'When the war started, my musical friend Eugene and I were perplexed by what was going on. There was a sense of real surrealism. On the one hand it was scary, but on the other - even interesting. We went to old bomb shelters near our homes, to the sound of sirens echoing throughout the city. There was a lot of military and it was problematic to move around the city. My friend and I live in different parts of Kyiv. He is on the left bank and I am on the right bank. I invented the project 'Voice Industrial Illusion' in 2011. Its participants are me and my friend. Victor Slobodyanyuk and Eugene Rassudin, I met him at one party at home in 2003 where there were different musicians, writers, artists ... and simply wonderful and interesting people. In a company of very clever and good guys, there was a discussion of musical directions and Eugene said: I like ambient very much. I too was fond not only of dancing music and let's say we got acquainted. So, here's the news. In early March I decided to write something postindustrial. I reported it to my friend through the Internet and he was very happy about it! We started to remotely exchange our creative works. This album was of course written under the influence of war. We united everything virtually with computers. In the album audio-projections of certain days are heard. It's a week or seven days in total. We used experimental mechanisms to get sound from signals with dynamics compressors, limiters, gainers, saturators, reverbs and delayed equalisers, thanks to experimental setup - this album really came out. We also used our own field recordings, and new voices were miraculously created, which were not audible when we recorded them on a digital recorder, we mixed audio with synthesizer signals. We even mysteriously used samples of very rare recordings. (Thanks a lot to Siegmar Fricke for his rare recording from 1981, which inspired us even more.) Yes, with his permission we sampled a bit of his "Oktober 1981-Alltag" record to our track. We played it in pitch and time-stretch, and the only thing we kept to was not to overdo it. We also wanted a harmonious presentation of the resulting audio state. In its entirety, the album was born on April 7, 2022.'
(Виктор Головин)