Anton Maskeliade. "O"

On December 9, Anton Maskeliade will take part in the Los Angeles festival Far from Moscow , dedicated to modern Russian culture. The Moscow electronic musician, laureate of the Kurekhin Prize and a specialist in the Ableton Live program, is not the first to represent Russia on forums dedicated to all overhead and modern. His performances make a strong impression - due to the fact that the musician uses movement controllers, it looks like he extracts the music of spheres directly from the air. However, presenting his second album “O”, Anton Masqueliad picked up a very traditional comparison to him - “Collection of Stories”.

- By the second album, is your concept of “ephemeral music” changed?

- The most important and bright things in my life simply happen. And I try not to lose these relations with accidents: to be a little bewildered, open and groaning. I am now studying the theory of music. It is very similar to a trip with a map. Now you know where and what is and where you need to go to get the shortest way. But at the same time you understand that this card completely kills intimacy and surprise. The weight of each musical step disappears. An unknown city is full of revelations, where every random turn turns something inside, charges and becomes personal, turning someone else's into his own. He makes with a smile to run along the alleys through yourself and pave the path that you are unlikely to build in Google Maps . Long before Cage and Ino, in the 18th century, Karl Bach seemed to understand this and began to throw playing bones to determine the following notes and musical phrases. The unknown excites. It is the main trigger of creativity.

-As I understand it, your compositions are something like musical diaries that reflect certain periods of your life. What period reflects "O"?

- They are audiobooks. The plot of each song is a story of history.

Once I played at the Belgorod school in front of junctions, and before entering the scene of the assembly hall I was put in a small room with a piano and a storyteller. Little upset gusls lay on the storyteller, I recorded a couple of strokes on the strings on the phone. I arrived home and wrote the story of ISKRK .

In “O” I discover the power of words, and I really wanted to shoot them.

Two years ago, I was asked to voice documentary films about drilling machines in Norilsk. The diameter of one such installation was the size of a metro tunnel, and with its clumsy and terrible dimensions, it looked like a huge steel worm. Steel crashed into the ground and began to drill, grinding tons of stones. The music was not accepted, but for me this is a story about the family. So the book "Momdad" happened.

I collect sound reflections. Wherever I traveled, if I find myself in an acoustic interesting place, I immediately write down clicks and pops on the recorder. Pedestrian crossings in Vladivostok, Berlin tunnels, London cafes, Czech porches - these short samples were interspersed with almost every track on the album.

- Poems appeared on “o” - are all yours? Was there any thoughts to use other people's texts - if so, whose?

- Maskeliade began with poems in 2008. Partially they found themselves in the “zoto brothers”, and then in a solo project. Sometimes it happens that the song begins with a short quatrain, which then makes you sit behind a piano or a guitar. Later, phonetically, it turns into an invented language similar to English, or into silence. In “O” I discover the power of words, and I really wanted to shoot them.

Last fall, there was a cool experience with my friend and poet with the left string. We played a joint concert where Leva read his poems, and I created a musical atmosphere for him.

-Maybe you began to make music differently? New technologies, programs, APPA were added-or, on the contrary, did you refuse something?

-completely different acoustic energies came together in this album: living drums, analog synths, old-school rhythm, bandjo, etc. My friends helped me. A very cool drummer Seryozha Bolotin played rhythmic parties for “Ona” , “IO” , “ONFIM” and “NewOcean” . We recorded everything literally one evening on the knee and almost from the first takes. You can also hear a cool bass solo in Newocaan - this is Felix Micena from Lichna Nega and Topotarkestra.

“ONFIM” is 99% created from the sounds of the Korg MS-20 Mini analogue synthesizer, from rhythm to all melodic parties. Misha Borzenkov from Elektromonteur lent it to me last year. It was interesting to play the real non -nirtual synthesis and feel the weight of the slowness of analog pieces.

The rhythm in most tracks is assembled on an old rhythmic synthesizer from the 90s Korg ER-1 . It is curious to mix the timbres of a mighty rhythm machine with a live percussion-new timbre dimensions are opened. And the main addition - such a musical glutamate of sodium - was a tiny analog box - Korg Monotron . “Vuuuh, Vyshcheshch, Shshshshshshshshshshshshshshshshshshshshhshshshsz, Voaaaacs” is her keys.

- You have extensive experience in visiting various music festivals and creative camps. Tell me about the most unexpected and useful experience in participating in such programs from the latter.

- The most important experience is dating. At each point on Earth there are people who are ready to fall in love with you. And this is the most valuable. At the Festival in the Czech Republic, I accidentally got to the concert of the Spanish group of Seward . He stood in front of the stage and oh ** l. Then he went to Bekstage, bought vinyl and a little later I realized that it was one of the best lives on which I was. Six months later, I played a joint concert with them in Barcelona, ​​and now our joint track comes out on my album. I call it absolute musical happiness.

A similar story happened to the beautiful Ilya Barayy, whom I met back in 2013 in Nizhny Novgorod, where I played on the warm -up of SBPC. We became friends, and a little later I made a Revork on his very delicate track “Shiny” , he is also on the album.

Each concert, camp, master class or Ableton course is a solfeggio of human nature. It seems to me that this is the most interesting thing that can be in life. These interactions with people through creativity, the circulation of invisible energy, the opening of the artist in each of us. It's just beautiful.

Album Anton Masqueliade "O" on itunes