some might think parts of it sound happy, but the subject matter is almost always quite morbid, which creates a contrast that I enjoy.

“I was never very political and I always tried to keep my art within the realms of lore, literature and imagination. But when events like the ongoing Russian invasion of Ukraine happen, it is impossible – and I’d even say, unforgivable – to stay silent and do nothing. Thankfully being based in the UK I feel rather safe speaking out against the current regime and I do have a platform that I can use to try and show the world that Russians disagree with the actions of the Russian government, and there are so many of us that only wish for this to be over. I’m just trying to show it in the most artistic way I can muster.”

Now permanently based in the UK, Marjana has been an active campaigner against the Russian occupation in Ukraine and has raised thousands of pounds via her activities to support the victims of war. She will continue her work, including selling a number of a limited run of handwritten lyrics from Sirin, with the money going to Ukrainian charities. Acts punishable by 15 years imprisonment should she return home.

Marjana is joined by an array of world class musicians (detailed below), which includes two very special guest vocal performances from Jim Grey (Caligula’s Horse) and Mick Moss (Antimatter).

Marjana has previously collaborated with many incredible artists, including The Flower KingsJordan RudessBlackbriar, as well as Anna Murphy with their Maer project. Combined with her work in Iamthemorning, her experiences have enabled her to become one of the most unique and exciting solo artists in the progressive world today. 

Recording musicians:
Grigoriy Losenkov – piano, bass guitar, synths, drum programming
Vlad Avy – electric guitar, synths, drum programming
Keli Guðjónsson (Agent Fresco) – drums 
Charlie Cawood (Medieval baebes, Knifeworld) – acoustic guitar, bouzouki, glockenspiel, hammered dulcimer, luiqin, guzheng
Liam McLaughlin (Sithu aye, IATM) – electric guitar
Margarita Chernyshevskaya – 1st Violin 
Petr Chepelev  – 2nd Violin 
Julia Uliashcenkova – Viola 
Julia Romashko – Cello 

Review – Gleb Kolyadin – s/t – by Progradar

I suppose, like me, the music you listen to depends on the mood you are in? Uptempo, fast-paced music for workouts or when you are in a really energetic mood or perhaps the chilled out, more relaxing music for a quiet night in and then there is that album that sits a bit on the fence, it has the higher cadence but also the easygoing, even emotive tracks that make it a great listen.

I was lucky enough to receive the promo for Gleb Kolyadin’s (pianist and co-songwriter of Iamthemorning) self-titled solo release and was intrigued to find out whether it would be more of his day job or a change from the norm that would head in other directions. Along that journey I have had the pleasure to become engrossed in what is a wonderful musical adventure…

The record features a staggering who’s-who of performers, including: Gavin Harrison (King Crimson Porcupine Tree) on drums; Nick Beggs (Steven Wilson) on bass; Theo Travis (Robert Fripp / Porcupine Tree / Steven Wilson) on flute and saxophone; the unmistakable voice and lyrics of Steve Hogarth (Marillion) alongside Mick Moss (Antimatter); and Jordan Rudess (Dream Theater) on additional keys.

The album is a collaborative piece with each musician recording their own parts separately, starting with Gleb recording himself on grand piano in Moscow Winter-Spring 2017 at the famed Mosfilm studio. The album was mixed and engineered by Vlad Avy, who also previously worked on the two Iamthemorning records.

There’s a wonderful freshness and freedom to the music that Gleb delivers, whether it is the instrumental tracks where his piano playing is key or the vocal tracks where intimate stories are weaved by the collaborative voices of Mick Moss and Steve Hogarth. The near-frantic tempo of opener Insight is a case in point with Gleb’s dextrous digits flying over the ivories to give a breathtaking demonstration of his skill. The accompanying musicians add a veneer of sheer class, Theo’s sax really stands out and you could imagine yourself standing to applaud as it comes to a close. There’s a humble feel to the opening of Astral Architecture, the gentle piano is hushed in comparison giving an ethereal grace to the song. Mick Moss adds a subtle authority as his vocals begin, full of feeling yet with an undercurrent of melancholy, they draw you into there intimate embrace and you willingly follow. A fantastical aura settles over the song as the vocals take on a more passionate note and the classical strings add gravitas, a powerfully emotive track. The elegant notes of White Dawn wouldn’t be out of place in a piano recital, oozing class and panache, it’s a short interlude that could be termed a musical amuse-bouche and it leaves a lovely feeling on the aural palate.

The theme continues but at a much faster tempo as we segue into Kaleidoscope, a track that lives up to its name as you are taken through a huge spectrum of musical wonder by Gleb’s incredible skill and artistry. Tatiana Dubovaya’s haunting vocals give an air of mystery and intrigue but it is a piece of music that fairly skips along without a care in the world and you gladly join the ride as Theo Travis’ flute takes up the reins to take us to a breathtaking close. The momentum slows a little for the captivating charm of Eidolon to beguile and enchant before the slightly discordant notes of Into the Void carry on the recurring musical theme, quite insistent and incessant in their delivery. Again, this is classical music given over to a mass audience with the added skill and expertise of modern day, real world musicians added into the mix to create something quite unique. The unrelenting timbre is carried over to The Room but you always feel the performers are totally in control of proceedings. A note of seriousness has entered the music in places, the happy-go-lucky quality taking a step into the shadows without leaving altogether, Theo’s sax playing adding a gritty feeling of ‘out there’ jazz playing to the furious piano that closes out the track.

There’s a wistful, darker aura that descends around Confluence, a dreamlike and wistful opening seems to be meandering to nowhere in particular with is deliberately slow tempo and Steve Hogarth’s hushed spoken word vocal barely heard in the background. It’s a wistful, contemplative tapestry on which a beautifully mournful soundscape is created. The music has a thoughtful and reflective ambience as it dances gently across your aural synapses and belies its ten minute plus length. This song is a testament to Gleb’s creativity as it twists and turns to gather pace before applying the brakes, always demanding your attention, an introspective piece of music that leaves a lasting impression on your mind. Constellation The Bell is a moving song that has a barely hidden fragility behind the impressive piano playing, an eloquent and expressive three minutes that leaves a hollow feeling behind. There’s a grandiose and ebullient impression to the short lived Echo Sigh Strand, a track where Gleb’s piano playing seems to emanate from his very being to come alive and it crackles with electricity, powerful and exciting.

Penrose Stairs carries on the pomp and circumstance with added theatrics, a vibrant and imposing track aided and abetted by Gleb’s stellar accompanying cast of musicians. However, it is the intricacies of his skillful piano playing that is always at the core of these songs. The involving complexities of the elaborate Storyteller take on a slightly menacing tone as Jordan Rudess’ instantly recognisable keyboard skills take over, it’s quite a thrilling joyride from beginning to end. All good things must come to an end and the dulcet tones of Steve Hogarth herald the closing track on the album The Best of Days. A fantastically nostalgic song where Gleb and Steve work together perfectly to deliver a sentimental track that tugs at the heartstrings. It’s hard for me to put my finger on it but there’s just something about this song that really works and, to my ears, it is near musical perfection.

I met Gleb at this year’s Summer’s End festival and he is a quiet, polite and very unassuming man, perhaps it is through his creative side and his music that he can really express himself. This self-titled solo debut is pretty much a work of art where the undoubted piano playing skills of this virtuoso musician are complemented by some of the most prominent musicians around to give us something quite wonderful and ultimately rewarding and something which I cannot recommend highly enough.

Released 23rd February 2018

Order ‘Gleb Kolyadin’ from Burning Shed here