From some time now, Kalma Records label has been diversifying its musical offer, opening to new artists, both national and international, and covering a wider diversity of genres: from varied electronics to jazz, through funk or postrock. It is a bet for diversity that implys, as a positive side, the capacity to surprise its followers with unexpected proposals and radical style changes from one release to the next.

Published after a remixes album (Khnoom's The Fowler Remixes) and before an upbeat electronica EP (Lastckall's Roll up), Emptiness sneaked in Kalma's catalogue, a small jewel somewhere between lounge, minimalistic electronics and classical music. Its author, russian Igores Tamborista, had his first contact with music through classic academicism and showed interest for the piano, being influenced by the greatest names, Beethoven and Schubert included. After that, would come the musical production studies at the Russian School of Electronic Music. Although his previous work, Afterglow (2014), was more electronic driven, in Emptiness it is his classical training what prevails.

Through the piano, at some points exclusively ('One day', 'Selling soul') and others wrapped in a minimal electronic atmosphere ('Emptiness'), Tamborista produces intimate melodies full of romanticism. The music from the russian composer is unaware of any urban influence that Moscow may have exerted. As its own title points out, Emptiness seems to come from a conceptual vacuum where not even time exists, or it has stopped and it is only possible to look back to the past. That would explain the deep melancholy these compositions carry.

Igores Tamborista is not the only East-European artist in Kalma Records payroll: Russian Khnoom or Dam Iam from Poland are there, too. With their own musical universes, each one of them represent an opportunity to expand our musical map towards unknown territories, and works like Emptiness manage to clear preconceived ideas up about the music that may arrive from beyond the old courtain.