mercoledì 27 gennaio 2016

Sounds from underground/File N°011

here we come again with wonderful stuff from Eastern Europe,«The Son of a Seagull» is a noisy electronic project from Kiev. A lot of dark wave atmospheres that can bring you out there.

0. name of the band
Name of my current project is «The Son of a Seagull», however it’s very hard to say what I want in frames of one «project». So I got some more stuff under «Ignore the virus» (dark and blind industrial) and «Drama through the virtue» (concrete-ambient both you will be able to find on bandcamp).

1. where are you from?
I born in Town with giant snakes underfoot, which is Kiev. My family lives there from the 16th century and I could be treated as a local. It’s my favorite city and it's worth to have another interview about it. The town had a great no-wave musical background, check "Ivanov down» or «МЕДЛЕННЫЙ РУЛЬ» (slow wheel) and you will be surprised by both of them. Thats artist from 90s, today a lot of shit happens with our stage but I guess its problem of whole post-soviet society. 

2. what kind of instruments/equipment you use?
If we are talking about last album of «The Son of a Seagull»  I was using kind of "analogue wall of sound" method. For drum parts its samples from MFB-503, synths like mopho keyboard, doepfer dark energy 2 and roland alpha juno with guitar pedals. For Drone parts or noises I prefer to use field recordings from my portable zoom h4n mixed with pitched down old 7 inch vinyls from my collection. what else… guitar and jazz bass recorded through the amp on shitty mic with chorus. I’m not using the same gear usually each track contain different extent of each instrument which I mentioned. Sometimes I was using «handmade» synths there. 

3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
Well, i think as far as I’m sophisticated listener of different music I can say that I was inspired by many dark wave artists like Störung, Play dead or November Növelet e.t.s. But i can’t say that I’m in the flow of some movement. Of course right now in Kiev we got some sort of «synth» oriented artists but I never spoke with them and to be honest I hate them. I’m staying not in the dark underground with broken furniture and ruins, I’m staying in quiet lone grey room with grey-white striped wallpaper (if you  need to know how my personal studio look like) there you can find me sitting for weeks in process of execution. However, I will not mind if I my material gonna happen in some kind of new fucked up «-wave» genre. Right now I’m fully in dark wave but this is rather way of thinking then style of music.

4. which is your method of composition?
Despite the fact that I have tons of gear (I didn’t mentioned everything from question 2) I prefer to put a lot of attention on my own mental condition. Things which I’m usually doing, done by free jazz approach. I already have this tracks in mind all I need to do it’s just represent it on record. To do it properly it’s much better to assess my condition during the period of recording. For example, understand "what disturbs so much?» or «should I look on the sun so often?». By just asking such sort questions you can establish your own logical chain where you supposed to be in the most comfortable place. Only after understanding of this comfort I can sit and do what I do. Today a lot of musicians are too much bothering about the composition and the technical side of it. I agree, when you have only laptop you can’t understand that you are a magican not a musician or something… but I passed this «laptop» stage with the same philosophy and even simple sequencer is pretty much enough for magic. If I put it unclear just read some lectures of great guy George Gurdjieff and maybe you will understand what I mean here.
5. how is your recording approach? do you use some particular record technique?
Technical part in my process is very simple, I’m just using Ableton live to record each instrument and then I mix it by pretty much the same pattern adding echoes, reverbs and sometimes more complicated circuits of effects. Everything which happening «before» is absolute mess. Sometimes I am putting 4-6 guitar overdrives just on one delay and tape player on the start. I never thinking about such stuff I’m just improvising like Cecil Taylor but in studio with equipment.

6. do you play live? how public react to your music?
I can’t say that I got a lot of experience in live because of my town. Of course it's excuse, I was playing live there no more then 10 times as a Dj with sets of trip hop. Today I had played my music only in Warsaw and it's really great because of nice and open people. Today techno rules in Kiev and it's a big shame that nobody interested in my music there. I’m planning to strike back on local stages when i will get some kind of reputation abroad. I don’t know the reaction of people because I’m not interested in this. Reaction is only first stage of understanding and it’s much more essential to get interpretation from listener then simple reaction.
7. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?
I’m doing music since childhood and I can associate it with different episodes in my life. As far as I’m here by «The Son of a Seagull»  material I can say definitely that it brings me on the limb. Place where you able to transform in something else or die in agony. Basically my records it's like something between story and psychological portrait of me in different perspective. For listener it's a great chance to associate it with something else and make new meaning of it.

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