"I want to return to simplicity"

In April, Alina Orlova’s largest tour in Russia starts. Starting from Moscow and St. Petersburg, our beloved singer from Lithuania will perform in six Russian cities: Yekaterinburg, Perm, Izhevsk, Ufa, Kazan and Nizhny Novgorod. At chamber concerts, she will meet with the audience “One on one” and promises to perform all her best songs under the piano, as well as many new ones. On this occasion, the leader of the Megapolis Oleg Nesterov met with Alina Orlova in Vilnius to talk about how songs are born.

- In what languages ​​are songs now appear?

- In Lithuanian, in English - quite a bit, in Russian the most. Because I read books in Russian.

- What are you reading?

- I re -read Platonov. I delve into the text, transfer it to Lithuanian, which, of course, is very difficult, but possible. Very interesting. And then it is written better-poems in Russian. Platonova read a lot, but now she returned deeper into the text, tried to tell a friend how it all, what kind of language it was, but this is impossible. And I don’t read modern, I also listen to music. So it’s hard for me to share something. What is there in Moscow?

- Moscow loves you and is waiting.

- I thought to come, stay in Moscow.

-We need to choose the time and come, maybe combine with something useful-for example, to record several songs. The new city is new energy. Bowie came to Berlin and recorded three of his best albums there. From Hansa Studio Wall was fifty meters, he went out into the yard, looked at the tower and back to microphones. Maybe Moscow will tell you something new. Here you read Platonov. Where do you write songs, if not in Moscow now? Five years later, maybe you will write down in New York or in Paris.

- May be. Then I was somehow stuck.

ALINA ORLOVA - Švinta (Live from Lithuania)

- Tell me, and the new material itself - what is it?

- Another - there is nothing but voice and tool. Everything is completely simple as it was at the very beginning. I put a microphone at home, write sketches. I generally like this form, but I do not know how serious it is - poor quality, it is also impossible, everything must be done correctly.

- Previously, the music sounded from the pavements, and everyone was satisfied. Quality is a very speculative thing. Now everyone has learned to do “as it should”, but there is no meaning in this.

- Exactly, often everything turns out too cleanly.

-I recently learned from reliable sources that twenty percent of all releases of world rock stars consist of demo records that they could not overcome in the studio, writing down a “qualitative” option. There are things that cannot be repeated, and they should not be repeated. Quality is when there is life in music. Does space sound?

- Yes.

- There is such a concept - fractality when everything is in everything. When one piece can be restored by the entire structure of the universe. So the fragment came to you, you examined it and realized what was happening in the world, in which direction everything was twisted. After all, the function of music is just that. The main thing is that it is a living particle, not dead. If the music is not clear how, but there is life in it - there is value in it.

- I myself like what it turns out at home, I can listen to it. I do not always like what comes out of the studio. Sometimes it seems-oh, it will be cool, but ... something is missing.

Alina Orlova - "pigeons" (Live From France)

- Why did you have a band?

- I wanted to try. I used to play with the violinist before. And it was already real, serious music. Everything should be. Of course, I did not come up with it myself, he advised me, in the sense - it is done, I don’t know why.

- What did the band give you and what did you take away?

-I do not think that he finished something ultimately. I think he gave more. Everything had to be done together, more accurately. You cannot play only what you want, you need to agree. And this also taught me the discipline of the game. I can’t say if it could be different. They, of course, went down in history. But the bottom line is that now I want to return to the simplicity of the initial one again. This always happens - first empty, then a lot, and then again empty.

- And how did you play new material? So you came - my friends, now I will fulfill you with a composition about miracles.

- There were different stages. Everything is different. In general, the song itself grows from what it is with its very birth, that is, how I write it and how I can perform it at home. But then she passes through a lot of filters-options and is already completely changing. And this is not the song that was at the beginning.

- Is it good or bad?

- This is fine. The normal path of changes when you work with many people. Even the record on the album itself is another filter. And then the musicians and I gather, listen, understand how to play this song at a concert - just like that, you won’t play it, and it makes no sense to do exactly the same. This is another filter. Then, in the process of playing concerts, the song also changes.

- Does everything change for the better at concerts?

- Probably yes. Everything is unnecessary, the essence remains.

- Another question. Here, Alina, a new song knocked on you, and you wrote it under the piano on the recorder. I don’t know how you are, but I have these sketches very emotional and charged with meaning.

- Yes.

“And for you this is a lighthouse that shows where you need to go.” Indeed, at that moment you first met, and no one lies to anyone. Neither the song to you, nor you to her.

“But when you start doing something, you play, you are alone, click on the voice recorder button, and now everything is already different.” Because you already want something. Conscious intention. And if it is another person who will record, it will be even worse. Another musician will appear nearby - more ...

-And you will come to the studio, where there is so much minute,-all this can be raised in a square. From this we can conclude that extra filters must be removed.

- Maybe.

- And from this we can conclude that you need to make a record when you yourself do not yet understand that you are making this record. It's just that the Record button is on your time constantly, and you are sitting at the piano, play. When it pecks when it does not peck. Like fishermen. Maybe such a technique should be?

- Yes, apparently, inadvertently it comes.

- As far as I understand, the meaning of your evolution is to exclude filters. Take energy, place, take spontaneity when there is no Record button ; Of course, it exists, but you don’t think about it at all whether it is turned on or not turned on. When there is no one nearby: neither musicians nor an engineer ... When there is no studio filter where you should try. Apparently, now, when you are alone on stage, this is a minus all filters.

- I think it is. And that's right to do so. But it’s hard to decide, because it seems: you need to do everything as it should, if there are opportunities.

Alina Orlova - "Sailor"

- A person now has many opportunities. Maybe just the most important thing is to abandon them to concentrate on some idea, on yourself. How will you build a program?

- Of course, I will combine try to try the old and new, I think to play a couple of cavers. I get it when I am alone-retro is not retro ... I don’t know what to call it-something like that. It’s hard for me to understand what it is.

- It's just Alina.

- Alina. I generally tried to connect everything so that the songs were flowing. But not the whole concert. Leave something to people-to revive, pat. Well, of course, I can communicate, say all sorts of stupid things, will laugh.

- Fine.

- So I don’t know - you can make a concert more mysterious, can be more open, accessible to people.

- But this will be decided in the "here and now" mode on the site.

- Yes.

-Do you draw some tracklist?

- Yes, I am writing a list of all the songs that I can perform and perform. Some disappeared, inappropriate.

- And for what reason? That's what you take from the old?

- From the old I take, one might say, the brightest. All the brightest is not my most beloved, but people like it, and I leave. What they know what they could hear before. There is such that they did not hear so much.

- Will you take a lot from the new?

- I don't know what a lot is. Songs - they are short.

- And the degree of your interest: old or new?

- New, of course. The old is known, familiar.

- And what do you think, how are the sites affect the song?

-In different ways, it's like a color. Well, atmosphere, place. Not like the type of site - well, sound, small hall. But even the place itself, people, their mood, the time of the year, the position of the moon is some kind. Everything affects, because it is a collective action - a concert. I can know exactly how I will act, I can come up with something-but it will not be so. It will still be different.

- Each time it is here and now, because everything affects: what did you read in the evening, how you slept, how you rode, what you did a week ago; In the end, your grandfather and grandmother influence how they met and met. And this whole story can be unwound to infinity, to tadpoles. Those. You are infinity for you. And here you are on the tip. And every one who came to the hall is the same infinity, the history of which can also be unwound, everyone affects you, you affect everyone. And, of course, you have such a round dance, well, plus walls, city, plus, well, I don’t know - snow, news on the Internet ...

- Yes, that's right.

Alina Orlova - “Clouds flew” (“DDT” Cover)

- This tour in Russia you have the largest, for almost a month you will travel. Something you expect special, are you preparing for something?

- I'm just waiting. Departure. I have not come to Russia for a long time. You can say - I missed it. Plus, this time I will be in places where I have never before. And now I think - can I evaluate it? New people to meet, who, I hope, will come. Share. It's like an adventure on your head.

- You had a concert in the Church of St. Catherine in Vilnius in Vilnius. Concerts in temples differ from concerts in secular halls?

- Yes. All. Many. Acoustics.

- The quieter you sing - the louder you sound?

- Yes. It is difficult to play with the group there, because the drums - an echo - went ... And singing almost without everything - a voice flies upward - good, beautiful. Church - there is no other place. It is the only thing.

On April 3, Alina Orlova will perform at Gogol Center (Moscow), on April 5-at Erarta Stage (St. Petersburg). See the schedule of performances in other cities on the site of the singer .