In his “The Riot of Spring” Dmitri Kourliandski questions himself: “What is folklore today? What bears today the energy of the collective unconscious? Is it destructive or neutral for the elite post-postmodernistic consciousness? Is it compatible with the academic concert situation?”

The answers to these questions he tries to find in turning to the rave culture, to the electronic music – dubstep, idm, d&b. This is not an attempt to imitate the existing genre, not an “away match”, but a rave prepared by the composer’s perception and, not to a lesser extent, an experience of the composer’s perception preparation by the rave.

He decided consciously not to synthesize new sounds, working with sound samples the way composers worked with folk or, to go deeper, with ready instrumental sounds and timbres in the European tradition. However, the structuring of the material follows the logic he used while working with a more familiar to him instrumental material.

Trying to define the genre of “The Riot of Spring” he has devised a term “technoballet”, or “electroballet”. At the same time, it is evident that the words “riot” and “spring” are full of connotations with the actual situation in Russia. He is quite far from the politics, however, the situation we live in directly or indirectly influences us, induces to act or to reflect.