*Vtorchermet* is the third album by pianist and composer Svetlana Marintchenko (Lana Mari). On this release, the musician continues her artistic evolution—moving toward a fusion of electronic and acoustic sounds, this time in collaboration with Jo Beatdenker, known for his distinctive style and innovative approach to rhythm and sound.

The title *Vtorchermet*, deliberately left in Russian, encapsulates an entire chapter of life—one that resonates throughout the sound and mood of the album. Translated, *Vtorchermet* means "secondary metal," referring to recycled scrap metal. But more significantly, it was often used to describe abandoned industrial zones in the post sovetic area, places where non-conformist youth was gathering.

The profound sense of uncertainty that marked these places and their inhabitants during the 1990s and early 2000s created a melancholic atmosphere, blended with bold youthfulness and the exhilarating feeling of freedom. As a result, the album itself carries a melancholic and industrial tone, but it still pulses with energy, drive, and expressive freedom.

The tracks reflect Lana’s fondness for rock-influenced, produced sounds—more explicitly than on her previous albums. There’s a clear departure from the traditional jazz piano trio aesthetic, yet the improvisational foundation remains palpable, especially in pieces like *Dancing on My Kitchen Alone While Cooking*, where the musicians demonstrate a thoroughly jazz-oriented approach in their solos. After the almost pop-rock flavored *Philo* and the slightly hip-hop-infused Intro featuring rhythmic experiments with samples by Jo Beatdenker, it becomes evident that something entirely new has emerged.

It should be noted that the album features Felix Henkelhausen on bass and Philip Dornbusch on drums. Both are undoubtedly masters of their instruments —highly virtuosic, innovative, and creative. They rank among the most compelling musicians in Germany and beyond, lending the album a depth that is unmistakable.

Overall, the album is remarkably diverse. It includes the more conventionally sounding *Distance*, performed in a classic trio style, as well as the techno-influenced *Outro*, a homage to Berlin’s unique atmosphere. Yet all pieces are united by an invisible thread—a shared mood that binds everything into a singular, cohesive experience.

In many tracks, Mari creates distinctive musical imagery through polyrhythms, as exemplified in *Something to Ride Your Bicycle With*. In *Director of My Head*, one of the album’s most striking compositions, this mood reaches its peak—capturing the restlessness and endless stream of thoughts that define the modern human condition. The powerful solo in *Velib* highlights once again the fearless use of noise, a hallmark of Jo Beatdenker’s artistic identity.

The musicians aren’t afraid to sound experimental or extreme, yet it never feels overdone—rather like a brief plunge into the depths, followed by a return to the surface for breath.

This album has character. It is emotional and introspective at once. It offers a wealth of intricate ideas alongside moments of simplicity—a combination that achieves a rare and satisfying balance.

Musically, *Vtorchermet* strives to blur the boundaries between genres and create a unique sonic world, enriched by personal experience. The result is a refreshing sense of discovery and a strong desire to revisit the album again and again, diving ever deeper into the meaning of its sounds.