May 21st marks Circassian Remembrance Day, or the Day of Remembrance for the Victims of the Russo-Caucasian War. This war, spanning from 1763 to 1864, resulted in the loss of independence for the North Caucasus region and, for the Circassians (one of the region’s indigenous peoples), in genocide and mass exile from their historical homeland.
In the 1990s, Circassian activists, public figures, politicians, and scholars successfully secured official recognition for this date as a day of mourning. Since then, two official narratives have coexisted in the North Caucasus, particularly in Kabardino-Balkaria, Adygea, Karachay-Cherkessia, and the Krasnodar Krai: one asserting the voluntary integration of North Caucasians into Russia, and the other describing a colonial war, genocide, and expulsion.
The state actively supports the first narrative in every way possible, while the second is methodically squeezed out of the public discourse.
Every year on May 21st, a mourning procession, comprising both walkers and horsemen, winds its way through Nalchik. They proceed along the central thoroughfare, passing the monument to Maria Temryukovna, the Circassian wife of Ivan the Terrible, which bears the inscription “Forever with Russia,” before continuing on to another monument: Psezhig (The Tree of Life), created in memory of the Circassian victims of the Russo-Caucasian War.
Since 2016, Ored Recordings has been releasing projects timed to coincide with this somber date. The liner notes for these albums remains unchanged: again and again, we speak of trauma, and of the immense difficulty in discussing it, as the state systematically closes off any space for dialogue. While in the early years we opted for highly neutral phrasing, since 2022, officials have begun banning commemorative events; consequently, finding the right words has become increasingly challenging. We are permitted to remember, mourn, or reflect only within strictly prescribed forms. Thus, cultural projects and musical releases serve as an insufficient, yet absolutely necessary, form of resistance against assimilation and suppression.
This year, we decided to shift our focus away from the trauma itself or the specific subject of the Russo-Caucasian War, choosing instead to present a cross-section of new Circassian music — music that is not merely being preserved, but is actively evolving.
Shyshagh (ЩIыщIагъ, meaning “underground” in Adyghe) offers a snapshot of an imagined Circassian underground scene, as curated by Ored Recordings.
Three artists have contributed their distinct visions of independent Circassian music to this compilation.
For this release, Cherim (Maykop born, Tbilisi based) has departed from his signature industrial hip-hop and hauntological ambient styles, recording two indie-folk ballads featuring lyrics that are at once simple and deeply poignant. The tracks contain echoes of both Soviet-era pop music and the lo-fi underground tradition exemplified by acts such as Low or Rivulets.
Temir (from Nalchik, based in Paris) is an electronic producer, collagist, and vocalist who translates Circassian aesthetics into the realms of deconstructed club, ethereal pop, and other forms of emotive avant-garde music. Ethnographic archives from the last century, along with rehearsal raw recordings from Jrpjej, served as the foundation for these qafe without dancing.
Two additional tracks come courtesy of duos featuring Timur Kodzoko (originaly from Nalchik, Göttingen based), a co-founder of Ored. From our archives, we unearthed an old rehearsal recording by Zafaq, a dormant Circassian Black Metal project. It is raw, instrumental bm-rooted in traditional melodies, yet one that explicitly rejects the aesthetics of folk metal. In 2020, the drums were handled by Amar Abazov, founder of the Zhest records.
The second track comes from Shkhafit (meaning “free” in Adyghe), a drone-folk project by Timur and his son, Astemir Kodzoko. It is a semi-improvised acoustic ambient piece performed on the shichepshin (Circassian fiddle), as well as various other string and wind instruments. It evokes the ghosts of an unfulfilled future and the spirit of new pshynatles-sagas. It is a soundscape where Mark Fisher visits Murdin Tesh.
Shyshagh stands as Ored Recordings’ most ironic and chaotic release to date. As yet another May 21st passes, we see no immediate light at the end, yet we remain ready to unite and carry on!
Cherim – recorded in Tbilisi, Georgia, in 2026. All music by Cherim Tsei. Production for the song “Pari (Nothing)” by Temir.
temir – recorded in Paris, France, in 2026. All music by temir. “Duguj” based on Jrpjej rehearsal recordings. “Zechir” based on archival Circassian recordings.
Zafaq – recorded at the House of Radio, Nalchik, Kabardino-Balkaria, in 2020.
Timur Kodzoko – guitar
Amar Abazov – drums
Shkhafit – recorded in Göttingen, Germany, in 2026.
Timur Kodzoko – strings, bowed instruments, and effects
Astemir Kodzoko – physharmonium and wind instruments
Cover photo: Tulip tree in the village of Golovinka, Lazarevsky District, Krasnodar Krai/Shapsugia. Photo by Lilit Matevosyan
Cover design: Milana Khalilova
Text: Bulat Khalilov (English translation by Bella Mirzoeva)
Source: Ored Recordings (Bandcamp). I have included the entire album here for your listening pleasure, but I would urge to download it from Bandcamp, paying what you can to Ored Recordings to support their fine mission. That’s what I just did. \\\\\ trr
