What about your decision to publish just tapes?
Naturally. First tape was released in 2008 in Russia and after that I didn’t get any offers to release in other format, maybe there was some CDr or even CD release possibilities, but it was usually for the compilations.
I consider my sound lo-fi and cassette format is best for such sound. Though I’ve been discussing with one American label about lathe-cut release. This idea is interesting, and let’s see if it will happen. I even don’t have record player though, vinyl format was never so much attractive to me. Don’t know why, maybe because it’s just too big.
Anarchism and venues all around the world. I think you have seen several in your three world tour. Can you give us some virtuous examples in terms of artistic experimentation and new ways of governance?
Can’t say much about it. I never thought about this question. But basically community based DIY spaces we could consider as anarchist type, right? And if so, I saw quite many of those all around the world and I believe in this way of keeping the worldwide community alive. As long as they operate well and professionally – it’s fine.
How does your sets born? How did you add scenic elements like costumes and objects and how can you describe your performing approach on electronics?
I just look for sounds with different instruments, also look for objects in flea markets and costumes in second hand shops. And then the combination of all together is a process, which in the usually not so clear, but eventually has to bring to the certain character and his action. Sound is a medium through which this character jumps from one state of mind to other and thus keeps the intensity of here and now. The attention has to be concentrated to the maximum, where all the details has if not a meaning, then at least an effect.
Electronics is not a principal instrumentation, but somehow I stick on it. And the main thing of performing approach is just find your own way of playing it. Your own tactility, which deletes the limits between the player and the sound.
What’s the importance of humor in your work?
I think it’s the same importance as in life in general. If I can’t laugh at the reality, laugh from myself especially in the creative process, then this is really sad life… we see too much of very serious and safe art that leads to boredom. Art has to touch and change, and humor open the gates.
Also once in the astral I met other me – he was the guy that makes lots of fun, so in the concerts you see him, not me.
Which musicians and artists (present or past) continue to inspire you?
I don’t like to forget to mention someone, but definitely my shows correlate with Bromp Treb, Id m theft able, so they are inspirators of the one which is astral me. But overall in recent years i saw really a lot of inspiring artists from all over the world. Even those I didn’t like made an impact to my understanding of what I shouldn’t do, you know. So it’s constant learning. Also I must say that the inspiration for me is mostly about the way of performing. The sound itself is not so important. I don’t search for perfection in sound, I’m more interested how the artist behave with sound, what’s the distance between him and sound and what atmosphere and intensity he can bring with sound.
What planet you will conquer in a short time?