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Saturday, December 10, 2016

Nike Borzov: “Music is a powerful tool of manipulation”


It seems that even the mass audience does not associate this artist exclusively with the hits “Three words”, “Horse”, “Riding a star” and “the Last song”, which tells the sad story of “purple boy”. His every album is a bold experiment, without bottom and without borders, he is not afraid to try new techniques, sometimes combined at first glance, incongruous and look for a fresh sound. In addition to his group, he has side projects — at the moment it is “Infection”, which celebrates this year 30 years old, and Honda Killer, but about his past experiences could fill an encyclopedia. Describing their new album “Molecule”, Nike said that it would sound a rock-n-roll to the middle ages. “MK” asked the musician to decipher the hidden meanings in the work, and also reasoned with him about the present and future of contemporary music.

Photo courtesy of the press service of the artist

Nike, two years ago we met to talk about the collection of “favorites”, and then touched on the topic of “Molecules” – the song you called “alcoholic gloomy chanson, but not in the typical understanding”, describing it as romantic, medieval thing. You planned to withstand a whole album in this style or to make it more neodnorodnym?

– The molecule itself is not very typical for me song, she could not find a place on other discs, although it wouldn’t let me go. To release it I specially did not plan, but when did the idea to record an acoustic program, thought she would fill it nicely. As, incidentally, and “eve” – I decided to include in the album a few days before recording, and it was established in the late 1980s. I have accumulated many things from years ago, for some reason not published. What awaits them – time will tell.

– The style of records you call “ethno-techno”. What is meant by this?

– Originally this term arose as a joke within the team, but then I realized that it accurately describes the concept. I didn’t want to call acoustic program popular foreign definition unplugged, and we got such a strange “Slavic-Aryan” term. If to speak about ethnic, it is used in the recording of the classic set of instruments – acoustic guitar, which for 500 thousand years, some boxes, on which people sit and play, strings, pianos… In this the sound we changed the arrangements of the old songs, drum beats, did some reef Supplement. So suddenly, we got a kind of techno – minimalist sound, which is very much straight barrels and all very airy and spatial, as in dance music. However, this doesn’t sound like techno in the conventional sense: in the album there is no stiffness, synthetic instruments, which are so attractive to lovers of electronics. It doesn’t look very modern, but trendy at the same time – may I just once again ahead of time.

– Why are you interesting to go back to the old material?

– It so happens that, pereslushival some thing, created a long time ago, I understand that it has become relevant today, but most of the material is formed in the plate random, naturally – I don’t make any plans in advance. With “Molecule” it all started with the fact that we began to give acoustic concerts. The reaction of the public and our emotions, the sensations from them were so bright that I could not develop this theme, not to fix all of this in a landscape record. At the end of 2014, we found and rented for work a unique house culture, which, I think, has not been restored since the Soviet era, when it was built. There preserved stucco, typical for that time of the images on the walls – some farmers running around with Komsomol workers, children playing ball, the pioneers from the mountain pass, climbers, throwers and spears – Soviet “Olympia” in full glory. There were old hard seat, wood, marble… I played in this building electric concerts, but the sound was horrible, everything rattled. When playing, for example, on folk instruments, are the orchestras, the singers sing with a piano – it sounds perfect, so we decided to record the album “Molecule” in this place, were placed throughout the room MICS and recorded in this format 20 songs. Work continued for the whole of last year. The presentation of the program already took place in April, but I will present again at the Grand concert in honor of his birthday on may 27 at the club “16 tons”.


Photo courtesy of the press service of the artist

– The idea of each new album is being born pre-formed or in the process of recording, transformered?

– It depends. For example, the albums “Pain”, “ИЗNУТРИ”, “Closed” were conceptually designed initially, even the track listing was compiled before I sat down in the Studio, the names were already in my head. Here, for example, “Immersion”, “Puzzle”, “Everywhere and nowhere”, “Superman” is “randomly” created records, their birth occurred at the time of my being in the Studio, where I could come with two or three songs and so dispersed that after some time came out with a full time job. “Everywhere and nowhere”, for example, was originally conceived as a covers album – other people’s songs in my performance, but eventually turned into a record of my original compositions, which left only one cover of the song “Emptiness”.

– How are your side projects?

– Now a very active period for the group “Infection”: we sit in the Studio, write new songs. The result is a small album of five songs, but they are all quite long. The project this year 30 years old, but today is a brand new system from the old structure remained only three, of even more ancient – two, I and Arkhip Ahmeleev, and from the very first one I do. Like any infection, our team manifests itself periodic and rapid flashes.It is symbolic that another will occur on the eve of the centenary of the revolution of 1917, and appeared, by the way, when the tragedy occurred at Chernobyl. I’m sure there’s a connection. In all of our songs have very specific social message, we sing about what is happening around, about the fast life and how mankind continues its free fall into the abyss.

– Speaking of social: now among the performers become increasingly popular opinion that music is losing its importance and weight in comparison with 1980-mi for example…

– I think that’s bullshit. Music today just as much effect on people – no religion, no demonstration is complete without it. This is a very powerful tool of manipulation.

– And how today the inquisitive public?

– Her reaction depends on the message coming from the artist. If a person “takes” with you at the concert and while listening to records – so you do everything right, and you can’t be no complaints, because your work is mind-blowing good. But in real music that wasn’t good enough, and always were many who said that she has no power.

– Actually there today, the concept of underground?

– In our country particularly, because it is the most interesting, most progressive, and that is there being done for the future. There are so many bands that do really interesting, original creative work in Russian. The question is, how this feels underground, if it is not possible to show the audience what is happening. We have, unfortunately, no serious mouthpieces for the promotion of this art, all occupied meaningless or useless nonsense. But only on the surface of the foam.

– Today it is fashionable to use the term “sound quality”. As you imagine it represent?

– I don’t care what this means: the only criterion that is important to me – that the music is “inserted”. If she’s furious – even better, it means that it is something really brilliant. And what about quality of sound, it is possible and on the knee to make cool, if you have the brains. But if you don’t know what they want and do not understand why they are doing it, and it is possible in an expensive Studio to ruin it.

– Can there be a talented commercial music?

– Why not. Examples abound — Empire of the Sun, A-Ha, Depeche Mode, Pet Shop Boys, New Order – all this is beautiful pop music, which is nevertheless interesting.

– You mentioned foreign artists. In Russia, in your opinion, there is no decent pop music?

– When considered in the historical aspect, then, of course, there were local of revelation, but some time ago I lost track of what is happening in our pop music. Basically it is impossible to listen, and dig in the swamp to grab something worthwhile, there’s no time.

– If the artist is engaged in creative work in the deep underground, say the noise / music and no one seems to know whether he should try to compromise with the audience, to make more “affordable” creative product to find its audience, or is always to continue to bend the line?

– Anybody should nothing to anybody, even our children are to us. We are born and die alone. Each actor on his way. If someone is sitting in the underground, as the Japanese nazeri for his insane gadgets, and they are fascinated by the process, live it – no need to change anything. By the way, I love Rozovye projects such as Acid Mothers Temple, High Rise or Mainliner, and I have friends who do sound engineering, create their own musical instruments, instruments. One, for example, made himself a suit in which one leg is a kick, another snare drum, and when he moves his hand – dealt wild synthetic sounds. That is, you play music simply by moving their warmth. I love stories like this, people order their different gadgets and use them in concerts, in recordings. For me, there is no framework and limits. I still do not know its own borders, and this is all the buzz. As soon as the ability to convey an unusual, experimental music to a mass audience, it will be popular, the area will start to grow, and will attract or repel at the same time: when the band “Infection” has just appeared, we wrote such texts, from which the people became disgusted, I pulled them out of negative emotions. Moreover, we are all people, not aggressive, and this was an exceptionally creative conceptual task. A kind of avant-garde.

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