HMOT. "Oneirologi Re-Dreamt"

Stas Sharifullin - a Krasnoyarsk musician working under the pseudonym HMOT , and Columnist Colta.ru - released the album of the unconscious electronics "Oneirologi". This is a stream of dreams captured in the sound, in which Claude Levy-Streoss meets Jean-Michel Jashee Jamer and Claus Schulce. Colta.ru represents the mini-dreamt mini-album, where Sharifullin put into his unconscious other musicians-the Love Cult duo and the Petersburg Nocow electrician.

We decided that this music, despite its availability, requires detailed comments - and therefore contacted all the participants in the project.

Comment by Stas Sharifullin

-The banal question, but you have to start somewhere. Why - "Oneirologi" ?

- I was always interested in a dream, more precisely, its representation in culture. Cervantes in Don Quixote has a quote that Snout recites, it seems, in Tarkovsky’s “Solaris” that, they say, a dream is a single coin for everyone, which equals everyone. This is very interesting to me - for example, eastern and European cultures are very different, generally in places they are diametrically opposite, such as white in the east - mourning, we have black, while in a dream all these cultural, social, intellectual and other differences are erased. From all abstract flaps, such a complex associative chain is created, and, most importantly, everyone has the same mechanism, and it is interpreted in the culture the same way. Here are the “dreams” of the Akira Kurosawa - the East, the “science of sleep” by Michel Gondri is the West, but there and there - the same color Beliberda.

Levy-Strauss called this the principle of a bricolage in an anthropological, or rather, even a mythological sense, that is, the brain has some kind of set of improvised materials accumulated experience, and all this is mixed in such a super-shicker. Dreams are obtained - such universal matter. I had an idea to shift this mythological bricolage to music - i.e. Disable consciousness a little and collect it from improvised materials. In the literature there is such a technique “Snowing” (well, or removal, they write in different ways)-the removal of cultural cover, like Camus in a “outsider”, where the main character describes everything, as if from the side, as if through a thick such glass. I just managed to “be subject to” - I used to steam a lot about music, I redid everything millions of times, I could not finish anything, but this time I decided to let go and make the music write itself.

- How did it happen?

- Very simple - I have a Roland Sampler. I turn it on and everything that literally comes to hand, I write down, processing effects along the way - I twist the handle at random, like a monkey. Then I leave what happened, and if I like it, I use it. Also with music-I'm just sitting listening, if suddenly I like some piece-I brazenly steal. Anything is used - from real ethnic and percussion instruments that my friends constantly give me to all nonsense. Sometimes random. For example, for one of the tracks I recorded such eastern golden balls ringing, I don’t know what they are called, and at some point I accidentally creaked with a chair. It turned out a wild sound as from "transformers", very cool.

-Here, one blog asked me to name the five of my favorite Russian albums for 2013-I turned on yours. What five do you have?

- Love Cult last plate, DADA quular on the “luck” , NoCow “Solus” , Anton Zap “Water” , Foresteppe And, of course, Stas Kontext , but it's already six, sorry.

In general, I am very far from what characterizes a professional musician. What I do is such a very naive DIY . It was somehow told that my songs were included in a serious uncle-musical man and he said that it was not music, but rather sound-making. So, from the point of view of serious uncles, I am a sound engine. Sounds vomiting. I am very close to avant -garde music, all this minimalism, rehearsing and early electronics - I think (and in many cases it is), everything was done there and is done on the knee. I have the same attitude to the synthesizers: for example, I absolutely do not understand how to make this or that sound, I just focus on intuition - I like it or not. I watched an interview with Klaus Schulce-he winds up some kind of crazy sound there, and then, so embarrassedly smiling, says in the camera: they say, if you ask me to repeat the same sound tomorrow, I can already succeed. And the Carlhainz Shtokhausen with his tone generators in the basement - this is absolute freedom, it is very cool.

-Shtokhausen was already doing this not from naivety and unprofessionalism-but just the opposite. Speaking with pathos images, he knew how to build a temple, and therefore smashed the altar and danced on the pulpit.

- But it seems to me that he simply realized in time that this is primarily an altar, that is, absolutely ritual and not related to the reality of garbage, supposedly reproducing the supposedly structures of what they like to call “unconscious”. That is, if we say that music is the most abstract of arts and works at the same sensual, abstract level, then some logical, mathematical schemes to it are hardly applicable-more precisely, of course, they can be used, but vitality is lost. This year, when we were all together in Vladivostok at the NOCOW performance, I went out into the street to ventilate-it was hot inside, there are two natural gopniks both in appearance and in speech, such with beer, and one another: “Listen, well, he has just a barrel and a plate, but how does it pump ??”! ” You listen to some villobos or Theo Perrish, and the leg itself begins to twitch-pure anthropology, primitive instincts.

- On the other hand, music is pure mathematics. Harmonic row, tones, overtones ... from Pythagoras, as you know. Well, whether the art should reflect life - this is also an ambiguous question. But your point of view is clear.

- This is an eternal question, and I do not know the answer to it. It seems to me that music is both. That is, you need to know some basic structural principles, probably, but still: if you do everything with the left hemisphere, where, as they say, all logical processes pass-well, what happens? Sterility. On the other hand, purely “right -hemispheric”, let's call it so, it is sometimes difficult to listen to music. Therefore, we need a balance.

Brian is mistaken when he says that the future is for generative music.

Well, that is, there are some specific canons, some basic structures-rhythmic, harmonic and others. And it seems to work. But the same generative music is a set of sounds, although it seems to be built algorithms and all that. My girlfriend and I came up with a cool way to earn money: to place an ad in the newspaper, like, "we make a sound cast of karma, call xxx-xx-xx." A person comes, I give him a questionnaire with questions like “when you had the first sex” and so on, his answers-cyphra with a smart look drive into a program that generates music, and then I turn on and explain to him and explain where he turned the wrong way in life. It seems to me that millions can be earned. In general, I think Brian is mistaken when he says that generative music is the future. And I, as a finished humanitarium, is still naively confident that not everything in this life obeys the laws of logic.

-You had no desire to go to study the musical canon-at least in any form?

- Well, I studied Solfegio in a music school - boredom.

-Do you remember anything else?

- Enough to understand that from the point of view of the theory of music, I am now carrying an unusual heresy, such as the shy about a snowy man and charged water))).

Comment LOVE CULT

We met Stas on the network last year. Lesosibirsk is an almost perfect name for the Russian city, and to be an electronic musician from Lesosibirsk is probably incredibly cool. Stas music intrigued us, and we, like many, have been waiting for some whole releases for a long time. In the spring, HMOT suddenly made Remix on Fingers Crossed with our plate of the same name, which was just a bullet. HMOT caught everything that we felt during the recording, but left the track beyond the scope of the track, and voiced it in remix. Making a response is a great honor and pleasure. “Pequeninho” is the most mysterious composition with “Oneirologi” , we instantly fell in love with her rough substrate. After several days of programming, Gabber-gun for 180 shots per minute, we seemed to run out and lost the course. It sounded absolutely terrible. Then we slowed the project up to 40 BPM , and everything fell into place. All the sounds of Stas passed through the sharp blades of our effects, unknown with YouTube spoke the letters HMOT , for some reason stuttering on HM . At the exit, we have a decaying dub, beautiful and quickly wear out, like a H&M T -shirt. Put this track on the alarm in the coming year.

Comment NoCow

Stas proposed to make remix and sent several archives with different tracks. I tried to do one, then the other, and it turned out that I made several remixes at once; There were an embossed version and dance. And when I had to choose, the idea appeared to collect them together - something like a collage. Then he added something else from himself. So it turned out something like remix to release or even release-tribute.