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Только что вышел на CD Baby:
Соответственно, будет на iTunes / Apple Music, Amazon и т.д.
13 Oct 2019 04:28 pm
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Релиз второго альбома Распевы.
PS: Тут уже люди спрашивали, нет ли у нашего аранжировщика Гэни, помимо адреса э-почты,страницы в ВК, так вот она:
23 Jan 2019 09:32 pm
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Ура, наш новый, долгожданный и первый в 2018 г. мини-альбом! Начинаем новую серию MUSIC OF POETRY. Поэт Анна Ионычева читает свои стихи под музыку.
03 Feb 2018 04:06 pm
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02 May 2017 10:37 am
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17 Jan 2017 10:31 pm
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The concept album:
The plot, the role of lyrical songs, the album's main message

DANIEL. ...I am leaving tomorrow morning and we can either finish discussing the album today, or we could leave some spots till I return from Brazil, till June, that is. I'll be swamped in work down there in Brazil, and Mexico. That great really cool indigenous project I told you about...
ANNA. You don't consider me indigenous enough?
DANIEL. Oh, you do belong to a tribe. To a certain tribe of songwriters... Anyway, I'd prefer to do it today, because who knows what may happen in between. One shouldn't be too relaxed in modern universe. So, what do you think?
ANNA. Let's do it today. As far as I am concerned. Better early than late.
DANIEL. Okey. Last time we talked a bit about how some songs--remember we discussed the songs with messiahs--interact in an album which happens to be a concept album, i.e. they interact more closely than regular songs on a regular album. If they are linked, can we say that they make a plot?
ANNA. I don't think so. I believe they are more like links that form a hypertext, a musical hypertext. But this doesn't oppose the idea of a plot. Because there well may be a plot, another plot, let us call it a formal plot that grows from a sequence of songs as they are, from beginning to end, from 0:0:0 to 42:00:00, or 45:00, as far as the playtime goes. It's not in every concept album that there is a formal plot, but I decided that I would have one.
DANIEL. Which is traveling from your dacha to Moscow and then back?
ANNA. Yes, more or less. It's not quite as straightforward, because we have a couple songs in the beginning where the voice, my lyrical persona is not yet traveling. And then, in the process of traveling some songs intervene like memories... But in a more literal sense it's just about going there and back, this is the plot.
DANIEL. Could you explain then what your lyrical persona does in songs 1 and 2?
ANNA. OCHEN' ORIGINAL'NA is of course a song in its own right, and it could be played separately anywhere, but the way it's used in the album, it looks like "Anna" wakes up to an alarm clock just as she is going through a dream / nightmare that her song, this particular song is played on the radio, an imaginary radio called 95.27 FM, and an announcer introduces it as a new hit by "pevitsa Anechka", "singer Annie".
DANIEL. Why no last name, by the way?
ANNA. Oh, there is a tradition in pop or rock pop for the first-names-only, pevitsa Valeria, pevitsa Zemfira, etc. Anyway. This is a dream, not a mechta, or aspiration, but a sleep vision. Some sleep visions make a strong impression on your psyche and they sort of stay with you through the day, like an after-image on your retina. So song 9 called IT'S EARLY IN THE MORNING is this dream sarcastically echoed as I approach Moscow and get ready to attack the subway trains, only the announcer is more like Massynya this time... You know this Rissian cartoon character, don't you?
DANIEL. I do. Speaking of this song, IT'S EARLY IN THE MORNING, did Martha have a hard time locating a proper picture of Putin for the funny YouTube clip she made for this song?
ANNA. I don't know. Perhaps not. She says she has a folder on her computer where she puts and collects all kinds of funny pictures, because she says, "you never know when you need one". She said that particular picture of a man on the train looking a bit like Putin was published a while ago by someone on Facebook or vkontakte when the Central Bank of Russia did something which looked weird, and the girl sitting next was to pass for a Ms Nabiullina who's the head of the bank and appears kind of ashamed. Yes, that was the original web joke behind that picture, "Nabiullina" looking a bit ashamed, "Putin" completely confident. So Martha thought this was a good picture, only the girl in the context of the song is kind of dozing off, and "Putin" sits like it's both the train and the plane... "President sel v samolyot". Some things fit in just right, don't they? And it can only mean that we are... on the right track... that the jigsaw puzzle picture I built was right... Okey. Where were we? Oh, song #2, before the commuting trip. It's difficult to explain...
DANIEL. Because it's both a night song and a morning song?
ANNA. I'd say a night song predominantly. It's actually about going to bed too late... you know it's late but you can't help it as you are used to going to bed too late, even if you know you'll have to get up very early. You are caught between the old day, the day that's passed, the previous day--and a new day which is inevitably approaching. And the warm voice of the day, of both these days is talking to you through the night, it's warm and it's also ruthless, I don't know how to explain it... Warm and ruthless like life itself...
DANIEL. In the night you may forget who you are which is like a bliss. But in the morning you still have to get up, regain yourself, and go on your orbits. Is it what you mean?
ANNA. Yes, more or less...
DANIEL. How is the tomcat doing? The one that licks milk and purrs in the intro, the Pink Floyd way. What's his name, I forgot?
ANNA. Bandy. He's okey. He is come of age. And he's recently got married, for the first time.
DANIEL. God bless him! So... Even if WARM VOICE OF THE DAY takes you back into the night a bit, you still stoically get up, catch your train... and... and...
ANNA. ...and things begin to happen. Like these buskers. You can not predict them. They are a fact of life. You just sit there on the train wishing you were still in bed when the first false messiah comes in, with his Yesenin song. Paving a way to AMAZE ME, MAN.
DANIEL. But he's followed by two lyrical songs, GIRL and LET GO, ## 4 and 5. There are no buskers in them. You say they are like memories from the past?
ANNA. Yes. It's quite natural to remember something as you travel by train. GIRL is very much autobiographical, it's all I can say about it. LET GO also is. Though it's not a straightforward love song as some of my friends thought. It's more about a childhood which is suddenly over, its mood is actually based on the French movie called TOY with Pierre Richard, so it's a mixture, an overlay of emotions. "Your toys are long asleep on the shelf, you're not a king in your room any more"...
DANIEL. Are they both old songs?
ANNA. GIRL is now quite old, like some girls are. LET GO is more recent.
DANIEL. Are there any songs on the album that you wrote expressly for the album?
ANNA. No. I have some 70 songs I have written as of today, and I could carve any kind of album of those. So I had this idea for an album, like a personally social album, an album about myself and about today's Russia, when I first approached you, and I knew I had quite a pool of songs to draw from.
DANIEL. And this is one of the reasons I liked it, the idea I mean... because I guessed something would come out of it, this way or another... But you added one song quite unexpectedly, track 1, AIN'T I A MAVERICK.
ANNA. Yes, because we felt, both you and I felt that we needed some fresh wicked touch, so it wouldn't get too... too intellectual... didactic...
DANIEL. DON'T GO OFF THE HOOKS, #6, is definitely both personal and social. The idea of the world going off the hooks is as old as the world, but you felt you could get away with it because.... Because? You need to have a ready answer, always, young lady, when you're doing a pr-act. So?..
ANNA. I think I could get away with it... because I juxtaposed it with another old metaphor of the world as an empty sinking ship with the captain who got crazy and killed himself... And Gany... who criticized my guitar playing in this song, saying it's so syncopated it couldn't be quantized... so he had to build all those tender percussion patterns around practically nothing, hanging in the air... anyway, Gany saved the day by making me speak on the underwater phone line, from that sinking ship. So we could get away with it, because I covered one banality with another banality, while Ganny's orchestration was far from banal... And also, because I say at the end, Don't go off the hooks! Keep sanity in the crazy world! This is naive, but today, I believe, using your common sense is not as common as it should be.
DANIEL. CHILDREN SHOULDNT PLAY WITH MATCHES that comes next, what kind of song is it? It sounds more personal than social to me.
ANNA. It's a song on how difficult it is to build relations in the modern world. An older, easier, less tougher world is symbolized by a busker singing MILAYA MOYA, which is a well-known romantic song by Yuri Vizbor about a girl waiting at the camp fire. And it only seemed proper to put it before my song with its slightly sinister forest burning images.
DANIEL. So playing with matches is a warning on more than one level?
ANNA. It sure is. What have we got left? FOOD SECURITY is a humorous or ironic or both, self-ironic. We once visited a friend in the summer at her bungalow who had nothing but rotten sausages in the fridge for us, which became a joke among us. But of course as a song it's a joke about me, not her, because I imagine myself depressed etc. etc. And at the end I say, that as long as I am NOT depressed, I am worried about MY FOOD SECURITY. That part of the track where we used a lot of distortion and where a distortion effect was put on my voice is an allusion to Yegor Letov's Civil Defence group, the only true punk act in the post-Soviet period.
DANIEL. And what is the meaning of putting this quiet and wise-sounding song, TOMORROW, IT WILL BE CRUCIAL, right after IT'S EARLY IN THE NORNING?
ANNA. Oh, just to take a breath before the four "main" songs that happen on the return leg, so to say, on the way home. TOMORROW sort of says, Don't take too many things seriously. IT'S EARLY IN THE MORNING is a lyrical song wrapped as hip-hop, with its allusions to Putin and the parliament etc. While TOMORROW almost seems to say, Geez peace, don't be too aggressive, hold your horses in chasing today's political concerns. What seemed important yesterday may not be important today, what's important today, may not be important tomorrow. Though whatever haunts an individual artist's mind today, may become one of society's common preoccupations tomorrow. It's time to head for "home", and see what it all boils down to. It's not "No direction home", it's a "Direction home".
DANIEL. And we have discussed the four remaining songs, haven't we? Discussed in the previous installments of your transcribed conversations. They are, these songs, in terms of sheer social meaning, what the album boils down to, in a way, right?
ANNA. Yes they are. Especially the last two...
DANIEL. Could you sum them up again for me, the last two? I have noticed you word things a bit differently every time which I enjoy, but... in case someone wanted to know a simple answer... people have the right to know... If you claim it's about definite concepts, you ought to be able to nail it down. I mean if you had to make it as concise and final as possible... You can say no, of course, and your silence will not be turned against you...
ANNA. Okey, your honor. MY NE UMEEM... is... a very simple, half-smiling, half-serious... social message I have today. While BROSIT' VSYO is my vision, or visions... like "Visions of Joh-Anna". Ha, ha. Unfortunately, I am not sure the audience will follow me to the end of the album where I am "on the brink of lucidity but still remaining impervious to strict decipherment"... Now, that's awful clever, that quote. But this is the price one has to pay for trying to make not just an album, but a concept album. And the price one has to pay for listening to it!
DANIEL. Never mind Bob, he's old. Very few people dig him. We do though. But, we did what we had to do, in our situation. Remember, in "Master and Margarita"? "I have a feeling that your novel may bring you surprises". Some good surprises. Here's to the album!
ANNA. Here's to it.
DANIEL. And remember we were going to discuss the musical style of the album? I have an idea. How about if we discussed it after I return from Brazil and you have finished planning your next album. I would like to ask you, if that's not too much trouble, to map some ideas of the style or sound of the next album. And then as we discuss it, we could go back to this album and recapitulate it with care, look at it in retrospect, just musically. Because now we really don't have a basis for comparison. Do you agree?
ANNA. Sure. Sounds reasonable. I've been listening to Megadeth... I don't know why.
DANIEL. Sounds promising!
ANNA. Have a good flight. Have a good flight. And drop me a line when you can, from Brazil...
21 Apr 2016 04:52 pm
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