In the early 2017, the Kommersant daily had told its readers to keep a close eye on the Moscow-based trio Fogh Depot. That was very sound advice as there are very few projects such as Fogh Depot in Russia. By combining the elements of dark jazz in the spirit of Bohren & Der Club of Gore, neo-classical minimalism and intellectual electronica, the trio has been playing intriguing instrumental music since 2014. This music is cohabited by vividly drawn melodies and unusual sound textures, energetic beats and complex embroglios, unpredictable improvisation and austere composition, classical instruments and technological innovations. Each piece by Fogh Depot is like a thriller, whose insinuating tempo and melancholic mood create tension and show off the obligatory culmination.

Fogh Depot is much better known internationally than at home. The Moscow-based trio, which consists of Alexei Gusakov (percussion, samplers), Mikhail Klimov (double-bass, grand piano) and Heinrich Thomas (wind instruments, synthesizers) was discovered by the German label Denovali, which welcomes the musicians who search for the connecting link between the trends of the new age and the traditions of jazz and academic music. The musicians released two albums with the label — the debut S/T and Turmalinurm, which came out late last year. Turmaline is a jewellery stone, which is found in nature in a great variety of colours, and capable of changing them further depending on the angle of light. A comparison with the multifaced turmaline is the most fitting metaphor for the multilayered and constantly shape-shifting music of Fogh Depot, which reveals itself in new light each time that you listen to it.