"Drums are a very erotic object"

On October 9 and 10, the Summer Cinema of the Garage Museum will be held “Screenization” - a joint program of audiovisual concerts of the Fields festival and the Garage Screen team. Or, as the organizers themselves say, “Kino -sound on the contrary”: within two days, artists, video artists and musicians themselves will take up the adaptation of musical work to the visual format.

Perhaps the most outlandish and wild among the six speakers is the Drumazhur quartet, which includes only drummers. Sergey Bolotin, known for the expressive game in Ussy, as well as once in Jars and Silence Kit, Oksana Grigoryeva, who became part of the shock jazz-band The Rig and once played in Brome, Peter Ottsk from the angry frear-jazz-band Domination and an advance guard Hip-Hop-CRIOO “Lenin Pack”, as well as Andrei Kim, known for participating in such extreme projects as Zlurad and Squire, as well as Chiptyun Acades-Admi and Solo 8hz. Here is such a wonderful genre mess.

The list of merits is higher is extremely conditional and superficial, since musicians constantly take part in collaborations and spontaneous improvisations and, in general, tend to combine participation in two or three groups at the same time. Anarchists in spirit, the name Drumazhur was invented exactly exactly in the debut concert, which a couple of years ago took place in the openwork gazebo of Gorky Park.

However, as part of the “film adaptation”, a crazy four plans to try himself in an atypical role: instead of uncompromising improvisation, they will take up the performance of a special play that Anna Mikhailova wrote for them - composer and artist, graduate of the Rotterdam University of Arts. During the concert, the score of Mikhailova will come to life in front of the audience in the eyes of the spectators will appear as visualization on the screen.

On the eve of the audiovisual performance, the producer of Fields Lera Ryasina and the publisher of the Topot label (on which so far the only album of the quartet) Zhenya Galochkin talked with the participants of the team and the author of the play.

Zhenya Galochkin: Well, let's start with a short blitz. We answer quickly and briefly, without hesitation. Miles Jackson or Michael Davis?

Sergey Bolotin: Michael Jackson!

Peter Ototsky: Jackson Frank!

Oksana Grigoryeva: Louis!

Galochkin: John Dorn or Ivan Zorn?

Bolotin: Ivan Zorn!

Grigoryeva: Yes, Zorn!

Ottsk: John Lennon. Today he turned 80!

Galochkin: Why is a chair for a drummer round, and not some other shape?

Ottsk: You can spin!

Bolotin: there are saddles, they are almost triangular.

Grigoryeva: Round so that the drummer feels free!

Galochkin: What does the drummer experience when he throws a wand into the crowd after the final song? And what - the one who caught the wand?

Grigoryeva: The drummer who throws the wand, feels freedom and satisfaction, and the cattle - anticipation, joy and pain from the sticks arriving at him.

Ototsky: The drummer is looking forward to a booze, and the catcher too!

In general, this play is ideally for forty installations.

Lera Ryasina: So, now let's seriously. How did all three concerts differ?

Andrei Kim: The first is spontaneous, the second is more or less planned and rehearsed. We had a certain score, the plot ... Well, the scores are not.

Bolotin: Well, some, in my opinion , was. Quite conditional.

Kim: The coming concert we will have with Anina's work.

Ottsk: The first we played in Gorky Park-the whole Moscow Imper-scene gathered, plus people from the park came up-it was probably 300 people. It was an experiment-we did not know whether it would work out or not, and generally what would work out. They called the Saxophonist friends to support us in the second part. It was not a pure improvy, we had a workpiece-we determined some large parts in advance. But we probably played our prepared “program” in 25 minutes, and then we were suffered: the composition was too nuclear-we could not stop an hour and a half or two.

Basin: It turns out that you were more prepared in the next times?

Ottsk: The second concert we played Fields in Mutabor. We were limited in time by the linap of the festival, so we prepared clearly - as a result, it turned out very concentrated and shocking, as it seems to me. Plus, the sound - volume, sabbas and sound blows to the chest - added a hypnotic effect.

And the third we played in the midst of Pandemia on Richterfest - this type of “feast during the plague”. Everyone was hungry for events and flew in full, and there was no border between the audience and us. Therefore, all the guys who surrounded us entered the imperment - they began to dance, spin around us . The hour of performance has turned into a moment of happiness and ecstasy.

Basin: An, tell me about the score. What is the essence of the play and what is the role of every artist? And why is the score, not improvisation?

Anna Mikhailova: There is a traditional musical notation - it is quite clear. It consists of tactes, repetitions and other things. I just went to this issue from the other side. If you take the general outline of the settings, then the score is the entrance to the conversation with the shock installation. That is, crosses are leads, iron, plates and stands, and circles are a skin, that is, the skin, the surface of the drum, at least naked, at least the surface of the abdomen. And the moment of distance from yourself to the instrument - that is, between how you hear the sound, and how it really sounds. Because the score is a certain second in your setting when you play. In general, this play is ideally for forty installations.

Basina: How do you manage to hear each other when you go into some loud code?

Ottsk: I usually don't think when I play. You can say, "I allow the drums to play on me." Therefore, I don’t really hear myself, on the one hand, and on the other, the subconscious mind feels everything - a group, and an audience, and lighting, and smells - all this is part of a dance.

Kim: It seems to me that hearing is far from always succeeded in such expressive moments.

Bolotin: When we rehearsed with the party, I felt the difference just when we play. That is, you will not just impress, but a certain rod appears. I look at my part of the score, and my perception is busy not only with interaction with colleagues, a game, but also by working with the script that we must follow. That is, a double or even more multilaterally directed action is obtained. And it is felt completely different.

Basin: how important is the faces during the game?

Kim: It seems to me that this is very important.

Ottsk: Yes, visual contact is very important. I don’t know why so, because I always play with my eyes closed. But, apparently, sometimes I open - I peep. And without this, synchronization / Unified Floo may be lost. Then you can not only peep, but also wave it with your hand or throw it with a wand, if necessary;)).

Basina: Tell me, please, how would each of you visualized this work?

Bolotin: I would probably try to create some kind of graphics that would change depending on the sound, that is, I tried to visualize the sound in the form of graphic visualization. With some kind of generative graphics that would react to sound.

Kim: I would turn on some kinds of animals with animals, and everything would have hit and coincided.

Mikhailova: with which animals?

Kim: Well, the first to come to mind is a full -length Zyrevo “microcosm” - you know this?

Mikhailova: Yes, excellent.

Kim: Well, you can do any other disasters.

Grigoryeva: And I would do something like explosions of paint. Type of Barabosiks!

Basina: Tell me: why did your name change at different sites, but the last couple of times the invariably DRUMAZHUR is used? Have you come to the final name?

Kim: It seems to me that the nobility was with a “bottle”, everyone was tactfully shut up this topic. Because the "dramflakon" sounds ...

Basin: "Drama garage"?

Bolotin: Well, you could cover and try ...

Basina: Are there any ideas until it's too late?

Bolotin: Well, Drumazhur somehow fixed and sounds somehow, in my opinion , not bad. An unusual word is more difficult to come up with.

Basina: Tell us more where it would be most interesting to play. Are there any dreams?

Grigoryeva: I want to play in the Coliseum.

Bolotin: normal. It would be cool to play the highlands.

Ottsk: Yes, I am also drawn to the mountains-I would like to convey the drums to the top of a mountain.

Mikhailova: All animals will run away.

Ottsk: But in general, drums are a very erotic object. If you put the installation in any place-it will immediately change the space around, like the piano: these are art objects . In different compositions, I had to play in the underground parking, on a rock by the edge of the sea near Genoa, in a ball in the middle of the forest near Dubnaya.

Basina: And who is each of you an idol-drummer?

Grigoryeva: Kemet Drake.

Bolotin: I have a lot of favorite drummers.

Kim: Petya Otsk.

Bolotin: Yes, Petya Otsk.

Ottsk: And I myself love the experimenters, the founders of Free Jazz -Andrew Cyril ( Andrew Cyrille ) and Sunny Murray ( Sunny Murray ) . And from modern - Kevin Shi ( Kevin Shea ) . I dream to be brought to Moscow with Talibam or Puttin ' On The Ritz !

Grigoryeva: Andrew Sirill, Max Rouch ...

Mikhailova: Mircea Ardelian.

Bolotin: but I like one drummer from Turkey, so modern. And another Indian who lives in America.

Kim: She still beats her legs along Coobellah?

Bolotin: No, she makes some unrealistic choots. Afrogit there. Superweight then.

Mikhailova: Drummer Satoshima - He is in acid Mothers Temple . But he still puts the drum attitudes on himself and staggers from home to house.

Bolotin: who raped a small drum.

Grigoryeva: Oh, Jan Benning yet.

Mikhailova: Yes! Certainly. I played with him.

Basina: Wow! This is cool.

Bolotin: I still like embossed drummers. Damn, why I always don’t remember the names.

Basin: I love Ilai Caesler.

Kim: And I like Tim moat, there is such a modern figure from America, and there was also a Poets group of Rhythm - there is generally such a Grushchik. I don’t remember the name, really.

Basin: How many rehearsals did you have in principle? I understand that you have already played enough of each other in different compositions. But specifically like Drumazhur .

Grigoryeva: In general? For all the time?

Basin: Yes.

Grigoryeva: One? ..