|.||with Mihail Voronov from Russian Progressive Rock Band ROMISLOKUS|
by Sergio Motta, Rio de Janeiro - Brazil
Motta - It seems to me that before you give life to the Romislokus project,
all of you
Mihail Voronov: The conception of the album “Between Two Mirrors” satisfies our requirements to ourselves. This is the result of the long search of the genre and it contains the elements which can be used in the future. From the other side the big amount of the findings were left outside of the frame of the album. The works will be continued.The computer technologies have furthered in fact the electronic-acoustic music where a
lot of one-man bands have often peered. Have you though sometime about accomplishing
your project by yourself, as it has happened to other musicians who also made up their
minds about performing this kind of music?
Mihail Voronov: We think today one author is uninterested and this fact doesn’t depend on the kind of music we speak about. The computer technologies expand the opportunities for the co-operation of musicians with different views about music. The future technologies are able to get them together. Our band-mates are : “pure” computer programmer, video designer, artist of symphonic orchestra and vocalist from the russian orthodox church although the key figures are rock musicians anyway.For the description of your words shown on the Romislokus` homepage is really possible
to perceive how painstaking you are toward your work. In your opinion, what kind of
mistake have you committed in this current production, which you intend not to
commit again in the future woks?
Mihail Voronov: The mistakes are the only things that can’t be fabricated, staged. We don’t correct some of the mistakes consciously. When everything is very right it looks unatural. Strongly normalized, the mistakes are one of the elements of Romislokus’ style.You have created an unexampled biography for your band where the listeners themselves
will freely idealize it according to their conception towards yourband`s musicality. Don`t
you think this way each one of you will be depicted differently by each listener?
Mihail Voronov: We want the listener to get determined representation of us in his mind. Nevertheless the listener forms the image of musicians in any cases (of course if a record company hadn’t formed it before). We are not the actors of Hollywood and we don’t need fabricated biographies. We want to move over all the barriers between the listener and the music. The music is a biography of special kind.Still towards the computer and the technology linked to the music. How have you seen
the future for those who still share today their music with a band?
Do you think most of musicians will substitute their band-mates for the computer itself?
Mihail Voronov: Our conception of interaction in the band is different from others. Everyone of us is the author. The influence of our band-mates determines and forms musical world of Romislokus. We transmit the influences of each other through ourselves. Everyone of us supplies his own conception. That’s why we can embrace our music as it is, such as the music of another band. The computer is inorganic, co-author for us. The computer has its own volition and we respect its volition equaling to our mind. It is rather difficult to explain it to people who didn’t see how we worked. Maybe it is original and mystic. Nevertheless we are ration.``It is a matter of great importance for us, that you should receive not a half-finished
product, as it frequently happens but a composition of full value, that satisfies your
requirement``. Don`t you think that`s hard to happen to those who play alternative music
as progressive rock for instance, whereas it is entirely free from any pressure imposed
by the record companies?
Mihail Voronov: Actually, every progressive band knows when to make the point. We were not right if we’d said about college’s music as about unfinished product. We speak about requirements to ourselves. And we knows exactly the range of preparing of each from our compositions. In some cases it is good to know the listener’s opinion before we make the point with song. There are versions of compositions, which are less open to people’s minds. First of all, we interest in consulting with evolution of perception. In our opinion soon we’ll get to the extending of prog fans auditorium. The Internet is not the last in it. We must consult the properties of the “concert-hall”, physical properties of the room, in which we listen to the music. The Internet-space is a very special “room” for prog rock bands. It isn’t a stadium or a theatre ... it is something absolutely other, new. The sound of Romislokus is being made with consult to the specialty of this space..In former times when USSR was an only country, bands like Kaseke and In Spe among
others...belonged until then to the same land, however they now have their own
nationality. Do you particularly think the progressive rock scene in your country became
poorer after that transition or, am I therein misinformed toward the greatness of current
Russian musical scene?
Mihail Voronov: Modern music in Russia is directly linked with the West. Most of musicians resound western musical ideas and even do not try to make something new. It is not wondering because Rock ’n’ Roll was forbidden until 90`s. Russia was closed for other countries` music. But even at that time there was the layer of musicians specializing on rock music. Their songs had been played on small stages for the few interested people. We are from this kind of musicians. “Perestroyka” - democratic changes - makes new conditions. But there isn’t the substantial changes in music. Mass media gives nothing besides an absurd. New demander - Business are not intellectual in any kind. And the demand of public is primal sound. Only the Internet in our opinion is able to change the situation. Today Rock ’n’ Roll exists into two parallel worlds: the first is “live” performance, the second is conservation of musical ideas with help of digital technologies. Composer in studio is not rock musician because his music is hardly played in “live” mode. It’s very important for us to have a possibility to carry the “live” energy of musicians into the digital form. We spend a lot of pains and time to solve this problem. Sometimes we think about our art as about “dance of minds”. Moving of minds directly influence on the musician’s fingers. There are a lot of sadness in our world but also, there is something for which life is worth living. The last is the first.‘I have particularly seen that a large number of people in your country have lately been
more into playing heavy-styled music as heavy metal for instance than progressive rock
music. Is there by the way a reason obviously accountable for that?
Mihail Voronov: We can equal art-rock with heavy-styled music only in absolute. Both of that are high-technique music. But art-rock gives us positive energy when “metal” shows the negative extent in the world’s accumulations. We feel Led Zeppelin and Deep Purple closer to art-rock. It is the positive part of the “hard”.
Gorelov - Keyboards, Vocal
The project “Romislokus” was started shortly before the beginning of the XXI century. Up to this time the activity of the musicians has been purely investigative. The membership and musical preferences changed.
At present, due to the switch over to the computer technologies, the electronic- acoustic music has become more preferable. Our album is a variety of it.
As a matter of fact, it’s a kind of a sketch, representing our ideas in general.
They used linear and plane vision of sounding objects. The basic musical blocks have been arranged, the signal row of each of them has been put in order. The tasks of musical dramatic composition are solved according to software. Accidents are hardly possible.
At the same time the posterior imprints, laid over initial, common to the sketches have been preserved. Some remnant deformations of the material, which appeared as a result of competitive variations in the search of optimum decisions have not been done away with.
There exists the list of issues, which are still open to the dispute, because the aim of the album is to find the way out to the level of spatial thinking: musical images must “rotate” and be displayed from different points of view.
That is, the starting-point of the listener will be shifted relatively to the music, and vice versa, the musical objects aren’t static either, some of them are able to shift relatively to the basic structure.
By means of musical dramatic composition they try to construct the world in its diversity, to reflect the reality by means of interaction of 3 aggressive mediums constructed by us: organic, in-organic and intermediate medium, which can’t be defined, and is associated with the magnetic and other fields.
If they’ll judge it from the point of view of mechanics, the human voice and the cells are in charge of organics, the computer and the synthesizer are in charge of the in-organics and the electronic guitars and the processor is the link between them.
Just because of the complexity of the tasks’ solution, and it is an innovation, too – they release a limited number of demonstrative copies of the album “Between Two Mirrors” – a kind of sketch. Its self-sufficiency is considered in the content of the further changes, which will display a different coverage of the events, while creating the final variant.
It was customary to the medieval painters: at first they painted a full-length portrait on a cart board, and only after that they created a fresco, using this cart board.
The space between the two layers of the time a “full-length” sketch and the final variant can be defined as “the seized time”.
They have many reasons to introduce this practice into modern art. And they give a full account of it to you (especially for you), they place several “cart-board” compositions of the album, they can give you an idea of the album as a whole.
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