The most original MOSCOW ROCK GROUP ABOUT HOW THEY DO NOT pop-music-corrosive-chorus and without Chris Martin
"GSH",(ГШ) founded by Katya Shilonosova and Yevgeny Gorbunov, is perhaps the most interesting and unusual Moscow rock band of the moment. Once they were called Glintshake and played the English-language alt rock in the spirit of Sonic Youth and Dinosaur Jr., but, having returned to the roots, they chose a new style, renamed and released the Russian-language album "OESHCH MAGZIU", inspired by the absurdity of the surrounding reality and Russian music - According to them, in the range from Mussorgsky to "Sounds of Mu". This year, "GSH", always effectively performing live, will appear at big summer festivals: on July 9 in St. Petersburg on Stereoleto 2017 and on July 29 at the "Afisha Picnic" in Kolomenskoye Park. Another project of Kati Shilonosova and Yevgenia Gorbunova, a semi-improvised collective of the Rtas, will perform on July 8 at the Moscow festival of underground music "Bol". Denis Boyarinov discussed with the musicians almost all the groups in which they played.
- What is the concept of your other group of ""Mouths" ?
Katia Shilonosova: To play and have fun.
- Why do you need another group for this?
Zhenya Gorbunov: Because the other especially not to have fun - must work, hard work.
Katya: "Mouths" turned out to be the most natural and most random way. And the music of this group is the most random. This is all the charm. We all really enjoyed playing together. Such a rarity, when people accidentally get together and they get to play music.
Zhenya: It's also a good way to relax your ego and conceptual thinking by doing something entertaining.
Katia: I would not say that we entertain others or have fun ourselves. For me, playing music is not fun and not work, it's a study of one's own possibilities. "Mouths" mostly improvise, and improvisation is very much like talking, dialogue. The more you play with other people, the more you understand how you are capable of communication at all.
Zhenya: The music dialogue in the group "Mouths" is a conversation between a drummer, a bass player and a percussionist about when the guitarist will shut up.
Katia: Sometimes it happens. Zhenya is very fond of chatting on the guitar.
- Tell us about your very first group.
Zhenya: Oh, I have something to tell.
Katia: Zhenya has class groups. They have an amazing photo shoot, where they all sat barefoot and cool interview that they give in the same orphanage sweater.
Zhenya: This is the second group. "Marble walrus" - no longer rub, but "Nakosya!"
- "Marble walrus" is the first group or the second?
Zhenya: The second. But in fact this is the second name of the first group.
Katya: One name is better than another.
Zhenya: And the first name was Nakosya. It was in Khabarovsk. We played Russian rock mixed with folk and acoustics. I played the accordion. We spoke at the meeting of doctors-psychotherapists.
Katia: It's very cool. Was it the case in the psychiatric hospital?
Zhenya: No, in some kind of conference hall. And at school in my class - they sang on the background of the school board. All stunned simply.
- Just like the group "Sounds of Mu".
Zhenya: Almost. We had a smaller scale. "Sounds of Mu", as far as I remember, at the graduation party, where half of Moscow gathered. And we had a performance for one class. But it was fun. Nobody knew how to do anything. The songs were exclusively about everyday living conditions - and alcoholics and drug addicts. But we also had improvised albums with names like "The last years of Father Frost's life" and "The Raspirator".
There are people who consider themselves avant-garde, they try to make everything as incomprehensible and impassable as possible. Send everyone in the ass. It's not about us.
- Katya, and your first group?
Katia: Compared to Zhenya, I did not have anything interesting. I had a group in Kazan, which existed for a couple of years while I was studying at the institute. We played what can be called indie rock. The usual group: I sang and played the guitar, there was a solo guitarist, a drummer and a bass player.
- What was your name?
Katia: You do not even need to write about this.
Zhenya: Recently, a dude came to Katya and said that he liked the group more.
Katia: He told me: then it was heard that you sang for yourself. I told him that I now invest a lot in what I'm doing. But all the same, he answered, earlier it was more difficult. I asked him if he was at the concert "GSH". He was not, but he already knows that this is not rubbish.
- It's amazing that he does exist. You're embarrassed to pronounce the name of that group.
Katia: The group was called Conspirators. At first we were called "Conspirators", and then renamed, since it was fashionable to do everything in English. And since I've never listened to Russian rock. From Russian music, I loved only the classics - since the time of the music school. And with Russian rock there was a tense relationship, because for my childhood I did not meet a single normal fan of Russian rock. They were often some sort of assholes. I had a conditioned reflex, and I denied this music.
- How did the Glintshake group start?
Zhenya: This story, like all the stories of the creation of the Moscow groups, is very boring.
Katia: Where does this chauvinism come from?
Zhenya: I noticed that the stories of creating groups in Kazan or Komsomolsk-on-Amur always have an element of despair, unsettledness and marginalism. And it automatically becomes interesting. And when the group gathers in Moscow, then what kind of marginalization can there be - there is still everything, even when there is nothing. We were just furious with fat and decided to play together. Rock. For some reason it seemed that very few people played rock.
Katia: We just had guitars, and we started playing them together. It is from the category - how to abuse old things.
Zhenya: Maybe we could not play rock. We had the energy of two people, which we had to put somewhere, and we applied it in this way.
Katia: The best comment was on our first EP on Lookatme. Someone wrote: "What an excellent drummer you have!" We recorded this EP together in the room, and the drummer was Ableton (laughs). We automatized humanity.
Zhenya: And then all of this bored us.
- "You do not seem to be bored with rock."
Zhenya: Rock is alive, as is Choi. Everyone is alive, and everything is fine, but we must somehow play in a different way.
Katia: It seems to me that the concept of "rock" has exhausted itself. I do not even know what kind of rock is alive. Someone recently wrote funny in Facebook: remember the main opposition of the 90's - a rock against rap? It seems that rap won.
Zhenya: In short, we are dancing on the scorched field and waving some flags.
- "They're still alive, though."
Zhenya: Yes, but it's life as in a clod of soil, in which millions of microorganisms swarm. They, as musicians, are everywhere. You go to the subway with a guitar, and besides you - two more people with guitars necessarily.
Katia: You mixed it up with the train to Leningrad.
Zhenya: On the train to Leningrad, apart from you, there are five more people with guitars at least. This group "Cockroaches" goes to St. Petersburg on a punk-tree.
In short, there is always life in this clod of soil. Sometimes it lumps from the lump to something decent in size and classified by scientists. I can not say anything about the "GSh" group, but we are fully confident that we are doing everything right.
- And what does "GSh" do now? Can this be described?
Zhenya: We continue the search for a musical language. We are inspired by various kinds of Russian literature - for example, advertisements and cold calls, which, in our opinion, are also part of the common cultural soil.
- "You're talking about the text, but what about the sound?"
Zhenya: We are using traditional means to achieve non-obvious communication between tools in order to get an unusual texture. It is part of the musical language, as well as melodism, which we draw from the works of Russian composers. We consciously try to rebuild our musical interior for a new melodism. In order to form your handwriting. At least to the peak of what is happening with the songs now - they are all written as if by one or two people.
Katia: Zhenya is hysterical now about the fact that all the pop songs of the world seem to be written by Chris Martin.
Zhenya: Everyone talks about self-expression, but, strangely enough, people write the same music.
Katia: Yesterday we started to argue whether a corrosive song is good. I believe that this is very good. Superpop for this and is calculated. I now remembered Olga Buzova, and her song played in my head.
- The NRKTK group, in which you, Zhenya, once played, wrote cautious songs.
Zhenya: We set this goal consciously and tried to achieve it. We always had a task to make a covetous refrain.
- Do "GSH" this task is not worth it?
Zhenya: No, it's not.
Katia: I can remember Olga Buzova's song, but NRKTK does not.
Zhenya: You just have not heard them for a long time. For example, my sister recently went to Birobidzhan and heard the song "Puma" there as a substrate for advertising fast loans.
- You in many interviews say that "GSH" is pop music, but pop music is a cautious chorus.
Zhenya: Not necessarily. There is a wider perception of pop music: for example, the band Slayer is also pop music, because it is popular, that is, it is understandable without any special additional knowledge. It's silly to think that if the guitar fuzes are more twisted - it's not pop.
Katia: With the advent of the Internet, it's hard to stay in the underground. I do not know what kind of music you have to write now to be misunderstood and stay in the underground. On the Internet there are always people who understand you. So now everything is pop. In this, and funny.
Zhenya: Our music is potentially massive, it's just a bit more difficult to perceive than conditional Olga Buzova. There are people who consider themselves avant-garde, they try to make everything as incomprehensible and impassable as possible. Send everyone in the ass. It's not about us. Do not separate people with your music, it's worth combining them. But it is also necessary to complicate the task for perception, because perception must evolve. Technologies are constantly evolving - heaps of new devices are appearing, neural networks, soon we will control technology with the help of thought, and people continue to listen to the most corrosive and stupid and say that, for example, Prokofiev is a very complex music. It is necessary that consciousness corresponds to progress.
translated by Dejan Stojkovski
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