Glintshake. "Premier"

Recently, the young Moscow rock band Glintshake turned away from the previous idols-Sonic Youth and Nirvana; Now they write songs in Russian, choosing themselves domestic heroes-Stravinsky, Prokofiev, Mosolov and “Sounds of Mu”. On February 18, the group presents a new Russian -speaking program with a concert at the Central House of Sciences , on the eve of which is released by the single “Gemolom”:

To the premiere of the song Katya Shilonosova and Zhenya Gorbunov from Glintshake answered several COLTA.RU questions.

-Glintshake began with music inspired by the alternative rock of the 1990s. Tell us about your 1990s-were they dashing or glorious? How and where did you spend them, what kind of music did you listen to then?

Katya: I had the dear 90s with the “kinders”, “Sailor Moon”, a variety of pop music and campaigns in music. I consciously listen to something at the end of the school, and these were already two thousandth, so before that I was really immersed in the pop of the 90s, which, it seems to me, was very much affected by the result.

Zhenya: My nineties passed in a gray vest-bead that my mother tied me up, and when one vest wears out, my mother knit a new one. The most useful thing I gleaned from this time is a total absurd around in the most aggressive manifestations (although he has not gone nowhere) on TV, in the city, everywhere; Then I tried not to pay attention to him, now he is very inspired. I did not listen to the music of the 1990s, I had the Bravo group, ABBA , two melodiev Aquarium melodies and organ music of Dietrich Buysteuhude, and all Sonic Youuth , Nirvana and others began much later.

-By the way, what is your pantheon of heroes of the alternative rock of the 1990s-the main names? It seems that you have not seen you at the Moscow concert of Terston Moore from Sonic Youth -this is because you forbade yourself to listen to the alternative to the 1990s?

Katya: Yes! Eugene forbade listening to all rock, written in the period from 91st to 99th. Tough, but tolerant. By the way, when Moore played in Moscow, I was just in Seattle. There, at the EMP entrance on a huge screen, the Smashing Pumpkins clip was shown in several floors - I had to close my ears and eyes. Ha ha.

But seriously, everything is simple for me: Nirvana , Blur and the early Sonic Youth , although this is the 1980s.

Zhenya: The organizers of the Terston Moore concert have done, it seems, everything so that we do not know about him. It is not surprising that the hall was half empty. In general, we played with alternative rock as with teenage memories, hardly referring to the pantheon of heroes with some special trepidation; The overall atmosphere of freedom and do not care was more captured, which just in 2012 began to get out with new guitar musicians like Yuk , Wavves and other ones. And then it became clear that it was rather a dead end branch and Riviville would not be, as for some reason there was no Rivivl Trans in 2009. In addition, we learned to play, and immediately all this semi-pubert action became uninteresting, but it became interesting to grow something of our own and stop being Roleviks-recorders grabbing the lost world of childhood.

- As I understand it, now you are discovering domestic music. It is curious to find out about your latest discoveries. Who is inspiring?

Zhenya: Of course, the fatal and jazz Soviet musicians of the 1980s are inspired, who played as if they had nothing to lose, boldly, in a pankanian and at the same time superinthlene, like the early “bravo”, “pop-mechanics”, “sounds of mu”, “strange games” and others-it seems to me that it is clearly read in the latest songs by Glintshake . But composers of the 1920s are inserted even more: Mosolov, Roslav, protopopes, stomachs and, of course, Stravinsky, where without him. Prokofiev, Rimsky-Korsakov, Shostakovich, etc. They were the same rock stars for their time, everyone made a revolution in the public consciousness and music that could not be the same after their influence, they have something to learn, especially working with the very musical language-today I see the biggest problem in pop music, just optional slabs growing in different glasses, but in fact the same ones: take indi-pop The mainstream rock, Edm or folk with a beard is one melodism for all, all these songs could play a languid young lady from Utuub under a Ukulel. I don’t really understand why, after a wild jump in technology, which, in fact, has not been developing the sound in any way-new sounds in pop music have not appeared since 2003, only the method of extracting them is changing-not to engage in the modernization of music itself, why not turn to huge layers of melodic diversity and methods? For example, Olivier Messian, who worked in the middle of the 20th century, recorded musical transcriptions of bird singing and used them in his works; It sounded much more radical and more interesting than all these bells and whistles with a risen IDM or torsion on a player through the MIDI interface of the drunken trees spills, that is, such a superfluous approach today-the dialogue of technology and nature-Messian already in the 1940s predicted and did something with this, and this is super-submarine music. Today we are taking small steps to our own musical language, groping something; I will not say that we defeated our cliches completely, but we have already overcome some obstacles.

The biggest problem in pop music I see helpless melodies.

Katya: Prokofiev - forever, and even Mussorgsky. Although, by and large, I now have a period of silence. I even put on the headphones in the subway, but I don’t turn on anything. I don’t quite understand whether this is normal, but in general everything is still satisfied with me. Silence is very valuable and great. Few people can survive the silence in our time.

- I saw a joint performance by Glintshake with Sergey Letov at the JagerMeister Indie Awards - and I liked it. How did this cooperation happen and will he have a continuation?

Katya: As cooperation has developed, Zhenya will tell better. For me, it was something wild: on the eve, I was late for the New York-Moscow aircraft, I barely flew in, arrived at the club, having slept three hours in total, checked in five minutes, went into the dressing room, and there were Letov and Garkush. These are very interesting sensations-you just have been in New York, and the next day you see how Garkusha and Letov eat sandwiches and tell funny stories from life. Very surreal.

Zhenya: Initially, the organizers of this evening invited Letov to play with a “bloodstream”, but he eventually refused and chose us, since we were also declared in the program. The guys from the Stereotactic agency contacted me and offered a joint performance with Sergey, I was delighted, but there was a danger that we would not have time to rehearse everything and Katya would not have time to recover after the flight; As a result, it was a very powerful experience. I liked to communicate with Letov, he is a very simple and modest person who does his job cool and does not boast of his almost cult status. So far, there were no specific plans for cooperation, but in the future, perhaps, something will stir up something else.

- The declared joint project with the artist Anatoly Osmolovsky also intrigues - what will it be and when?

Zhenya: It will most likely be in March in the XL gallery at the Winery; I do not want to run ahead, I will only say that it will be an audio sculpture “face”.

-At the February concert-presentation of the new album, you have declared an expanded instrumental composition of the group: saxophone, flute and vibrophone. Will these experiments with sound be reflected in the record? What else to expect from the new album?

Zhenya: I do not think that the expansion of the composition can be called an experiment; This is a little unusual for us, but we never experiment, everything that we succeed is the result of the work of a clear mind, even improvisation. The one who does not know what wants to say is experimented; We know everything. The guys will help us reflect the game with backgrounds, the intersection of Soviet jazz, Daba, some academic things, and strengthen their expressiveness. I think they will also appear on the album, and in general the album turns out to be quite diverse, but with some kind of super-measured rod, very Moscow, such a high-lobed-constant-hysterical.

Katya: In addition to the album, we will also release a cassette with our jams, with hits such as “Hands are former legs”, and vivaldi covers. This is where there will be real experiments with sound!

- Katya’s question: you were in the states where you took part in several “educational” programs for musicians - Red Bull Music Academy and One Beat . Tell me about this experience - which program is better? What of them have you carried out? Are there any specific problems that only Russian indie musicians face?

Katya: It was very difficult to avoid comparisons with RBMA when I went to OneBeat , but in the end it almost immediately became clear that the programs are very different and it was very stupid to evaluate what is better and which is worse. You do not compare, for example, tea and juice.

RBMA is a really small academy with its lectures, practitioners in the form of concerts, workshops and the possible surrender of the course in the form of a track. Onebeat is more like a children's camp, where you work together for two weeks, and then go on a trip. You, together, prepare performances, write music, plays, then, then, as one whole, to present this to the public that will go to your concerts in the tour. This, probably, is the main difference: you are very separate on RBMA , you are surrounded by talented people, but you are very independent and give a solo concert, as if telling about yourself. On Onebeat , on the contrary, solo numbers do not exist in principle, you tell about yourself through work in collaboration and nothing else. This is noticeable even on the principle by which they take people away: RBMA is still a production thing.

We will still release the tape with our jams, with hits such as “Hands are former legs”, and vivaldi covers.

About how to be an autonomous musician. On Onebeat there are many performers, just unrealistic virtuosos, composers - in general, talented people who sneezed on studio bells and record the music in a completely different way than the guys who collect tracks in Ableton Live . But this, by the way, does not mean at all that there are no such people there. It's just that there are much less of them than on Red Bull .

By the way, it is worth noting that OneBeat is only four years old (and Red Bull has existed since 1998) and it is done by the same guys as us-musicians and artists who won the government grant and have almost created the whole program from scratch.

It’s all the same as I will go to Gorbunov tomorrow and say: “Zhenya, I have an amazing idea: let's bring 25 musicians from different countries to Moscow and take money from the state!” - And he is: "Katya, do you have tea with or without sugar?"

Of both programs, I made a lot of useful, but the main and general is that normal, cool people - they have never been snobs at all. They are all wide inside, ready to love and open something new. Here we can still say that music is a language, but in fact, language is just the same attitude. If a person is close to you in the perception of the surrounding reality, then you will understand each other without words. It is impossible to climb into another's head, but you can feel very well and make it even cooler than they expect from you. And I suddenly realized that there are such people and I am now familiar with them.

I also realized that in general everyone has the same problems - they are not perceived by the music as a serious activity, until you collect thousands of people at concerts, and everyone is trying to find a label or manager in the same way. And so a universal problem is laziness, probably, and yet, the fact that most of the motion occurs in America, for example. And to meet people there from their beloved American label is much easier than in Russia.