INTERVIEWS
WHICH SIDE OF THE MIRROR IMAGE ARE YOU ON?
A big interview for WHITELIGHT-WHITEHEAT.COM
(Fabrizio Lusso)
02.04.2021
A big interview for WHITELIGHT-WHITEHEAT.COM
(Fabrizio Lusso)
02.04.2021
READ THE INTERVIEW
Russian female-fronted trio based in Moscow, IX REFLECTIONS, made of Joe on vocals, Alex (synths, guitars, vocals) and Lana (bass), have finally delivered their long-awaited debut album "Fragile Border", ripe with synth-driven darkwave passion, contaminated by diverse sonic nuances, varying from post-punk, synthpop, to coldwave, gothic and synth-rock, blending shimmering and cold vintage synth-lines, haunting bass pulsations with dynamic and lashing drum machines, to fuel compelling emotional vocals, at the same time fragile and strong, infusing layers of whispering melancholy and soaring pitches of dark emotions, engulfing the listener into a gripping and captivating vortex on the edge of dream and reality. Let's talk about it directly with the band.
Alex: I didn't even think of playing music until I was 18. I think it all changed when I bought a couple of discs with my favourite rock and metal bands' complete discographies. And each had a bonus section with live music videos. And that was not the usual boring stuff that we had on TV at that time – it looked so cool and enchanting. After that, I got my first guitar for a terrifying price of $20. That's when the fun began!
Joe: And I had a "Spice Girls" tape as a child… That's how it all started…
Lana: When I came across this specific darker layer of music, I found that it was very close to my heart and touched certain strings of my soul. It was a great discovery for me.
Alex: It's hard to disagree, haha. Living in Russia makes music work seasonal. In other ways, Moscow is an enormous city with a long history and more than 12 million people living in it – it is a great cluster of energy and this is inspiring in many ways.
Lana: I come from a small town near Moscow, so the city gives me tons of inspiration and lots of opportunities for any musician. And also access to big music stores and fine equipment.
Alex: I think you need to be a part of the party to see what's going on. My generation of fellow musicians was mainly inspired by rock, metal and grunge. And this layer of independent scene is long in agony. At the same time I read about super-cool and popular alternative bands that play arena-size gigs, but I've never seen the people who listen to them or even know the bands. I guess you need to be 15 to enter the club.
Lana: There are so many bands in Russia that it's very difficult to find real gems among thousands of punk, rock and metal formations. It became even harder now, because the era of DIY music began, and you don't even need to get out of bed to record songs. The other reason is the vast market of online promotion agencies that will make you over-the-top famous even if your music is junk. And you read headlines screaming about mediocre "stars", while really cool artists remain obscure because they cannot pay for a promotional campaign.
Alex: I usually sit over the song until it sounds complete to me. When I show a new song to the band I usually see it as a finished entity. And it can be hard to make me do any alterations. But we always manage to work it out. I'm not a control freak or something – writing new music is just a bit too personal for me as I try to embody a certain momentary mood. After the music is ready Joe writes the vocal lines and records a demo. We give it a fresh listening later. If we like what we hear, we proceed to the studio and record vocals. Because of the pandemic, I had to record all synths, backing vocals and guitars for the album at home, but it turned out to be very convenient, so we'll stick to this scheme for a while.
Alex: The darker side of the culture of the 80s and 90s with its dystopian vibes, depicted in music, literature and art, has left its traces on my perception of the world. And growing up in a feverish Russia of the 90s also had its own influence – cloudy prospects in life, uncertainty, crime, generally low level of life, abandoned houses and construction sites, huge factories left to rust and decay, and the overall feel of decline in the air.
Alex: Yep, "pride" is quite a big word for our modest achievements, but my favourite songs on the album are "New Man's Born", "Fade in the Dark", "Sleeping Beauty" and "Leaving". Every song on the album is really intense and atmospheric, but these 4 songs bring up the strongest images in my mind.
Lana: Each song on the album has its own charm, so I'd rather not choose anything specific.
Alex: Yeah, I guess it's all about the magic between you and the audience. You also feel that you can speak out to the people who like what you're doing, share your thoughts and understand you. Music works as a great uniting force, and when you're up on the stage you can see it clearly.
Lana: And I like the fact that during a gig a larger audience sees the fruits of your labour, not just your bandmates.
Joe: Because of the pandemic we only had a chance to play once since its beginning, but we hope to make up for the lost time. And yes, we've got a couple of cover songs that agree with our style.
Alex: I'm into the older stuff, so I'm not very familiar with contemporary artists. I hear cool music now and then, but can't trace it usually. I got a cassette labelled "TSTI" a week ago and it sounds awesome. "TSTI" must be the band name… "Amotivated Machine" from Belgorod sounds cool to me. "Drab Majesty" is a fascinating project, too. I've been to their show once and have a few records in my collection. A friend of mine also has an electronic goth band "Dance My Darling" which you might want to check out.
Alex: A bootlegged album "Mutter" by Rammstein. My friends got it on a cassette originally from a Russian top-famous pop band. We passed it from hand to hand and each of us made a copy. When I first listened to the whole album I got a severe headache and felt literally sick. But soon enough my body accepted it and so I learnt that heavy and dark music can be cool!
Lana: Nothing really changed my music perception drastically.
Lana: If I had a choice, I'd take my bass. Albums get boring over time, but a bass gives you unlimited fun and creativity.
Alex: Too hard! But offhand: Inkubus Sukkubus – "Wytches"; In Extremo – "Sünder ohne Zügel"; Subway to Sally – "Nord Nord Ost"; Danse Macabre – "Eva"; and two Russian bands: Korol I Shut – "The Acoustic Album"; Nogu Svelo! – "In the Dark".
Lana: Thanks a lot for the interview! Keep the spirits up, and if we're playing in your town, don't hesitate to drop by!
Interview by: Fabrizio Lusso
whitelight-whiteheat.com
Original article: https://www.whitelight-whiteheat.com/interview/an-interview-with-ix-reflections/
- THANKS SO MUCH FOR THE INTERVIEW. LET'S TRACE BACK TO YOUR PERSONAL ROOTS, YOUR EARLIEST INSPIRATIONS AND INFLUENCES THAT DROVE YOU TO BECAME MUSICIANS AND FORM A BAND.
Alex: I didn't even think of playing music until I was 18. I think it all changed when I bought a couple of discs with my favourite rock and metal bands' complete discographies. And each had a bonus section with live music videos. And that was not the usual boring stuff that we had on TV at that time – it looked so cool and enchanting. After that, I got my first guitar for a terrifying price of $20. That's when the fun began!
Joe: And I had a "Spice Girls" tape as a child… That's how it all started…
- HOW IS BORN YOUR ATTRACTION FOR THE COLD, DARK AND GLOOMY SOUND MAINLY INSPIRED BY THE 80-S?
Lana: When I came across this specific darker layer of music, I found that it was very close to my heart and touched certain strings of my soul. It was a great discovery for me.
- "IT TOOK A LOT OF TIME AND EFFORT TO GET EXACTLY THE SOUND THE BAND ORIGINALLY INTENDED." IT SEEMS THAT YOU ARE FULLY SATISFIED WITH THE FINAL RESULTS… COULD YOU PLEASE DEEPEN THE CONCEPT?
- WHAT IMPACT HAS HAD AND STILL HAS YOUR CITY, MOSCOW, ON YOUR ARTISTIC DEVELOPMENT?
Alex: It's hard to disagree, haha. Living in Russia makes music work seasonal. In other ways, Moscow is an enormous city with a long history and more than 12 million people living in it – it is a great cluster of energy and this is inspiring in many ways.
Lana: I come from a small town near Moscow, so the city gives me tons of inspiration and lots of opportunities for any musician. And also access to big music stores and fine equipment.
- WHAT'S YOUR TAKE ON THE CONTEMPORARY RUSSIAN INDEPENDENT ALTERNATIVE MUSIC SCENE?
Alex: I think you need to be a part of the party to see what's going on. My generation of fellow musicians was mainly inspired by rock, metal and grunge. And this layer of independent scene is long in agony. At the same time I read about super-cool and popular alternative bands that play arena-size gigs, but I've never seen the people who listen to them or even know the bands. I guess you need to be 15 to enter the club.
Lana: There are so many bands in Russia that it's very difficult to find real gems among thousands of punk, rock and metal formations. It became even harder now, because the era of DIY music began, and you don't even need to get out of bed to record songs. The other reason is the vast market of online promotion agencies that will make you over-the-top famous even if your music is junk. And you read headlines screaming about mediocre "stars", while really cool artists remain obscure because they cannot pay for a promotional campaign.
- TELL US ABOUT THE PROCESS OF COMPOSING AND RECORDING YOUR SONGS, MAYBE ALSO IN SOME WAY INFLUENCED BY THE PANDEMIC ISSUES…
Alex: I usually sit over the song until it sounds complete to me. When I show a new song to the band I usually see it as a finished entity. And it can be hard to make me do any alterations. But we always manage to work it out. I'm not a control freak or something – writing new music is just a bit too personal for me as I try to embody a certain momentary mood. After the music is ready Joe writes the vocal lines and records a demo. We give it a fresh listening later. If we like what we hear, we proceed to the studio and record vocals. Because of the pandemic, I had to record all synths, backing vocals and guitars for the album at home, but it turned out to be very convenient, so we'll stick to this scheme for a while.
- WHAT ARE THE CREATIVE INFLUENCES ON YOUR ARTISTIC DEVELOPMENT – MUSIC, LITERATURE, VISUAL ARTS, FILMS?
Alex: The darker side of the culture of the 80s and 90s with its dystopian vibes, depicted in music, literature and art, has left its traces on my perception of the world. And growing up in a feverish Russia of the 90s also had its own influence – cloudy prospects in life, uncertainty, crime, generally low level of life, abandoned houses and construction sites, huge factories left to rust and decay, and the overall feel of decline in the air.
- LYRICS REFLECT A LIBERATION FROM THE SELF, SOCIETY AND THE PAST. WHAT IS THE PERSONAL MEANING OF THIS JOURNEY?
- WHILE YOUR SHIMMERING DARK SOUND COULD HAVE NODS TO MY FELLOW CITIZENS THE FROZEN AUTUMN OR CLAN OF XYMOX, IT'S ALSO PEPPERED WITH DIVERSE ELEMENTS TAKEN FROM HARD ROCK, METAL, ELECTRONICA, 80S ELECTROPOP, ON WHICH THE EMOTIONAL AND COMPELLING JOE'S VOICE IS PERFECTLY AT EASE, ATOP THE ENERGETIC AND PULSATING INSTRUMENTATION. COULD YOU TALK ABOUT IT?
- COULD YOU GIVE IN-DEPTH INSIGHT INTO YOUR ALBUM?
- WHAT ARE THE SONGS YOU ARE MOST PROUD OF THUS FAR?
Alex: Yep, "pride" is quite a big word for our modest achievements, but my favourite songs on the album are "New Man's Born", "Fade in the Dark", "Sleeping Beauty" and "Leaving". Every song on the album is really intense and atmospheric, but these 4 songs bring up the strongest images in my mind.
Lana: Each song on the album has its own charm, so I'd rather not choose anything specific.
- WHAT'S YOUR FAVOURITE PART ABOUT PLAYING LIVE? YOUR HIGHLIGHTS SO FAR? DO YOU PLAY ANY COVER VERSIONS?
Alex: Yeah, I guess it's all about the magic between you and the audience. You also feel that you can speak out to the people who like what you're doing, share your thoughts and understand you. Music works as a great uniting force, and when you're up on the stage you can see it clearly.
Lana: And I like the fact that during a gig a larger audience sees the fruits of your labour, not just your bandmates.
Joe: Because of the pandemic we only had a chance to play once since its beginning, but we hope to make up for the lost time. And yes, we've got a couple of cover songs that agree with our style.
- ARE THERE ANY CONTEMPORARY ARTISTS WITH WHO YOU'RE PARTICULARLY INTO OR FEEL AN AFFINITY?
Alex: I'm into the older stuff, so I'm not very familiar with contemporary artists. I hear cool music now and then, but can't trace it usually. I got a cassette labelled "TSTI" a week ago and it sounds awesome. "TSTI" must be the band name… "Amotivated Machine" from Belgorod sounds cool to me. "Drab Majesty" is a fascinating project, too. I've been to their show once and have a few records in my collection. A friend of mine also has an electronic goth band "Dance My Darling" which you might want to check out.
- WERE THERE ANY PIVOTAL RECORDS OR LIVE CONCERTS THAT CHANGED INDELIBLY YOUR PERCEPTION OF MUSIC?
Alex: A bootlegged album "Mutter" by Rammstein. My friends got it on a cassette originally from a Russian top-famous pop band. We passed it from hand to hand and each of us made a copy. When I first listened to the whole album I got a severe headache and felt literally sick. But soon enough my body accepted it and so I learnt that heavy and dark music can be cool!
Lana: Nothing really changed my music perception drastically.
- NOT EASY, BUT PLEASE MAKE A LIST OF YOUR 3 OR 5 DESERT ISLAND EVER FAVOURITE ALBUMS…
Lana: If I had a choice, I'd take my bass. Albums get boring over time, but a bass gives you unlimited fun and creativity.
Alex: Too hard! But offhand: Inkubus Sukkubus – "Wytches"; In Extremo – "Sünder ohne Zügel"; Subway to Sally – "Nord Nord Ost"; Danse Macabre – "Eva"; and two Russian bands: Korol I Shut – "The Acoustic Album"; Nogu Svelo! – "In the Dark".
- Many thanks for being our welcome guests, your final words…
Lana: Thanks a lot for the interview! Keep the spirits up, and if we're playing in your town, don't hesitate to drop by!
Interview by: Fabrizio Lusso
whitelight-whiteheat.com
Original article: https://www.whitelight-whiteheat.com/interview/an-interview-with-ix-reflections/
FASHIONS DIFFER / МОДА МОДЕ РОЗНЬ
Interview for goth radio GIB.fm (Russia)
(Julia Vi)
01.01.2022
Interview for goth radio GIB.fm (Russia)
(Julia Vi)
01.01.2022
READ THE INTERVIEW
Julia V: Hi guys. Let's get to know you. What city are you from? How long have you been around?
Alex: Hello! We are a group from Moscow. We got together in 2016, and before that we played completely different music in other bands. The line-up at the moment is as follows: Joe is the vocals and the face of our project. Lana is the youngest member of the team, she came to us this year to replace the former bass guitarist. And I play guitar and synthesizers.
Julia V: Why IX reflections? How did the idea to name your group like that come about?
Alex: Many people are surprised by the fact that the IX in the name of the group is not a letter abbreviation, but a Roman 'nine'. This is especially often confusing for foreigners, for them we are most often "ai eks reflections".
If we take the nine separately, then in many cultures it is considered a "magic" number: nine heavenly spheres, nine circles of Hell, nine lives of a cat. Many explain this by the fact that 9 is a perfect number, the oldest of all single digits. Therefore, the nine is often perceived also as a symbol of completeness, harmony, self-sufficiency. If you look at the emblem of our group, you can see a nine-pointed star consisting of three triangles. This figure also embodies harmony and integrity.
Joe: Each triangle individually is a simplified diagram of a person. It can be interpreted from a religious point of view - as the unity of the soul, body and spirit of a person, and from a more material point of view - as the unity of biological, psychological and social components. There are just three of us in the group, so the nine-pointed star is, on the one hand, the personification of our group: three human triangles connected into a single figure.
Alex: Yes. On the other hand, the same figure also shows a more complex structure - nine thin "bodies" of a person, his "reflections". Each of them individually is not a person, but only reflects one of the facets of his existence. And only together they form a person - both his physical shell and his personality. That is, the name of the group - IX reflections, Nine Reflections - just symbolizes the "nine reflections" of a Person.
Many foreign listeners also suggested that we took as a basis the theory of the enneagram, where nine psychotypes of people, interacting with each other, participate in creating a holistic picture of the world. Initially, there was no such message, but since it somehow intersects with our theory of the unity of the nine elements, we do not object to such an interpretation.
The idea itself arose somehow spontaneously, by itself. First at the image level, then we just formulated it more clearly. In addition, this combination seemed to us quite euphonious.
Julia V: You mention that you played in other genres before IX reflections, so I have a logical question: which ones?
Alex: Before that, we played metal and industrial for quite a long time. And we still continue to do this in side projects.
Julia V: And how many songs do you have in total? I see that you are releasing singles, why did you decide to "choose this path"? Are you planning to release a full-length album?
Alex: We planned an album from the very beginning. Therefore, a sufficient number of songs were collected quite quickly. But then we decided to start with a single to "test the ground", trying our hand at a new musical genre for ourselves. We recorded and mixed it at home, on our own.
The second single was also an "experiment" - we were offered a collaboration by a sound engineer from California, and we wanted to see him in action. He already had a lot of experience working with local synth bands and assured that he "knew exactly what we needed." Before that, we had already communicated with a large number of domestic studios and sound engineers and heard only the opposite - that the material was atypical for them, the music was unusual, they had no experience, so they could not give us any guarantees. Naturally, we wanted to try to work with a foreign professional. We sent him one of the tracks which was ready for mixing. We liked the result so much that we also decided to release the mixed track as a single.
It was at that time that we constantly heard from fellow musicians that singles are the future of music, and albums are a cumbersome relic of the past. Supposedly, in the modern world of high speeds and technology, people no longer have the time and desire to listen to long full-length albums. Playlists in VK and on music services, collected from disparate tracks, have become a priority format. So we released another single - "Fade in the Dark". The singles format turned out to be convenient for leading podcasts and broadcasts on music stations - there is no time to listen to albums, but to surf through the fresh singles of young bands - no problem.
The album, however, has been expected from us for a long time, and we ourselves are only for it. At the moment, almost all the material has already been recorded.
Julia V: But if we talk about the development of technology, then at this rate you can think of the moment when musicians, in principle, will not be needed, they will be replaced by algorithms that create music for every taste and color. If this suddenly happened, how would you react? Would you be happy for technological progress or upset?
Alex: It seems that this has already happened!
About five years ago, I heard on the radio a program about music being written by a new neural network. It analyzed well-known musical works and tracked the reaction of listeners, identifying the moves, sound sequences and expressive means that were pleasant to a human's ear. Then the network created its own musical compositions based on their analysis. But music experts considered that the result was frankly mediocre, because the machine was only repeating the certain moves and patterns, previously written by humans. It failed to invent something brand new. I think such music can be used in advertising or as a musical accompaniment. That is, when music only creates a background and does not carry a special load. In fact, all this is very interesting. If the computer learns to write cool music, then we will be happy, of course. But if it is just a random sequence of sounds that will be imposed on us as something cool and fashionable, it will be unfortunate.
Julia V: And how do you feel about fashion in general? Do you succumb to its influence?
Joe: Fashions differ. Youth clothes are very good now, it's a pity everything was much less appealing in my 15s... And I also, for example, like boys with tattoos on their faces and an emo rap. But such things are unlikely to ever affect the creativity of IX reflections.
Alex: Regarding the fashionable youth clothing, it turned out to be completely out of place for me. Checked repeatedly. So fashion is fashion, but it's better for me to wear something that really fits me.
And if we talk about fashion and our music, then we did not specifically connect it to momentary fashion trends. From one person we hear that our music is fashionable and modern at the same time, and another says that we reminded him of his young 80s and bands that he listened to in clubs at that time. Fortunately for us, it just so happens that retro motifs are in fashion now.
Julia V: And how do you feel about Goths? Are you familiar with goth subculture?
Joe: I was a Goth when I was 16-17 years old. Then somehow the fascination with the Gothic scene and Gothic parties began to fade, but the love of black stayed with me forever.
Alex: I never wore Gothic outfits and didn't walk around cemeteries, but I sympathized with the subculture. It all started with music. Already in the 9th grade, while everyone was digging Fabrika (*Russian pop-band), Linkin Park and MC Вспышкин (*famous Russian DJ), I listened to Inkubus Sukkubus, XIII. Stoleti, The Dreamside and many other bands scarcely known in my surroundings. I bought cassettes and discs at questionable stores which at that time were plentiful and sold exclusively pirated stuff, but were the main available source of underground music in the early 2000-s in Russia. As part of one of the bands where I had a chance to play, I got to know the Gothic audience better. We often performed at Goth festivals and concerts. We even went to play in Kiev for the Children of the Night annual goth festival.
Lana: I have never been a follower of this movement, but the subculture itself attracts and inspires with its dark atmosphere.
Julia V: How does the songwriting process work for you, who writes the lyrics/music?
Joe: Alexander writes music and lyrics. He usually writes for ages and more and then says, "Let's go folks, I made it!"
Alex: Well, something like that, yes)) I rarely show new tracks to the band at the draft stage. Mostly I do when they are more or less formed already.
Julia V: And how are things going with your concert activities?
Joe: Before the release of the album, we are unlikely to look for any serious opportunities to perform. Unless there are some local festivals in the genre.
Alex: Yes, it's still difficult with performances. At first, there was no time because of work on other projects. Then we had sudden changes in the line-up. And now came the pandemic...
Julia V: The single "Fade in the Dark", can I hear a few words about this song?
Alex: Regarding the message of the song, we can say that it has two interpretations - mystical (a person is haunted by creepy paranormal phenomena) and psychological (he gradually goes insane under the yoke of his own fear that some terrible deeds that he once committed will be revealed). The shadows in the mirror in the second case are his own memories, "ghosts of the past".
Regarding the sound, this is our first track, where most of the parts are recorded on an old Yamaha CS-10 analog synthesizer. It turned out interesting.
This single made its own specific achievements for us. For example, it was broadcast on the German radio station Radio Rheinwelle and received a most positive reviews from the presenters. And this single is also the most popular by the number of physical copies sold. Moreover, the buyers are almost all from California, USA. It's unexpected and funny, but cool.
Julia V: Why, in your opinion, do not Russian-speaking listeners, but foreigners buy the single?
Alex: It seems to me that we still perceive singles as a sample, a trial version of a song or an album, which is somehow unreasonable and illogical to spend money on. This is already a tradition that has been developing for years. People abroad pay for a track if they like it, because for them it's but natural. Digital or on different media - it does not matter. A stereotypical Russian listener is a guy who first listens to a single online, then downloads an album, then listens to it for 5 years running. And only after it stands "the test of time" he'll purchase it on a CD to express his respect to the performer. Like, "All right, bro, here's your buck you deserve it!"
Joe: The Russian-speaking audience does not consider the work of a musician to be a job for which you need to pay. Whether it's a single or an album, it doesn't matter.
Alex: Well, somehow, yes. Many people think that an artist must "earn" the right to receive money for his work. There is always a risk of running into an offended listener who will say either "Music should come from the heart and immediately to the masses, demanding money for it is a crime!" or "And who are you, actually? Ozzy Osbourne or Rammstein? Why on earth should I pay for YOUR music?" We have encountered both types.
And for some reason, few people come to mind that new music is being produced with this money. After all, everyone wants new tracks from bands, but almost no one takes into account that making music an be a costly process. A general foreign listener has more or less the idea of how it all works, which is why he or she actually buys stuff more willingly.
There is a special case with physical media. It seems to me that they are now mostly bought as merchandize and souvenirs. The music will be downloaded in digital format anyway, and a CD will just stand on the shelf and please the eye.
Julia V: Which music bands could you single out, which bands do you like?
Joe: Behemoth, Korn, Linkin Park, Celldweller, Scandroid, Twenty One Pilots, Bring Me The Horizon, Grimes, Placebo, Muse, Radiohead, Lil Peep, Fever 333, Billie Eilish, We Butter the Bread with Butter, Emika, Nirvana.
Lana: Powerwolf, Oasis, The 1975, Killers, Neighbourhood, Chpoking.
Alex: My tastes are mixed. The favorites so far are In Extremo, Subway to Sally, Elvenking. I often listen to Inkubus Sukkubus, Clan of Xymox, Sisters of Mercy, Rammstein, Rob Zombie, Genitorturers, Eisbrecher. I'm a sucker for the disco of the 80s. And not so long ago I discovered Gary Newman, interesting music, atmospheric.
Julia V: Do you do any other creative work besides music? How do you prefer to spend your free time?
Alex: In my free time, I mostly take pictures on film, walk, read books and play old computer games. Photography can be attributed to creative pursuits, right? :)
Joe: Unlike Alex, I often find myself on the other side of the lens, and besides that I do a little dancing. I spend the rest of my free time on fitness and sleep.
Lana: I spend most of my free time traveling around Moscow and the Moscow region, and in addition to this, I am engaged in photography, both digital and film, and I am still equipping a darkroom for developing film and printing photos.
Julia V: Would you like to say something or wish something to our radio listeners?
Lana: I wish you all the best and invite you to visit our concerts when they finally do take place!
Alex: I wish everyone good music and (in a Gothic way) a good mood.
Joe: Thanks for the interview)
Julia V: Thank you)
Interview by: Julia V
Original article: http://gibfm.ru/ru/item/348-intervyu-darkwave-synth-proekta-ix-reflections
Alex: Hello! We are a group from Moscow. We got together in 2016, and before that we played completely different music in other bands. The line-up at the moment is as follows: Joe is the vocals and the face of our project. Lana is the youngest member of the team, she came to us this year to replace the former bass guitarist. And I play guitar and synthesizers.
Julia V: Why IX reflections? How did the idea to name your group like that come about?
Alex: Many people are surprised by the fact that the IX in the name of the group is not a letter abbreviation, but a Roman 'nine'. This is especially often confusing for foreigners, for them we are most often "ai eks reflections".
If we take the nine separately, then in many cultures it is considered a "magic" number: nine heavenly spheres, nine circles of Hell, nine lives of a cat. Many explain this by the fact that 9 is a perfect number, the oldest of all single digits. Therefore, the nine is often perceived also as a symbol of completeness, harmony, self-sufficiency. If you look at the emblem of our group, you can see a nine-pointed star consisting of three triangles. This figure also embodies harmony and integrity.
Joe: Each triangle individually is a simplified diagram of a person. It can be interpreted from a religious point of view - as the unity of the soul, body and spirit of a person, and from a more material point of view - as the unity of biological, psychological and social components. There are just three of us in the group, so the nine-pointed star is, on the one hand, the personification of our group: three human triangles connected into a single figure.
Alex: Yes. On the other hand, the same figure also shows a more complex structure - nine thin "bodies" of a person, his "reflections". Each of them individually is not a person, but only reflects one of the facets of his existence. And only together they form a person - both his physical shell and his personality. That is, the name of the group - IX reflections, Nine Reflections - just symbolizes the "nine reflections" of a Person.
Many foreign listeners also suggested that we took as a basis the theory of the enneagram, where nine psychotypes of people, interacting with each other, participate in creating a holistic picture of the world. Initially, there was no such message, but since it somehow intersects with our theory of the unity of the nine elements, we do not object to such an interpretation.
The idea itself arose somehow spontaneously, by itself. First at the image level, then we just formulated it more clearly. In addition, this combination seemed to us quite euphonious.
Julia V: You mention that you played in other genres before IX reflections, so I have a logical question: which ones?
Alex: Before that, we played metal and industrial for quite a long time. And we still continue to do this in side projects.
Julia V: And how many songs do you have in total? I see that you are releasing singles, why did you decide to "choose this path"? Are you planning to release a full-length album?
Alex: We planned an album from the very beginning. Therefore, a sufficient number of songs were collected quite quickly. But then we decided to start with a single to "test the ground", trying our hand at a new musical genre for ourselves. We recorded and mixed it at home, on our own.
The second single was also an "experiment" - we were offered a collaboration by a sound engineer from California, and we wanted to see him in action. He already had a lot of experience working with local synth bands and assured that he "knew exactly what we needed." Before that, we had already communicated with a large number of domestic studios and sound engineers and heard only the opposite - that the material was atypical for them, the music was unusual, they had no experience, so they could not give us any guarantees. Naturally, we wanted to try to work with a foreign professional. We sent him one of the tracks which was ready for mixing. We liked the result so much that we also decided to release the mixed track as a single.
It was at that time that we constantly heard from fellow musicians that singles are the future of music, and albums are a cumbersome relic of the past. Supposedly, in the modern world of high speeds and technology, people no longer have the time and desire to listen to long full-length albums. Playlists in VK and on music services, collected from disparate tracks, have become a priority format. So we released another single - "Fade in the Dark". The singles format turned out to be convenient for leading podcasts and broadcasts on music stations - there is no time to listen to albums, but to surf through the fresh singles of young bands - no problem.
The album, however, has been expected from us for a long time, and we ourselves are only for it. At the moment, almost all the material has already been recorded.
Julia V: But if we talk about the development of technology, then at this rate you can think of the moment when musicians, in principle, will not be needed, they will be replaced by algorithms that create music for every taste and color. If this suddenly happened, how would you react? Would you be happy for technological progress or upset?
Alex: It seems that this has already happened!
About five years ago, I heard on the radio a program about music being written by a new neural network. It analyzed well-known musical works and tracked the reaction of listeners, identifying the moves, sound sequences and expressive means that were pleasant to a human's ear. Then the network created its own musical compositions based on their analysis. But music experts considered that the result was frankly mediocre, because the machine was only repeating the certain moves and patterns, previously written by humans. It failed to invent something brand new. I think such music can be used in advertising or as a musical accompaniment. That is, when music only creates a background and does not carry a special load. In fact, all this is very interesting. If the computer learns to write cool music, then we will be happy, of course. But if it is just a random sequence of sounds that will be imposed on us as something cool and fashionable, it will be unfortunate.
Julia V: And how do you feel about fashion in general? Do you succumb to its influence?
Joe: Fashions differ. Youth clothes are very good now, it's a pity everything was much less appealing in my 15s... And I also, for example, like boys with tattoos on their faces and an emo rap. But such things are unlikely to ever affect the creativity of IX reflections.
Alex: Regarding the fashionable youth clothing, it turned out to be completely out of place for me. Checked repeatedly. So fashion is fashion, but it's better for me to wear something that really fits me.
And if we talk about fashion and our music, then we did not specifically connect it to momentary fashion trends. From one person we hear that our music is fashionable and modern at the same time, and another says that we reminded him of his young 80s and bands that he listened to in clubs at that time. Fortunately for us, it just so happens that retro motifs are in fashion now.
Julia V: And how do you feel about Goths? Are you familiar with goth subculture?
Joe: I was a Goth when I was 16-17 years old. Then somehow the fascination with the Gothic scene and Gothic parties began to fade, but the love of black stayed with me forever.
Alex: I never wore Gothic outfits and didn't walk around cemeteries, but I sympathized with the subculture. It all started with music. Already in the 9th grade, while everyone was digging Fabrika (*Russian pop-band), Linkin Park and MC Вспышкин (*famous Russian DJ), I listened to Inkubus Sukkubus, XIII. Stoleti, The Dreamside and many other bands scarcely known in my surroundings. I bought cassettes and discs at questionable stores which at that time were plentiful and sold exclusively pirated stuff, but were the main available source of underground music in the early 2000-s in Russia. As part of one of the bands where I had a chance to play, I got to know the Gothic audience better. We often performed at Goth festivals and concerts. We even went to play in Kiev for the Children of the Night annual goth festival.
Lana: I have never been a follower of this movement, but the subculture itself attracts and inspires with its dark atmosphere.
Julia V: How does the songwriting process work for you, who writes the lyrics/music?
Joe: Alexander writes music and lyrics. He usually writes for ages and more and then says, "Let's go folks, I made it!"
Alex: Well, something like that, yes)) I rarely show new tracks to the band at the draft stage. Mostly I do when they are more or less formed already.
Julia V: And how are things going with your concert activities?
Joe: Before the release of the album, we are unlikely to look for any serious opportunities to perform. Unless there are some local festivals in the genre.
Alex: Yes, it's still difficult with performances. At first, there was no time because of work on other projects. Then we had sudden changes in the line-up. And now came the pandemic...
Julia V: The single "Fade in the Dark", can I hear a few words about this song?
Alex: Regarding the message of the song, we can say that it has two interpretations - mystical (a person is haunted by creepy paranormal phenomena) and psychological (he gradually goes insane under the yoke of his own fear that some terrible deeds that he once committed will be revealed). The shadows in the mirror in the second case are his own memories, "ghosts of the past".
Regarding the sound, this is our first track, where most of the parts are recorded on an old Yamaha CS-10 analog synthesizer. It turned out interesting.
This single made its own specific achievements for us. For example, it was broadcast on the German radio station Radio Rheinwelle and received a most positive reviews from the presenters. And this single is also the most popular by the number of physical copies sold. Moreover, the buyers are almost all from California, USA. It's unexpected and funny, but cool.
Julia V: Why, in your opinion, do not Russian-speaking listeners, but foreigners buy the single?
Alex: It seems to me that we still perceive singles as a sample, a trial version of a song or an album, which is somehow unreasonable and illogical to spend money on. This is already a tradition that has been developing for years. People abroad pay for a track if they like it, because for them it's but natural. Digital or on different media - it does not matter. A stereotypical Russian listener is a guy who first listens to a single online, then downloads an album, then listens to it for 5 years running. And only after it stands "the test of time" he'll purchase it on a CD to express his respect to the performer. Like, "All right, bro, here's your buck you deserve it!"
Joe: The Russian-speaking audience does not consider the work of a musician to be a job for which you need to pay. Whether it's a single or an album, it doesn't matter.
Alex: Well, somehow, yes. Many people think that an artist must "earn" the right to receive money for his work. There is always a risk of running into an offended listener who will say either "Music should come from the heart and immediately to the masses, demanding money for it is a crime!" or "And who are you, actually? Ozzy Osbourne or Rammstein? Why on earth should I pay for YOUR music?" We have encountered both types.
And for some reason, few people come to mind that new music is being produced with this money. After all, everyone wants new tracks from bands, but almost no one takes into account that making music an be a costly process. A general foreign listener has more or less the idea of how it all works, which is why he or she actually buys stuff more willingly.
There is a special case with physical media. It seems to me that they are now mostly bought as merchandize and souvenirs. The music will be downloaded in digital format anyway, and a CD will just stand on the shelf and please the eye.
Julia V: Which music bands could you single out, which bands do you like?
Joe: Behemoth, Korn, Linkin Park, Celldweller, Scandroid, Twenty One Pilots, Bring Me The Horizon, Grimes, Placebo, Muse, Radiohead, Lil Peep, Fever 333, Billie Eilish, We Butter the Bread with Butter, Emika, Nirvana.
Lana: Powerwolf, Oasis, The 1975, Killers, Neighbourhood, Chpoking.
Alex: My tastes are mixed. The favorites so far are In Extremo, Subway to Sally, Elvenking. I often listen to Inkubus Sukkubus, Clan of Xymox, Sisters of Mercy, Rammstein, Rob Zombie, Genitorturers, Eisbrecher. I'm a sucker for the disco of the 80s. And not so long ago I discovered Gary Newman, interesting music, atmospheric.
Julia V: Do you do any other creative work besides music? How do you prefer to spend your free time?
Alex: In my free time, I mostly take pictures on film, walk, read books and play old computer games. Photography can be attributed to creative pursuits, right? :)
Joe: Unlike Alex, I often find myself on the other side of the lens, and besides that I do a little dancing. I spend the rest of my free time on fitness and sleep.
Lana: I spend most of my free time traveling around Moscow and the Moscow region, and in addition to this, I am engaged in photography, both digital and film, and I am still equipping a darkroom for developing film and printing photos.
Julia V: Would you like to say something or wish something to our radio listeners?
Lana: I wish you all the best and invite you to visit our concerts when they finally do take place!
Alex: I wish everyone good music and (in a Gothic way) a good mood.
Joe: Thanks for the interview)
Julia V: Thank you)
Interview by: Julia V
Original article: http://gibfm.ru/ru/item/348-intervyu-darkwave-synth-proekta-ix-reflections
DISCUSSING "FRAGILE BORDER" AND MORE
A 2021 interview for BUNKER rock magazine (Russia)
(Alexey Hizhnyakov, DMG)
20.08.2021
A 2021 interview for BUNKER rock magazine (Russia)
(Alexey Hizhnyakov, DMG)
20.08.2021
READ THE INTERVIEW
IX Reflections is a Moscow darkwave band, with echoes of synthpop, classical electronic music, post-punk, goth rock and new wave. For recording, the musicians use old analog synthesizers, and their texts are free for interpretation and have a dual interpretation – mystical and rational. Recently, the band released the album 'Fragile Border', about which, in the course of communication, Alex, who is responsible for the guitar sound and samples at IX Reflections, told us.
- Hello! This spring you have released a full-length album 'Fragile Border'. Both you and the audience had time to evaluate the work done. What are the feedbacks so far? Are you happy with people's reaction?
Hi! A full-length album in the band's arsenal nowadays is already a serious statement, so it attracted, of course, more attention than the singles. The audience finally got the opportunity to dive into our world deeply enough to consider the different facets of our creativity. There are more concert offers, including outside of our hometown – this can not but please.
- As I understand it, initially your musical roots lie in heavier music. How did it happen that the plane of creativity shifted to a more soft sound? Is this a one-time experiment or a final decision?
In fact, this is quite a natural phenomenon in music circles, because with age, musical tastes become more diverse, you want to go beyond the "heavy" or at least your specific genre. But in our case, it is incorrect to say that we decided to abandon heavy music and shifted from heavy to soft sound – for us IX reflections is a totally different and independent musical identity. We have abstracted as much as possible from the existing musical experience in order to do something unusual for ourselves with a fresh look. To me personally, such music seems to be no less energetic than rock or metal, it's just that this energy is not so intense and roughly fed "into the face" of the listener, you need to "tune in" to the right vibe.
- Tell us more about the album and tracks. What is it about and who is it aimed at? Is there any specific central idea behind the release?
The character, on whose behalf the story is being narrated, observes from the side the problems that are gradually leading humanity to self-destruction. As a kind of astral entity that does not interfere in the course of events, but most of the time just observes and provides commentary. The mood of the album is rather gloomy because of this, but if you look closely, there is often a subtle hope that there is a way out of any misfortune. The album does not raise globally destructive themes, but focuses on small things that can not always be seen right away, but often it's such trifles that push people to the edge of the abyss. These are, for example, despair, loneliness, escape from reality, the pursuit of immortality, imposed values and living by someone else's rules.
At the same time, many texts are free for interpretation and have a twofold interpretation – mystical and rational, depending on the mindset of the listener. It is possible, perhaps, to highlight a few songs in particular.
The album's opening song "Reflection" is quite soft and melodic, but already very frightening in content. It immediately lays the foundation of the concept that runs through the rest of the album.
"New Man's Born", "Sleeping Beauty" and "Fade in the Dark" were on our early singles, so they are the most popular ones among the listeners of our band. On the album they are presented in a re-recorded and remixed version.
"Kangastus" is notable for being performed in Finnish. This song is a kind of an "Easter egg" on the album, though it has a viscous oppressive atmosphere nevertheless.
"Too Late to Flee" is probably the most "rock" song on the album both in terms of music and content. Initially, there was a lot of debate whether to leave it on the album, but now many listeners call this song its "hidden gem".
"Leaving" is the final "rebellious" touch on the album, at the last moment making it clear that a person's fate is in his own hands, which means that not everything is lost.
- Your band has a mixed male and female line-up. Does it make the work easier or more complicated than, say, in a purely masculine or purely feminine musical formation? Do you have a democracy or does someone decide what and how to do in the band?
I think it all varies for each particular band and depends on the atmosphere and the relationships within it. In the men's groups where I first tried to play, there was usually obvious sloppiness. Mixed line-ups turned out to be more disciplined. Or maybe we just got older and began to take our occupation more seriously.
In our band, the corners are usually smoothed out by compromises, because each musician can have his or her own point of view on the presentation and sound of the material and we want everyone to be satisfied with the result, but at the same time we all have a common goal that unites us. Everyone contributes to the existence of the group, so the system works. We always discuss and make major decisions together.
- What do you think is the current state of the synth and dark scene in Russia? Someone says that everything is already in agony, someone on the contrary predicts a return of interest.
If you look at the tip of the iceberg, now we have mostly confusion and uncertainty. Old bands have often been in agony for a long time, because the audience is aging with them, and there is no influx of fresh blood, young people are not interested in such music. There is a "return of interest" in electronics and gloomy aesthetics on the part of teenagers, for example, but they have no idea what was on stage 5-10 years ago. Fans of the now fashionable synth and retrowave, for example, completely do not perceive darkwave, EBM, dark electro - the backbone of the Russian dark scene of the 2000-s. Those whom I know personally, in their majority just smile condescendingly if you show them something of the "classics". The dark scene of the 2000-s seems so old and unintelligible to many of them. Of the "old" genres, teenagers are now, perhaps, closer to techno or trance. And a rave party for them is much more natural than an EBM party at "Pushkarev" (*an underground music club and bar in Moscow, which used to host regular EBM-parties). Many teenagers even believe that rave is a brand-new invention of their generation and "you won't understand, there was nothing like that in your time!" The Wichouse movement and Ghetto-Gothic, which 5 years ago were posed as the future of the dark scene, seem to have completely come to naught. At least it's not getting into our sight anymore. But history is cyclical, and lately cycles have been turning at a fantastic speed. If emo and teenagers in T-shirts with Rammstein and Green Day have appeared on the streets again, then soon the dark scene as we remember it will simply have to return.
- Do you generally aim your music at domestic or foreign listeners? The lyrics of your songs are in English after all.
English somehow caught on by itself as the most understandable language in the whole world, including Russia. I often hear that "in Russia it is necessary to sing in Russian", "your music is meaningless to the audience because it is not in Russian" - this is all nonsense and excuses for the lazy. Millions of Russians listen to foreign bands and they perfectly understand what they are singing about. English stands in the compulsory general education program in our schools. And even those who totally disagree with language studies, can easily look up translations of their favorite bands' songs on the web. But it just so happened by itself that our target audience is concentrated primarily abroad. And it's not about the language, but about the fact that the music itself is more understandable to foreigners, they manage to get right the atmosphere and the message of our songs. But we also have loyal listeners at home, for which we thank them very much! :)
- One of your songs was included in the soundtrack of the movie "Dream of Me!". Will you tell me more?
This is the debut feature film directed by Roman Olkhovka. It can be called, perhaps, a parable, cunningly disguised as sci-fi. The film hasn't premiered in Russia yet, so we can't really talk much about it, but I'll say a couple of words, yes. The film tells about an unhappy lonely old man who takes part in a medical experiment and as a result dramatically revises his views on life. By the way, in June it premiered at the Shanghai International Film Festival, one of the most prestigious and major world film festivals, with sold-outs in cinemas, and the other day it will premiere in Hollywood and New York - on which we congratulate Roman and everyone who took part in the creation of the film! We really hope that this touching story will win over viewers around the world. And the song itself got there by accident – we gave Roman a cassette with our single "Fade in the Dark" as a friendly souvenir, and he listened and said: "Why, this is exactly what I need!" But, as they say, accidents are not accidental!
- It's a pretty bold decision, but I see you've made it - the physical media. Why did you decide to release physical copies of your album and is there still an audience for music on physical media?
For some reason, it surprises everyone so much, but yes - people still buy music on physical media. Many people still collect albums of bands and want not only a playlist in their phone, but also a beautiful CD in a box on their shelf. For some, it's just a cool souvenir, and someone really listens to them through a stereo. In most cases, a person is so organized that it is simply pleasing for him to possess something physically - to look at it, touch it, turn it in his hands, show it to friends. Physical media give them this opportunity. There are also audiophiles who care about the quality of the recording. On the disk, it is higher, of course, than an mp3 file on the net.
For the especially sophisticated, we also periodically release small editions of audio cassettes. For some, this is a reason for laughter and bewilderment, but those who are "aware" know perfectly well that the cassette is rapidly gaining popularity again – just like film photography, for example. The film brings a certain flavor to the sound of the tracks, adds movement and volume. In addition, for many, listening to a cassette is a kind of nostalgic ritual: take the cassette out of the box, unfold the inlay, study the inscriptions, rewind, poke buttons, twist handles. All this creates some kind of special intimate atmosphere, and the need to perform a certain set of actions with your hands to listen to the recording gives a person a sense of involvement and immersion in some kind of mystery.
Personally, I see two big advantages of the cassette. Firstly, the cassette motivates the listener to listen to the album in its entirety from beginning to end – you can't just point the cursor at any place in the track and listen selectively, or skip the song if you didn't like the intro. People are now used to doing everything on the run and in a hurry – it won't work that way with a cassette. Secondly, oddly enough, it is a more reliable data carrier in my case. It is enough to scratch or splatter the disk with something so that it is damaged for good. I don't have a single intact music CD in my collection – each one "screwed up" at one time or another. But the cassettes are almost still preserved from my childhood and sound as they should.
By the way, our album was also released in a limited cassette edition on the Surrogate.Rec label. These cassettes can be purchased from us on the VK page, via a personal account on Instagram, on Bandcamp or through the label's own page.
- Your expectations from 2021 and wishes to readers?
This year we plan to go on stage more often and, possibly, travel to other cities with concerts. Besides, we are already working on new material. Inspiration is an extremely fickle thing, so we are not giving accurate forecasts yet, but there will definitely be something new.
And we would like to wish the readers to take everything easier in this difficult time and not let existential horror hang over their souls. Appreciate simple little joys. For example, good music. The right song at the right moment can work wonders!
Thank you!
Interview by: Alexey Hizhnyakov, Dark Media Group
Original article: https://bunkermagazine.ru/index.php?id=1569
- Hello! This spring you have released a full-length album 'Fragile Border'. Both you and the audience had time to evaluate the work done. What are the feedbacks so far? Are you happy with people's reaction?
Hi! A full-length album in the band's arsenal nowadays is already a serious statement, so it attracted, of course, more attention than the singles. The audience finally got the opportunity to dive into our world deeply enough to consider the different facets of our creativity. There are more concert offers, including outside of our hometown – this can not but please.
- As I understand it, initially your musical roots lie in heavier music. How did it happen that the plane of creativity shifted to a more soft sound? Is this a one-time experiment or a final decision?
In fact, this is quite a natural phenomenon in music circles, because with age, musical tastes become more diverse, you want to go beyond the "heavy" or at least your specific genre. But in our case, it is incorrect to say that we decided to abandon heavy music and shifted from heavy to soft sound – for us IX reflections is a totally different and independent musical identity. We have abstracted as much as possible from the existing musical experience in order to do something unusual for ourselves with a fresh look. To me personally, such music seems to be no less energetic than rock or metal, it's just that this energy is not so intense and roughly fed "into the face" of the listener, you need to "tune in" to the right vibe.
- Tell us more about the album and tracks. What is it about and who is it aimed at? Is there any specific central idea behind the release?
The character, on whose behalf the story is being narrated, observes from the side the problems that are gradually leading humanity to self-destruction. As a kind of astral entity that does not interfere in the course of events, but most of the time just observes and provides commentary. The mood of the album is rather gloomy because of this, but if you look closely, there is often a subtle hope that there is a way out of any misfortune. The album does not raise globally destructive themes, but focuses on small things that can not always be seen right away, but often it's such trifles that push people to the edge of the abyss. These are, for example, despair, loneliness, escape from reality, the pursuit of immortality, imposed values and living by someone else's rules.
At the same time, many texts are free for interpretation and have a twofold interpretation – mystical and rational, depending on the mindset of the listener. It is possible, perhaps, to highlight a few songs in particular.
The album's opening song "Reflection" is quite soft and melodic, but already very frightening in content. It immediately lays the foundation of the concept that runs through the rest of the album.
"New Man's Born", "Sleeping Beauty" and "Fade in the Dark" were on our early singles, so they are the most popular ones among the listeners of our band. On the album they are presented in a re-recorded and remixed version.
"Kangastus" is notable for being performed in Finnish. This song is a kind of an "Easter egg" on the album, though it has a viscous oppressive atmosphere nevertheless.
"Too Late to Flee" is probably the most "rock" song on the album both in terms of music and content. Initially, there was a lot of debate whether to leave it on the album, but now many listeners call this song its "hidden gem".
"Leaving" is the final "rebellious" touch on the album, at the last moment making it clear that a person's fate is in his own hands, which means that not everything is lost.
- Your band has a mixed male and female line-up. Does it make the work easier or more complicated than, say, in a purely masculine or purely feminine musical formation? Do you have a democracy or does someone decide what and how to do in the band?
I think it all varies for each particular band and depends on the atmosphere and the relationships within it. In the men's groups where I first tried to play, there was usually obvious sloppiness. Mixed line-ups turned out to be more disciplined. Or maybe we just got older and began to take our occupation more seriously.
In our band, the corners are usually smoothed out by compromises, because each musician can have his or her own point of view on the presentation and sound of the material and we want everyone to be satisfied with the result, but at the same time we all have a common goal that unites us. Everyone contributes to the existence of the group, so the system works. We always discuss and make major decisions together.
- What do you think is the current state of the synth and dark scene in Russia? Someone says that everything is already in agony, someone on the contrary predicts a return of interest.
If you look at the tip of the iceberg, now we have mostly confusion and uncertainty. Old bands have often been in agony for a long time, because the audience is aging with them, and there is no influx of fresh blood, young people are not interested in such music. There is a "return of interest" in electronics and gloomy aesthetics on the part of teenagers, for example, but they have no idea what was on stage 5-10 years ago. Fans of the now fashionable synth and retrowave, for example, completely do not perceive darkwave, EBM, dark electro - the backbone of the Russian dark scene of the 2000-s. Those whom I know personally, in their majority just smile condescendingly if you show them something of the "classics". The dark scene of the 2000-s seems so old and unintelligible to many of them. Of the "old" genres, teenagers are now, perhaps, closer to techno or trance. And a rave party for them is much more natural than an EBM party at "Pushkarev" (*an underground music club and bar in Moscow, which used to host regular EBM-parties). Many teenagers even believe that rave is a brand-new invention of their generation and "you won't understand, there was nothing like that in your time!" The Wichouse movement and Ghetto-Gothic, which 5 years ago were posed as the future of the dark scene, seem to have completely come to naught. At least it's not getting into our sight anymore. But history is cyclical, and lately cycles have been turning at a fantastic speed. If emo and teenagers in T-shirts with Rammstein and Green Day have appeared on the streets again, then soon the dark scene as we remember it will simply have to return.
- Do you generally aim your music at domestic or foreign listeners? The lyrics of your songs are in English after all.
English somehow caught on by itself as the most understandable language in the whole world, including Russia. I often hear that "in Russia it is necessary to sing in Russian", "your music is meaningless to the audience because it is not in Russian" - this is all nonsense and excuses for the lazy. Millions of Russians listen to foreign bands and they perfectly understand what they are singing about. English stands in the compulsory general education program in our schools. And even those who totally disagree with language studies, can easily look up translations of their favorite bands' songs on the web. But it just so happened by itself that our target audience is concentrated primarily abroad. And it's not about the language, but about the fact that the music itself is more understandable to foreigners, they manage to get right the atmosphere and the message of our songs. But we also have loyal listeners at home, for which we thank them very much! :)
- One of your songs was included in the soundtrack of the movie "Dream of Me!". Will you tell me more?
This is the debut feature film directed by Roman Olkhovka. It can be called, perhaps, a parable, cunningly disguised as sci-fi. The film hasn't premiered in Russia yet, so we can't really talk much about it, but I'll say a couple of words, yes. The film tells about an unhappy lonely old man who takes part in a medical experiment and as a result dramatically revises his views on life. By the way, in June it premiered at the Shanghai International Film Festival, one of the most prestigious and major world film festivals, with sold-outs in cinemas, and the other day it will premiere in Hollywood and New York - on which we congratulate Roman and everyone who took part in the creation of the film! We really hope that this touching story will win over viewers around the world. And the song itself got there by accident – we gave Roman a cassette with our single "Fade in the Dark" as a friendly souvenir, and he listened and said: "Why, this is exactly what I need!" But, as they say, accidents are not accidental!
- It's a pretty bold decision, but I see you've made it - the physical media. Why did you decide to release physical copies of your album and is there still an audience for music on physical media?
For some reason, it surprises everyone so much, but yes - people still buy music on physical media. Many people still collect albums of bands and want not only a playlist in their phone, but also a beautiful CD in a box on their shelf. For some, it's just a cool souvenir, and someone really listens to them through a stereo. In most cases, a person is so organized that it is simply pleasing for him to possess something physically - to look at it, touch it, turn it in his hands, show it to friends. Physical media give them this opportunity. There are also audiophiles who care about the quality of the recording. On the disk, it is higher, of course, than an mp3 file on the net.
For the especially sophisticated, we also periodically release small editions of audio cassettes. For some, this is a reason for laughter and bewilderment, but those who are "aware" know perfectly well that the cassette is rapidly gaining popularity again – just like film photography, for example. The film brings a certain flavor to the sound of the tracks, adds movement and volume. In addition, for many, listening to a cassette is a kind of nostalgic ritual: take the cassette out of the box, unfold the inlay, study the inscriptions, rewind, poke buttons, twist handles. All this creates some kind of special intimate atmosphere, and the need to perform a certain set of actions with your hands to listen to the recording gives a person a sense of involvement and immersion in some kind of mystery.
Personally, I see two big advantages of the cassette. Firstly, the cassette motivates the listener to listen to the album in its entirety from beginning to end – you can't just point the cursor at any place in the track and listen selectively, or skip the song if you didn't like the intro. People are now used to doing everything on the run and in a hurry – it won't work that way with a cassette. Secondly, oddly enough, it is a more reliable data carrier in my case. It is enough to scratch or splatter the disk with something so that it is damaged for good. I don't have a single intact music CD in my collection – each one "screwed up" at one time or another. But the cassettes are almost still preserved from my childhood and sound as they should.
By the way, our album was also released in a limited cassette edition on the Surrogate.Rec label. These cassettes can be purchased from us on the VK page, via a personal account on Instagram, on Bandcamp or through the label's own page.
- Your expectations from 2021 and wishes to readers?
This year we plan to go on stage more often and, possibly, travel to other cities with concerts. Besides, we are already working on new material. Inspiration is an extremely fickle thing, so we are not giving accurate forecasts yet, but there will definitely be something new.
And we would like to wish the readers to take everything easier in this difficult time and not let existential horror hang over their souls. Appreciate simple little joys. For example, good music. The right song at the right moment can work wonders!
Thank you!
Interview by: Alexey Hizhnyakov, Dark Media Group
Original article: https://bunkermagazine.ru/index.php?id=1569
© IX reflections, 2024.
