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Eastern Bloc Disco at Uncanny Christmas (Primary Playlist, 2017)

10 Dec

Generic Sleeve (Pronit)
Playlist of tracks given an airing during a set at the Uncanny Christmas party at Primary, Nottingham, on Dec 9, 2017, mainly written down while still fresh in my mind (before the records get put back on their shelves) and for my own reference, or the benefit of anyone who might be interested in the ongoing Eastern Bloc Songs project’s general direction of travel and current interests as we enter the final weeks of 2017. Next year will be something of a landmark, as both an exhibition and publication will be forthcoming in the Summer, if all goes to plan, so watch this space for further details.

NOVI Singers: Misfit (Poland)
Czesław Niemen: Larwa (Poland)
Drugi Nacin: Zuti List (Yugoslavia)
Piotr Figiel: Dyplomowany Galernik (Poland)
Corvina: A mosolyomon ördög ül (Hungary)
Arp Life: Baby Bump (Poland)
Beatrice: Gyere kislány, gyere (Hungary)
Angela Vlatkovića & ABC – Есть Время Для Любви (Yugoslavia)
Stan Borys: Wyplakalem Oczy Niebieskie (Poland)
Halina Frąckowiak & Grupa ABC: Za dużo chcesz (Poland)
Angelika Mann: Wenn Ich Mal (DDR)
Neoton Família: Sámson és Delila (Hungary)
Judit Szűcs: Űrdiszkó (Hungary)
Urszula: Wołam Znów Przez Sen (Poland)
Grupul Stereo: Coloana Infinita (Romania)
Gigi: A Divat a Fontos (Hungary)
Bemibem: Podaruj mi trochę słońca (Poland)
Czesław Niemen: Baw Się w Ciuciubabkę (Poland)
Sarolta Zalatnay: Betonfej (Hungary)
Filipinki: Tłok na plaży (Poland)
Kati Kovács: Fémzene (Hungary)
Chris Doerk: Glaub Nicht (DDR)
Locomotiv GT: Ringasd el Magad II (Hungary)
Izabela Trojanowska: Jestem Twoim Grzechem (Poland)
Jana Kratochvílová & Discobolos: Kyvadlo (Czechoslovakia)
Hana Zagorová: Venuše (Czechoslovakia)
Václav Neckář & Golden Kids: Goo Goo Barabajagal (Czechoslovakia)
Illés: Nehéz az Út (Hungary)

Generic Sleeve (Supraphon)

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Eastern Bloc Disco at Centrala (Playlist for August 4, 2017)

8 Aug

Sarolta Zalatnay: Hadd Mondjam El (Pepita)

The latest version of Eastern Bloc Disco took place on August 4 at Centrala, Birmingham, as part of the regular Digbeth First Friday, a mix of soul, rock, psychedelia, disco, pop, folk and more, all released on the official state record labels of Hungary, Poland, Czechoslovakia, Yugoslavia, Bulgaria, Romania, East Germany and other Eastern Bloc states between the early 1960s and late 1980s. For this latest session – commissioned to accompany the launch of Terra Firma, an exhibition of work produced during a month on Birmingham’s canals by Italian resident Hungarian artist Barbara Mihályi – there was a particular (but by no means exclusive) emphasis on music from Hungary. An archival Eastern Bloc Songs exhibition is in development with Centrala for the summer of 2018.

Eastern Bloc Disco Playlist (August 4, 2017)

Raimonds Pauls & Margarita Vilcāne: Līgotāji (Latvia, 1974)
Karel Cernoch & Juventus: Procitnuti (Czechoslovakia, 1968)
Zsusza Koncz & Liversing Egyuttes: Jaj, Mi Lesz Velem Ezutan (Hungary, 1971)
Alibabki: Slonce w Chmurach Lazi (Poland, 1969)
Illés: Nehéz az Út (Hungary, 1968)
The Rebels: Definitivní Konec (Czechoslovakia, 1968)
Hungaria: Koncert a Marson (Hungary, 1969)
Sarolta Zalatnay: Betonfej (Hungary, 1968)
Hana Zagorová: Svatej Kluk (Czechoslovakia, 1968)
George & Beatovens: Dívky Z Perel (Czechoslovakia, 1969)
Sarolta Zalatnay: Fekete Beat (Hungary, 1971)
Halina Frąckowiak: Wodo Zimna Wodo (Poland, 1974)
Corvina: A Tüz (Hungary, 1974)
Kati Kovacs: Add Már Uram Az Esöt (Hungary, 1972)
Illes: Nekem Oly Mindegy (Hungary, 1972)
Czeslaw Niemen & Akwarele: Baw Się W Ciuciubabkę (Poland, 1969)
Sarolta Zalatnay: Hadd Mondjam El (Hungary, 1973)
NOVI Singers: Torpedo (Poland, 1969)
Vaclav Neckar/Golden Kids: Goo Goo Barabajagal (Czechoslovakia, 1970)
Petr Spaleny & Apollobeat: Kdybych Ja Byl Kovarem (Czechoslovakia, 1969)
Karel Cernoch: Zlej Sen (Czechoslovakia, 1968)
Vera Spinarova: Den a Noc (Czechoslovakia, 1972)
Sarolta Zalatnay & Metro: Mostanában bármit teszünk (Hungary, 1967)
Yvonne Prenosilova: Zimní Království (Czechoslovakia, 1968)
Marcela Laiferova: Mlc (Czechoslovakia, 1968)
Filipinki: Nie Ma Go (Poland, 1968)
Hana Ulrychova & Bluesmen: Zpívej Mi Dál (Czechoslovakia, 1968)
Atlantis: Don’t You Break It Again (Czechoslovakia, 1968)
Koncz Szusza: Visz a Vonat (Hungary, 1970)
Chris Doerk: Glaub Nicht (DDR, 1974)
Angelika Mann: Wenn Ich Mal (DDR, 1974)
Valérie Čižmárová: Čekám (Czechoslovakia, 1969)
Kyri Ambrus: Ez a Szerelem (Hungary, 1970)
Mária Hoffmann: Mini Tini Panaszai (Hungary, 1974)
Metro: Ha Júliát Kérdeznék Meg (Hungary, 1970)
Stan Borys: Wyplakalem Oczy Niebieskie (Poland, 1969)
Bergendy: Tramp – Részlet (Hungary, 1971)
Bonka Najdenova: Proletni Stypki (Bulgaria, 1975)
Beatrice: Gyere Kislány Gyere (Hungary 1977)
Die Caufner Schwestern: Komm Doch (DDR, 1978)
Judit Szucs: Urdiszkó (Hungary, 1979)
Koukeri: Брой До Сто (Bulgaria 1984)
Plexi & Frutti: A Vásár (Hungary, 1989)
Gigi: Divat a Fontos (Hungary, 1985)
Jana Kratochvílová & Discobolos: Kyvadlo (Czechoslovakia, 1978)
Grupa ABC: Za Duzo Chcesz (Poland, 1970)
Grupul Stereo: Coloana Infinită (Romania, 1984)
Bemibem: Podaruj Mi Trochę Słońca (Poland, 1973)
Marika Késmárki: Törött Szék (Hungary, 1971)
Bezinky: Polnočný Vlak (Czechoslovakia, 1975)
Emil Dimitrov: Scherazhade (Bulgaria, 1972)
Olympic: Tobogan (Czechoslovakia, 1971)
Drugi Nacin: Zuti List (Yugoslavia, 1975)
Corvina: A Mosolyomon Ordög Ul (Hungary, 1977)
Sarolta Zalatnay: Már Nem Tudom (Hungary, 1976)
Izabela Trojanowska: Jestem Twoim Grzechem (Poland, 1981)
Syrius: Hol Az Az Ember (Hungary, 1976)

Illes: Illesek Es Pofonok... (Qualiton)

Eastern Bloc Disco at Centrala (Playlist for Feb 3, 2017)

4 Feb

Generic Sleeve [Pronit, Poland, 1960s]

The second Eastern Bloc Disco event took place yesterday evening at Centrala, Birmingham, as part of the monthly Digbeth First Friday, and this set ran from around 8pm until 10.40pm (after which a pre-prepared short mix featuring a few other songs, also listed below, saw the event through to its end, more or less). A further collaboration with Centrala, on an archival exhibition and series of events exploring the history, ephemera, design, film and wider political and cultural contexts surrounding some of these artists and sounds, is currently in development for the Summer of 2018. [Watch this space].

Grupa 220: Negdie Postoji Netko (Yugoslavia, 1968)
Koncz Zsuzsa & Illés Együttes: Fáradt Vagyok (Hungary, 1967)
Izomorf 67: Barwy Dzwieku (Poland, 1967)
Karel Černoch: Snídaně v Trávě (Help) (Czechoslovakia, 1971)
Marta Kubišová: Balada o Kornetovi a Divce (Czechoslovakia, 1969)
Blackout: Powiedz Swoje Imie (Poland, 1967)
Polanie: Dlugo Się Znamy (Poland, 1968)
Karel Kahovec & Flamengo: Poprava Blond Holky (Czechoslovakia, 1968)
George & Beatovens: Lez Blazniveho Basnika (Czechoslovakia, 1968)
Sarolta Zalatnay: Betonfej (Hungary, 1968)
Koncz Szusza: Visz a Vonat (Hungary, 1970)
Petr Spaleny & Apollobeat: Kdybych Ja Byl Kovarem (Czechoslovakia, 1969)
Vaclav Neckar & Golden Kids: Goo-Goo Barabajagal (Czechoslovakia, 1969)
Breakout: Pozlabym za Toba (Poland, 1969)
Illés Együttes: Nehez Az Ut (Hungary, 1968)
Janko Nilovic: Xenos Cosmos (Yugoslavia/France, 1974)
Czerwono Czarni: Lot na Wenus (Poland, 1969)
Hana & Petr Ulrychovi: A Co Ma Bejt (Czechoslovakia, 1970)
Angelika Mann: Wenn Ich Mal (DDR, 1974)
Hana Zagorová: Svatej Kluk (Czechoslovakia, 1968)
Chris Doerk: Glaub Nicht (DDR, 1974)
Czeslaw Niemen & Akwarele: Baw Się W Ciuciubabkę (Poland, 1969)
Josef Laufer & Their Majesties: Útěk z Hladomorny (Czechoslovakia, 1969)
Grupa ABC: Za Duzo Chcesz (Poland, 1970)
Jana Kratochvílová & Discobolos: Kyvadlo (Czechoslovakia, 1978)
Bemibem: Podaruj Mi Trochę Słońca (Poland, 1973)
Alibabki: Slonce w Chmurach Lazi (Poland, 1969)
Drugi Nacin: Zuti List (Yugoslavia, 1975)
Olympic: Tobogan (Czechoslovakia, 1970)
Emil Dimitrov: Scherazhade (Bulgaria, 1972)
Arp-Life: Baby Bump (Poland, 1976)
Walter Kubiczeck: Tentakel (DDR, 1979)
Grupul Stereo: Coloana Infinită (Romania, 1984)
Marta Kubišová: Tak Dej Se K Nam A Projdem Svet (Czechoslovakia, 1969)
Eva Pilarova: Ohen a Led (Czechoslovakia, 1970)
Izabela Trojanowska: Jestem Twoim Grzechem (Poland, 1981)
Grupul Stereo: Plopii Impari (Romania, 1984)
Manaam: Stoję, stoję, czuję się świetnie (Poland, 1980)

Prepared Mix:

Olympic: Ikarus Blues (Czechoslovakia, 1968)
Sarolta Zalatnay & Metro: Fekete Beat (Hungary, 1973)
Filipinki: Nie Ma Go (Poland, 1967)
Halina Frąckowiak: Wodo, Zimna Wodo (Poland, 1974)
Kovács Kati: Add Már, Uram, Az Esőt (Hungary, 1972)
Marta Kubišová: Svlikam Lasku (Czechoslovakia, 1969)
Czeslaw Niemen: Enigmatyczne Impresje (Poland, 1971)
Omega: Gyöngyhajú Lány (Hungary, 1969)
Locomotiv GT: The Worlds Watchmaker (Hungary/Poland, 1974)
Tadeusz Woźniak: Zegarmistrz Światła (Poland, 1972)

Various Artists: Privni Pantoniada (Panton) [7

Eastern Bloc Disco Playlist (Nottingham Contemporary, 16 Jan 2016)

16 Feb

Generic Sleeve (Pronit)

Last month, to celebrate the opening weekend of Monuments Should Not Be Trusted (curated by Lina Džuverović) and expand on the display of Eastern Bloc 7” records included in Behold! The Markets Shall Erase Our History! (both exhibitions remain at Nottingham Contemporary until 04 March), an Eastern Bloc Disco was staged, featuring soul, rock, psychedelia, pop, folk and more, all released by the official state record labels of Poland, Czechoslovakia, Hungary, Yugoslavia, Bulgaria, Romania, East Germany and the USSR between the early 1960s and mid-1980s. The session also included a live set from UrBororo, Pil & Galia Kollectiv’s new venture into “skewed filing cabinet swamp blues for corporate inflight listening” – an “objectively boring” band whose songs are made from an unlikely merger between the sounds of surf, grunge and punk, and whose lyrics are borrowed from a 1970s Management Self-Help guide.

The all-vinyl playlist for the night ended up looking something like this:

Marek Grechuta: W Pochodzie Dni I Nocy (Poland, 1974)
Raimonds Pauls/Margarita Vilcāne: Līgotāji (Latvia/USSR, 1974)
Izomorf 67: Barwy Dzwieku (Poland, 1967/8)
Raimonds Pauls/Nora Bumbiere: Divpadsmit Asaras (Latvia/USSR, 1974)
Blackout: Powiedz Swoje Imie (Poland, 1967)
Grupa 220: Negdie Postoji Netko (Yugoslavia, 1968)
Vera Spinarova: Andromeda (Czechoslovakia, 1972)
Krystyna Pronko: Po Co Ci To Chlopcze (Poland, 1973)
Czeslaw Niemen & Akwarele: Baw Się W Ciuciubabkę (Poland, 1969)
Josef Laufer & Their Majesties: Útěk z Hladomorny (Czechoslovakia, 1969)
Flamengo: Kure v Hodinkach (Czechoslovakia, 1972)
C&K Vocal: Generace (Czechosolovakia, 1974)
Omega: Gyöngyhajú Lány (Hungary, 1969)
Romauld & Roman: Pytanie Czy Haslo (Poland, 1970)
Drugi Nacin: Zuti List (Yugoslavia, 1975)
Piotr Figiel: Dyplomowany Galernik (Poland, 1974)
Olympic: Ikarus Blues (Czechoslovakia, 1969)
Locomotiv GT: Ringasd El Magad II (Hungary, 1973)
Hungaria: Koncert a Marson (Hungary, 1969)
Blue Effect: The Sun Is So Bright (Czechoslovakia, 1969)
Olympic: Everybody (Czechoslovakia, 1969)
Breakout: Gdybys Kochal Hej (Poland, 1969)
Illes: Nehez Az Ut (Hungary, 1968)
Karel Kahovec/Flamengo: Poprava Blond Holky (Czechoslovakia, 1968)
George & Beatovens: Lez Blazniveho Basnika (Czechoslovakia, 1968)
Martha & Tena: Boure (Czechoslovakia, 1969)
Atlantis: Don’t You Break It Again (Czechoslovakia, 1968)
Petr Spaleny & Apollobeat: Kdybych Ja Byl Kovarem (Czechoslovakia, 1969)
Sarolta Zalatnay: Betonfej (Hungary, 1968)
Halina Frackowiak: Wodo, Zimna Wodo (Poland, 1974)
Stan Borys: Wyplakalem Oczy Niebieskie (Poland, 1969)
Koncz Szusza: Visz a Vonat (Hungary, 1970)
Emil Dimitrov: Scherazade (Bulgaria, 1972)
Marta Kubisova: Tak Dej Se K Nam A Projdem Svet (Czechoslovakia, 1969)
Hana & Petr Ulrychovi: A Co Ma Bejt (Czechoslovakia, 1970)
Angelika Mann: Wenn Ich Mal (DDR, 1974)
Arp-Life: Baby Bump (Poland, 1976)
Walter Kubiczeck: Tentakel (DDR, 1979)
Grupul Stereo: Coloana Infinită (Romania, 1984)
Izabela Trojanowska: Jestem Twoim Grzechem (Poland, 1981)
Grupul Stereo: Plopii Impari (Romania, 1984)
Chris Doerk: Glaub Nicht (DDR, 1974)
Vaclav Neckar & Golden Kids: Goo-Goo Barabajagal (Czechoslovakia, 1969)
Czerwone Gitary: Coda (Poland, 1970)
Grupa ABC: Za Duzo Chcesz (Poland, 1970)
Marta Kubisova: Cervanky (It’s Not Unusual) (Czechoslovakia, 1968)

Generic Sleeve (Supraphon)

Through the evening, a muted playlist of videos also ran on a large screen, and everything shown at the event can be seen in the Eastern Bloc Disco playlist compiled here – between 2 – 3 hours of visuals in total, now available with their soundtracks intact.

Hana Zagorová: Verbíř (Supraphon, 1969)

18 Dec

Like Marta Kubišová’s Balada o kornetovi a dívce, released in the same year, Hana Zagorova’s Verbíř (The Recruiter) is a song that draws on a folk tradition going back beyond the Napoleonic era to feel relevant to almost any situation in which women are left behind by lovers, husbands and sons in times of conflict to reflect on the futility and loss caused by wars over which they have little control. At the time these records were released, at the close of the 1960s, their sentiments would almost certainly have been understood on a very personal level, resonating with both the relatively fresh memories of an older generation that had experienced the Second World War and, perhaps, with the raw experience of the 1968 Soviet invasion of Czechoslovakia, which had itself separated many people of younger generations from their own families and partners as many left the country or found themselves unable to return. The original Czech text can be read here and the song itself listened to here.

Verbíř (The Recruiter)

(after Jan Růžička/Drahoslav Volejníček, 1969)

My blood taps its fingers on my body’s wall,
the birds’ dawn chorus is a long croak,
black crows, starlings, dark buzzing flies
where thunder drums stone steps with rain.

A small grey man haunts the town square,
his recruiting song a wind between houses,
a whip’s shadow on the lit windows
where women stand and break like days.

To the fields, the cemeteries, the men go.
There goes my song, too, with a mourning keen.
Listen: my skin’s drum is tightening now
as I hear that shadow call for fresh recruits.

And the sun has fallen back. The fields swell.
Every village hears the galloping horse
pass by some silent corner of an empty house.
In the square, this small gray man sings on.

To the fields, the cemeteries, the men go.
There goes my song, too, with a mourning keen.
There is no man left to owe us anything:
each gave his life and left a woman here.

Now, pale as linen or the morning rose,
white with sorrow as a freshly laundered sheet,
we haunt this village that has no men left,
hear the shadow calling for still more recruits.

zagorova45

Poems for Pussy Riot: Marta Kubisova’s ‘Ne’ in Russian…

29 Sep

A slightly unusual text features here, a version of Marta Kubisova’s 1969 Czech protest song ‘Ne’, translated into Russian («Нет») by way of my own English approximation (‘No’). The reason for this slightly convoluted process is simple: a couple of weeks ago writer, editor and all-round whirlwind Sophie Mayer emailed asking if I wanted to contribute a poem to a project designed to raise awareness and support for Pussy Riot as their appeal hearing – against penal sentences of two years each for the performance of a song – is scheduled for Monday October 1st. (A version of this song, A Punk Prayer, appeared here on August 15th, during the original trial, in both English and Russian, with some discussion of the context of the performance and the exact nature of the allegations against the women). The Russian versions of the many resulting texts were made with the intention of placing the poems in support of the women into their hands, via the band’s legal representatives, who have worked closely with English PEN and the Poems for Pussy Riot team (as well as Mayer, Cat Lucas, Sarah Crewe, Mark Burnhope and many others have been involved) and the English versions of the texts will be released as an e-book called Catechism on Monday, to coincide with the appeal hearing and an international day of action. As well as the English version of Kubisova’s ‘Ne’ (a song chosen for its historical parallels with this case) the book contains new work by 110 writers, ranging from Ali Smith, Deborah Levy and Sandra Alland to Sasha Akhtar, Jack Underwood and Amy Key. In the meantime, many of the contributions can be read on the English PEN website and anyone interested is encouraged to get down to the Russian consulate on Monday, where a protest will be staged (details are on the Poems for Pussy Riot Facebook page). As Mayer has put it, the hope is that the e-book and the band themselves will be released simultaneously. Let’s hope so. Until then, here’s Marta’s beautifully celebratory 1969 song of refusal, in Russian, as translated from my English version of the original Czech lyric by Zdenek Rytir by Dasha McLeish. Convoluted? Perhaps. Worthwhile? Absolutely.

Уэйн Бэрроуз

Песня «Нет» была записана в исполнении чехословацкой певицы Марты Кубишовой в 1969 г., но оставалась под запретом цензуры вплоть до 1990 г. Кубишова не скрывала своего враждебного отношения к процессу «нормализации», последовавшему за вторжением советских танков в 1968 г., и поплатилась за это возможностью выступать, записывать песни и ездить на гастроли – запрет, наложенный в 1970 г., оставался в силе вплоть до 1990 г. За время действия запрета она оставалась одной из главных фигур в диссидентской среде и одной из первых поставила свою подпись под «Хартией 77».

Нет

(по мотивам песни Отакара Петрины и Зденека Рытира, 1969 г.)

Я б купила все моря вместе с океанами,
Я б купила все шторма вместе с ураганами.
Я построила бы дом в глубине морской,
Чтоб навеки распрощаться со своей страной.
Той, где правит страх, а правды нет.
Кто-то хочет жить в такой стране?

Нет.

Я б купила небосвод, звездами расшитый,
Вместе с ветром, что под вечер на покой спешит.
Я бы крепость возвела там, на облаках,
И молилась, чтоб она не обратилась в прах.
Там, где правит страх, невинных нет.
Кто-то хочет жить в такой стране?

Нет.

Но в морях полным-полно боевых судов,
Бомбами и пулями набитых до краев.
Нет убежища, увы, и на дне морском –
Хищные подлодки вмиг найдут мой дом.
Самолеты рыщут в вышине…
Если ли край, где можно скрыться мне?

Нет.

Все мы в клетке здесь сидим, в мертвой тишине
Но под маской, иногда, бросаем взгляд вовне.
Мы должны благодарить за дозволенье жить?
За то, что если мы смолчим, нас могут пощадить?
Страх тут правит бал, а правды нет.
Кто-то хочет жить в такой стране?

Нет.

Marta Kubišová: Tajga Blues ‘69 (Supraphon, 1969)

4 Aug

Said by Marta Kubišová herself to be her favourite among all her recordings, Tajga Blues ‘69 is also one of the greatest records of its era, and not only in the former Eastern bloc. Few Western singles of the day are as remarkable as this particular few minutes of dramatic balladry and highly political poetics underscored by heavily distorted guitar. Tajga is the arctic region of the northern hemisphere, and appearing so soon after the Soviet invasion of Czechoslovakia in 1968, it’s unlikely that the song’s allusion to Siberia as a region of exile would have been missed, however oblique the imagery of the song itself, reminiscent as it is of some of the material written the Serbian poet Vasko Popa in Yugoslavia, and others elsewhere. How the record was released and even televised (and not, like another overtly political Kubišová song of the same moment, Ne (No), quickly withdrawn) is something of a mystery, possibly related to a time-lag between the management at the State record label (itself a powerful export income generator through its Classical music arm) and the ‘normalisation’ process, but no real information seems to be available. Whatever the reason for her recordings continuing to be released for around a year after the 1968 invasion, Kubišová did not hold onto her room for manouvre for very long. Despite her immense popularity, smear stories were run in the press and used as grounds to impose a ban during early 1970, preventing her from performing, recording or travelling for the next twenty years. If at least some of these post-1968 songs were pressed (though often left largely undistributed) the ban finally managed to silence her, musically at least, until the Velvet Revolution in 1989. This version of Tajga Blues ’69 first appeared in Poetry Review (Vol.100 No.4) in the winter of 2010. The song can be heard here and a transcript of the original Czech lyric can be read here.

Tajga Blues ‘69

(after Bohuslav Ondrácek/Zdenek Rytir, 1969)

Tajga sleeps, soft white drifts in,
Tajga lies sleeping, is gracious – his first grave sin.
Tajga slumbers in a dungeon of trees,
handcuffed to the Blue Mountains
as guards cling to houses in a quiet street.

Tajga blues, sing out the chorus still –
no word fears these short days
or the long nights.

Tajga does not wake, the north is quiet,
Tajga’s wolf trails are tracked by guards.
There are white places on maps,
blank pages in this open book
and power in the eyes of those who look.

Tajga blues is the echo I hear
as rivers roar and wind laughs a storm
through the long nights.

Tajga spreads its blankets to hide the world,
Tajga’s snow thickens on the quiet woods.
Where to go, but walk blind
through forests whose beautiful frosts
envelop us, though our eyes are closed?

Tajga blues, we sing as they imprison us;
our voices echo – exiled, heard –
and long nights whiten until the world returns.