 Ce jeune Biélorusse de 38 ans s’est installé en Allemagne au passage du siècle, délaissant progressivement le hautbois pour la composition et la musique électronique. Auteur d’installations visuelles et sonores, de musiques pour le cinéma, le théâtre et la danse, Damian Marhulets livre, avec Lilith's Lullabies, quatorze miniatures cristallines, écrites au carrefour d’expériences de vie : le décès de son père et la naissance de sa fille, troisième existence féminine d’importance dans son environnement, après mère et compagne - Marina Baranova (piano et chant). S’il est recommandé à l’auditeur d’explorer au-delà de la simplicité évidente des mélodies et des arrangements afin de débusquer les juxtapositions d’éléments sonores issus de cultures et d’époques différentes (les synthétiseurs des années ’80 côtoyant les arrangements de cordes), c’est pourtant l’écoute candide d’une musique angélique, qui rappelle parfois les Islandaises tricoteuses d’Amiina - la grâce boréale en moins -, qui s’impose. (Bernard Vincken) Lilith’s Lullabies is a transformative album, taking the listener on a journey that fully explores that “other side of your consciousness.” Some songs really are lullabies, beautifully flowing odes that caress your brain and ease the senses. Others have a brightness and energy that’s impossible to resist. Together, they make Lilith’s Lullabies a thoughtful, contemplative listen, and mark a new chapter in the rise of one of the most talented contemporary composers currently at work. “I used simpler melodies, and harmonies and rhythms which are naturally less complicated, in order to achieve a more accomplished narrative structure, but there’s a deeper meaning to this album which happens on the level of sound design. It’s important to invite listeners to just enjoy the music, but if they are interested they can dig and find things for themselves”, says the composer. Born in Minsk, Belarus, Marhulets has been surrounded by music since he was an infant. Encouraged by his father – his first teacher and role model – he excelled at oboe and piano; he played his first concert at five, and was accepted to the prestigious Minsk College of Music just one year later. He toured and performed with some of the most renowned orchestras in the country, but an adolescence spent focusing on traditional classical music left him restless and creatively unfulfilled. Abandoning the instrument that had been his life, he moved to Germany in 2000, immersing himself in composition and the underground experimental music scene.
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