Rorshah Test: Sun ARAW

Very beautiful. It is difficult to think about something except how this image is obtained. As Brakidzhi took these plants and parts of insects, imposed multi -colored filters. But if we talk about the images, then these curls below were reminded of me about the cadoucee, a rod with two snakes who are wrapping around him. This is a very interesting symbol, like everything related to Mercury.

You seem to have always occupied antiquity, to remember at least an album Ancient Romans. Have you ever participated in archaeological excavations?

Once, yes. We dug a dinosaur. Oh, or mammoth. But it was still at school, in the lessons of archeology. We had these lessons when we built a new building in our campus and accidentally stumbled upon a giant skeleton. It was cool. True, I did not see it entirely and I don’t know what happened to this skeleton, but we definitely dug up the tusk.

Do you love museums of this sense?

Well, not that they are very impressive. But when you look at the bones of huge creatures, which lived millions of years ago there, in principle, where we also have something to think about.

Maybe films about Godzilla?

No, I don't really like Godzilla. But in general, I like films about monsters. Only something I can’t remember anything concrete. There was such a film "Wendigo." Here he is in order. Although wait, maybe not him ... who took him off? Ha ha, look how he looks . Yes, this is hardly that film. But I definitely watched his “last winter” with Ron Perlman. Slothing cinema. Although what far to go - I adore the "stranger", it is the first film. He is great, of course, very complex and very simple at the same time. This is a real embossed cinema. Especially the last 45 minutes - some flashes and clouds of smoke. And, of course, running and heavy breathing. There is something primitive in all this, while the film in the sense of those affected by topics climbs into real wilds.

And in childhood, what monster were you especially afraid? Or just a stranger?

No, there was something more abrupt. The film "A drop" of 1988, a remake of a very old film with Steve McCain. So he scared me to the devils at one time - then he could not fall asleep all night.

Insects again ... I can’t stop thinking about them. And it is quite strange to see the stop cadres from this film-all these forms, when they quickly follow each other, look like it is something from another planet.

Well, we are young, we can even pause Brail.

Ha ha, for sure. But the devil, all these small details are insects, dirt ... It looks like something exploded. And all lines are so smooth - everything seems to be under water.

By the way, about insects. You have grown in Texas, and there, it seems, some particularly wild ants.

Yes, this is madness, fiery ants. And they, unlike ordinary, are very aggressive. If you accidentally step on the anthill, they instantly cover almost all your body and bite so that then you are scratching all day. But it’s not that insects once occupied me, but recently it is very interesting to think about their consciousness. Imagine only that some kind of bug feels in our world. But only it is not worth deepening it too much, you can generally fly off the coils.

Then I have an abstract question to you. With all your interest in the vanguard of past years, you continue to use the guitar as the main tool, and not, for example, some crazy synthesizer ...

This is an important question for me, in fact. Not that I specifically attach to certain tools. Just a guitar and not very modern keys-this is, in general, my musical background, and, what is there, I like to play them. And, it seems, I still have a certain talent with their help to encounter different things. But in general, I try to imagine that everything that I do is subordinated to some kind of program, and I am just hardware for it. And I am not interested in inventing this program myself. When I, for example, listen to Elian Radig, I do not want to find out what tools she used and use the same. It is boring, more interesting to catch some kind of common wib and, inspired, with other means to solve similar problems. And this, again, unconsciously happens. But I am definitely attracted by music, which can be described as textured. I just want to explore this. After all, there is no special connotation in my albums - this is just a large project to explore my favorite music.

Well, you are modest, it seems to me.

Not really. I really consider myself just a performer. I have many friends among composers, all kinds of curators, synthesizers. And in comparison with them, I understand that the Sun ARAW approach is absolutely performing. For the same reason, I like jazz so much - entirely built on the culture of execution.

And which of the jazzmen do you like now? This is a very unstable thing.

Yes, it's true. Now, probably, Herby Hankok, the period of the late sixties and the beginning of the seventies. The album of Crossings is especially, this is natural for me a dream music. Well, I always liked Phil Korin, Faerou Senders, almost all of the jazz with ECM, late Coltrain. But recently I fell in love with something quite later-Miles [Davis] of the eighties, for example. Although many fans of jazz consider this, let’s say, not a very successful period, there are still full of cool finds associated with synthesizers, mainly.

This is perhaps the best of all in composition. I would even hang it on the wall. It is stupefied, but for some reason it reminds me of the collage of Dyushan "Big glass"-because of color and voids, perhaps. Do you know the story about him, by the way? When he was taken to the first exhibition, the glass crashed, and the Ducham, without hesitation, ordered to leave it like that - it looks, they say, normal. Great solution. So write down: “Cameron Stallones approves” (laughs) .

Now, probably, you can talk about Brazhzhzhi itself. What do you love him for?

Well, firstly, for his love for his work, no matter how trite it may sound. He made films endlessly - a hundred for a hundred literally. And he, it seems to me, all his life continued to learn to look at the world. And I am delighted with what means he chose for this. In his works it is felt with what meticulousness he collected what ended up in a frame. And how much he was in love with the light! By the way, he wrote magnificent essays about what it means to be an artist. They were collected in the book Telling Time, and this is the best that I have ever read. At one time, I even copied it on a photocopy to give a friend.

And tell me about your last year's albums. After working with The Congos, was it difficult to return to the usual direction?

Yes, perhaps. There were so many stories around this album. Starting from the process itself and ending with side factors like the fact that this was our first joint entry with Ged (M. Geddes Genras - approx. Ed. ). We have been friends and play music for a long time, but together we have never done anything.

Are you still communicating with The Congos?

Yes, we even continue to record. Within Duppy Gun , and the Stones Throw label helps us in this, which is quite unexpected, we must admit. Well and most importantly-we are preparing a series of large joint concerts, one of which will be in New York. We only played together once in London, and it was very cool. Of course, there are enough difficulties - The CONGOS is international stars and all that, so we need a huge amount of equipment, serious rehearsals for performances. But I hope we can handle it.

This one is also great. Especially this line on the right, a very beautiful bend. In general, I really love multi -layer in his works. At the academy where I worked, there were almost all of its original films, and it was clear from them that all this happened thanks to many stages of their processing - different printers were used and all that.

After all, you were engaged in just because you did not allow the film to collapse?

Well, specifically I did not do this, but my colleagues - yes. It was very nice to work with them. This is a huge and well -structured organization, each of us has completely surrendered to the common cause. And most importantly - I was lucky to work with Mark Tuskano, he is a real walking encyclopedia. By the way, we worked with the Russian archives - I remember that we accurately sent several packages with films to Moscow. And in general, you were lucky with the film, Tarkovsky, Vertov, Eisenstein.

Vertov, by the way, is very textile in a certain sense. Now it’s clear why you like him.

Yes, I love him. I even have his quote on the wall hanging. Do you want to read?

Certainly.

“We drank the joy of dancing on a sawmill clearer and closer to the joy of human dance. We temporarily exclude a person as an object of filming for his inability to lead his movements. ” I am delighted with people who stick out so much from the ideological component of their work. It is clear that Vertov, most likely, in his manifestos cunned and exaggerated a little, but we will forgive him. I also agree with his ideas.

This is the last, right? Oh, by the way, did you hear Caver Niko on The End ? I hate The Doors, but the cover is excellent. Only I remembered this cover and now in the picture I see nothing but Niko. Can you ask something else?

Certainly. Are you an organized person? Are you planning everything?

Well, look, you and I have been talking for almost an hour, although an hour before that I did not know anything about the interview. In general, I try, of course, but it does not always work out. I have no constant work, and I try to make music as much as possible, travel. And when the work was still, I did not spare myself at all. I woke up at five in the morning to have time for a train, I slept in it for another hour, then I worked for half a day, I slept again at lunchtime, then I worked again, and in the evening I ran to a rehearsal or concert, so I came home late and without strength.

It sounds quite cool.

Well, it was cool, but I won’t subscribe to this anymore.