Translated material
Nole plastique
The Kazan Nole Plastique project was held along all the beaten-by-in-law paths of abstract electronics: from compilations, tributes and MP-3 releases on small indie labels to concerts in art galleys and at international festivals of media art. The result of walking was the Escaperhead album, which was released on the Ukrainian Label, a record that I would like to say that none of the Russian electronic musicians was so close to the hallucinatory atmosphere of the 60s as Nole Plastique.
About the project
A: Nole Plastique has existed since 2004-from about the moment the first demo recording for the Chelyabinsk label Dars Records was sent at that time, the project consisted of one person-actually me-Roman Kutnov, tired of rock groups and musicians “Not in the subject” that needs to be constantly explained what is happening. In general, Nole Plastique of those years is sampler, collage music. On CD, such material was difficult to release, given the specifics of music and the lack of demand on it, therefore, the first years of the existence of the project is an almost continuous series of network releases.
When Nole Plastique was invited to play at the Kiev festival "Detali Zvuku", I realized that for live performances I need a couple more people, I could not cope alone. The Dmitry Gren, as well as Alexei Belousov, joined the children to Nole Plastique, an equal participant in the group at the moment.
About sorgoting
The average Soncreter writes the song like this: the motive breaks, then he will play a melody on the guitar or piano, come up with words, chords, then arrangement, sound and so on. This is a patented and mossy approach, from which the sand has long been poured. But the music cannot be laid out on conditional components: melody, harmony, sound ... This is wrong. Music is all together - the components are inextricably interconnected. While working on Escaperhead, we tried not to divide the music into parts: everything was written at the same time, one clung to the other, the sound gave birth to a melody, harmony dictated the conditions of the sound. Now, if you imagine ordinary sorgoting in the form of many horizontal lines, then our songs are a real landscape.
About concerts
A: Concerts for us are always a headache. The way everything sounds on the album cannot be played alive one to one. Nole Plastique-the music is so fragile that if, for example, at the concert you turn the controller’s handle in the wrong direction, then everything just falls apart.
What is the main thing at the concert? Intensity is needed to fuck*awl! We are not going to play dance, transhamanism, too, and we don’t compose a fit-fit and derivative songs, but without this some lounge is obtained. There is only one way out - to bring to live performances the elements of the Noise and crazy improvisations. Moreover, we madly like such things.
About electronic music
A: Over time, the understanding came that electronics does not give all those expressive means that can be achieved using, for example, acoustic instruments. Electronic music is sound and nothing else in it. On the one hand, all these samplers, synthesizers provide the musician with many opportunities, and on the other hand, select no less than they give. The devices dictate our conditions to us, locked them into the framework, which I would very much like to avoid.
Andrei Gorokhov described the situation with “intellectual” electronics: “What is the limit of dreams for the musician? Get out on Sonig and play Sonar. ” And that’s all - there is nowhere to go above. But this is too little, although pathos, sort of. Therefore, “Escaperhead” is a step away from glue, microtonal region and other experimental electronics. I do not want Nole Plastique to repeat the fate, for example, Pan Sonic. Where can they move? That's all - the guys arrived - for ten years now they have nothing more to say. Now anyone can collect the same “noise”, perhaps even more interesting will turn out.
About the sixties
The peculiarity of the psychedelic groups of the 60s is that they played on the verge of madness and sober mind, managing to always stay somewhere in the middle. It seems that they take a step back, and you will get an ordinary pop, a little further ahead and the music will get out of control, turn into an inadequate mess. ... But no, they held on, balanced on the edge. This skill of psychedelic cable carrier attracts us very much. Now even Sunburned Hand of the Man cannot. The modern psychedelic sounds just like the 60s, but closer to this era it still does not get-the filling is completely different.
About the album
“Escaperhead” is, in general, our debut is the first real album. Before that, there were only collections of sketches, experiments. Initially, we wanted to make not just a collection of songs, but a holistic recording. In structure, the album is such an equivalent to esid-trip-even the names of songs were invented to cause some associations. Naturally, this whole concept is attracted by the ears, but, nevertheless. There was another goal-to stylize the sound under the recording of the psychedelic rock of the 60s-as if in 1967 the Pink Floyd had a digital studio, but they would have been written on the film. Here, after remastering the old records, all this so -called psychedelia disappears in them - it begins to sound cleanly and smoothly, but the charm of music disappears without a trace. Therefore, we tried for a very long time to achieve “blurred” and “dampness” - the correct sound of the sixties. It seems that it turned out.
