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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