Soviett Records exists to push artists from post-Soviet countries out into the rest of the world, and ‘psalms’ is the 249-numbered release to carry its SOVRV prefix. It arrived on 19 August 2026, digital, ten tracks deep.

The naming is the first thing that hits you. Every track bar the last takes a psalm number and pins a single word to it. The tenth drops the numbering altogether and is simply called ‘calm’, which is where the record ends.

Despite initial uncertainty (Googling the producer’s name returns VERY little), there is a person behind it after all. The label’s own Instagram gave up the name, while the album cover gave up the likeness; from there some dextrous sleuthing work revealed the producer behind this album.

bblstrotechno is a side project. The rest of the time the same producer works as wooeyerism, and there is a proper trail under that one: the ‘Луна’ EP in 2024, the ‘wonderland’ single in 2025, a guest turn on Svet Nureka’s ‘Главные слова’ the same year, and the ‘улыбка’ EP earlier this year. Russian titles throughout, which sits right on a label built for the post-Soviet region. ‘psalms’ is the first album under the newer name.

The name itself is a joke you have to see rather than hear. Soviett says it reads as ‘fast moving’, which clicks into place the moment you spot быстро, the Russian for ‘quickly’, hiding inside those Latin lookalikes.

The themes are the label’s own, and every one of them is a collision: angels against demons, the sublime against the sinful, justice against vengeance, and the fragility of human existence set against a faith that will not shift.

Gothic techno, then, and since nobody has got round to naming that properly, we will: technogothica. Remember where you read it first.

We’re not quite sure what makes the techno sound marry so perfectly with gothic tones, but it works immediately in the opening track ‘psalm18_disbelief’. The track adopts a low slung, lurching cadence, minor chord choral harmonies usher in a pendulous bass, before a vocal breakdown at the mid cracks the track apart with an electro-infused, futuristic breakbeat style-out.

‘psalm26_destruction’ takes hold next. It isn’t quite the industrial bone churn we were expecting from its titular prompt, but the track still bears weight, particularly the bottom end. The gunfire synth/perc cracks that enter the melee at the mid point have a pulverising quality about them alongside the hammering kick.

We’re loading the lysergic into this next psalm ‘34_epiphany’, which feels very much like something The Hypnotist would proudly shove into your lugholes while shouting “The house is mine”. Utterly brilliant 90s rave hysteria that whips you right back three decades.

Acid electro all the way next with the string-laden ‘47_renaissance’, a production that loads the tension with an incessantly arpeggiating synth progression that grows in demonic intensity when backed by a baltering drum pattern and acid squelch.

The next psalm, ‘52’, tells us ‘the sky is gold’, and hands over seven minutes of pounding rave straight out of the apocalyptic gates of hell that just opened beneath this hallowed ground. Perhaps a battle fought between two opposing armies? It sounds chaotic enough; bblstrotechno certainly likes to play with her drum swing to maximum effect.

Perhaps, too, it marks the moment of death, and the view from the first person. Next, we are ‘63_making amends’, which would suggest we’ve either fallen down into the aforementioned gates of hell, or risen up into something higher and are offering or being offered forgiveness. The two themes seem to constantly jostle one another; a vein that has run through the whole album so far.

We move on to ‘psalm79_the sequence of mortality’, and with it comes a shift in tone as the gothic techno we mentioned earlier raises its snarling maw. Only once the cultish choir has summoned a demonic kick out of the ether. The track is as discombobulating as those before it, as though we’re caught in some sort of zealous religious maelstrom.

The buoyancy of the childish choral sampling that accompanies ‘psalm87_the fall of man’ has no business being so borderline joyous as it heralds our demise. But it is, and it works perfectly next to the cascading percs that topple into one another.

We’re saving ourselves now. Penultimate track ‘psalm94_redemption’ is up next and brings a wildly oscillating 303 back into the fore, along with some fanatical choir samples and crunching, distorted synth stabs.

Finally… ‘calm’ as we perch among dreamy clouds and ethereal synthesizers, yet still with that undertone of mild peril from the growling of distant synths. “I lie on my back and felt so calm… so grateful”; truly how we all feel after the cathartic cleanse of the ‘psalms’.

Grab it on Bandcamp.