A few months ago, I had the privilege of exchanging a few words with the duo that composes Years of Denial. Composed of Jerôme Tcherneyan and Barkosina Hanusova, the duo has developed the project together for nearly 3 years now. I will let you read the summary of our discussions later in this article. But first of all, I invite you to let yourself be transported into their groovy, ever-growing sexy universe.

Years Of Denial is an electronic project which travels between different, yet intermingled styles, that are in constant evolution and which takes its breath in the course of gatherings, exchanges and the often furtive and uncapturable moments between artists. A sonic titan with a foot in each world, the path to the ephemeral one being his undoubted favourite. And to capture it, you will have to enter into the frail and temporary beauty of their live performances.

The path of Jerôme Tcherneyan, musician-producer and DJ, is rich in multiple experiments and relationships. Since the end of the Eighties, he has been involved in several projects as a drummer whilst studying jazz and Brazilian percussion between 1992 and 1996. During this period, Jerôme is inspired by dark new wave sounds and, to my surprise, he also appreciates projects such as Public Enemy, Scorn or Techno Animal. Therefore, a real triangle between the various styles and influences is already taking shape. But as if that wasn’t enough, towards the end of the Nineties he lays down his drums sticks, at least partially, and throws himself into the electronic experience. In 2000 Jerôme, moves to London from his country of origin France, to join the Franco-English ghost rock group, Piano Magic. He will take part in an impressive number of productions with this group between 2001 and today.

At this time, as his encounters grow, his skills are recognized by artists such as Brendan Perry (Dead Can Dance), Simon Raymonde (Cocteau Twins/This Mortal Coil), Bonjo Iyabinghi Noah (African Head Charge), Alan Sparhawk (Low), Damo Suzuki (Edge), Mark Fry and Oliver Ho with whom he collaborates. Then, his name appears in a multitude of projects, and his aptitude to switch from one style to another develops further. In 2001, he releases a first solo production under the pseudonym, Risky Music with the single ‘Paradox‘ (split single with Tirachina) — unfortunately not available on the Net. In 2005 he creates and develops “Flesh”, a series of events in London during which he invites artists such as Andy Stott /Claro Intelecto/Edict-Select/James Ruskin/Kirk Degiorgio/Mark Broom/Oliver Ho/Sigha/Steve Bicknell. It is at this time and during these innumerable evenings that Jerôme will experiment and develop his own electronic productions.

At this point we have to highlight two very important encounters that relate to the present project. Oliver Ho, known not only for his excellent dj sets, but also for his many projects that include Broken English Club, Raudive, Zov Zov and many others, certainly plays a major role in Jerôme’s current artistic evolution.
Blood Debts‘, the debut Years Of Denial EP is released in December 2016 by Death & Leisure, Oliver Ho’s own label. A project with resonances of industrial – EBM – techno – breaks – experimental – rhythmic noise.

But the encounter which, in my view, describes with elegance and character the particularity of the current project, took place during the summer of 2016 when Jerôme appeared at an event organized by Kaos London and played on the same  line-up as Barkosina Hanusova.

Barkosina is an artist who discovered her true form of artistic expression through theatrical performances in 2012, when she started her studies in this field at university in London. But this young artist arrives in London with an already rich, uncommon and extremely diverse artistic knowledge. From a very young age, she is in permanent contact with various forms of artistic expressions. And If my feeling received through the few lines which I could exchange with her is right, Barkosina is a young woman with a strong character and with uncommon determination, who chooses art as a means of expression, reflection, perhaps of revendication and not for any existential motive.

Nevertheless, the world of music isn’t unknown to her. She grew up under the communist system in place in the Czech Republic in a close relationship with the underground scene. I will leave it up to you to imagine how this situation evolved!
She is interested in the political movements which lurk behind certain styles of music such as, for example, the free rave or punk movements which, for her, are created for a specific reason.
A poetic scream of disagreement and feelings in relation to the way our society works.

During her studies, Barkosina discovers a studio in the University grounds and she moderates a radio show for 3 years. Through this, she discovers artists such as Muslimgauze, Demdike Stare, Mick Harris and Spacemen 3. But her activity as a DJ starts in earnest when she gets a sound card and starts making her own mixes for Kaos London. Her theatrical activities, however, remain principal. Her meeting with Jerôme allows her to develop and enhance her performances with the added sonic quality he offers. They decide to work together on this project and, after performing together a few times, it becomes clear to both artists that they can achieve more together.

Jerôme then suggests that they develop the Years Of Denial project  by combining her poetry with his music. Barkosina and Jerôme have very different, yet complimentary skills. I think that what creates the power and the characteristics of this project, is the complete absence of a search for an aim to achieve. They are both more interested in the process of creation and the experiments, rather than the result itself. And this absence of searching for any direction gives them complete freedom, which in turn allows them to create a style, certainly not from design, that is unknown to our ears. There is, therefore, a large amount of improvisation in their live shows. Some unique moments that will be shared only with the public. Moments which, they also understand, are difficult to capture, which in turn makes them wonderful.

Barkosina: “Once you are able to handle failure, you realise you can do more than you think.‘I am more interested in process and research, a place where you might fail or destroy what you have created in order to find a new form. For me the concept of failure is more repelling than the ultimate perfection of art. Human being is not perfect nor the life itself.

Jérôme:  “I don’t know where we are going to.. but here we are..”

To be continued…

Years Of Denial in Process – Facebook Page