Belov Aleksei

Gorky Park - Past, Present, Future:
A special interview for the magazine Alexei Belov IN / OUT.
Interviewed by Anatoly Antonyuk.
Alexei Belov readers IN / OUT no need to submit, it is well known to all those involved with show business as the undoubted leader of "Gorky Park" or, as they say, - "Gorky Park".

This is the first team of all domestic groups, which deserves a great success, both at home and in the West. "Gorky Park" Russia is still the only team who managed to break into the highest echelon of American and European show business and get all the charts and on the west MTV.

Their discs differed in many countries large editions. "Gorky Park" have been in different countries in Top-10, which is absolutely incredible for a rock band from Russia. Naturally, "Gorky Park" is very popular in his home.

Now I would like to say a little about the leader of this famous group - Alexey Belov. Few people know that all the music, arrangements, guitar and some songs even vocals makes himself. And on the last album, which will be released this year, he wrote all the lyrics. And the sound of the group, easily recognizable from the first chords, which is not affected either as a change of vocalists, this is also his merit.

Even such famous musicians as Frank Zappa once said that "Gorky Park" One can learn many years later for their identity, a sound concept and manner of execution. The credit for this, of course all the musicians group, but primarily it is Alexis Belov, which is a generator of new ideas. The musical environment Alexei reputation for authoritative, highly professional musician. The sound and style of his guitar playing is always recognizable, and his songs carry a deep and powerful, not least, the positive charge of the music. Each album "Gorky Park", is like a whole life lived. The band is currently "Gorky Park" is even more interest.

In the past year there has been some updating of the composition and this "new blood" often bears fruit. Now the group is on the next turn of this complicated creative spiral.

Alexei Belov very interesting conversationalist is to the audience of the journal IN / OUT. On the one hand, he is a great musician, composer, on the other - an experienced arranger, sound producer, who knows many of the subtleties of recording. His experience of studio work with many musicians, sound engineers, producers, world-class, deep knowledge of technical issues deserve attention of all musicians who are seriously pursuing music. Furthermore, Alexei Belov, one of the few musicians of our country, who knew the psychology and the inner life of the western show business.

What this group of lives, and what its plans, istoriyaN Generally, the "Gorky Park" you can write a book. Most likely, someday it will make someone. In the meantime, read an interesting interview with the leader of this famous group - Alexei Belov, who will answer some interesting questions for all readers.

1.Anatoly Antoniuk: When you started making music N

Music, I started with the early childhood. I come across this photo, where I at the age of two, three years standing with a balalaika or drum in the hands. Apparently since that time I began to take up the music. Six years I worked on an accordion. Then he went to study at a music school for violin and later played the accordion, and so all my life, I can remember myself and do music.

2.Kogda you have developed an interest in the guitar N

Perhaps years to twelve. In those years, many have played in the doorways of houses lyrics Beatles, Led Zeppelin and other artists. And all tried as best they could learn these songs, and I in turn, too, was no exception.

3.Kogda you understand what you want to play music professionally N

I think when I was sixteen. Then I studied at the Architecture & Construction College, and almost all his spare time, studied music. Basically we were playing someone else's, but some of his works. I had such a fun group. We were three, and we tried to play the songs of Queen, oddly enough but we are even pretty well. We tried to play more and more complex product. And then I realized that this is what I do in my life.

4. Tell us about your first group "Moscow" N

I was very young when I started playing with jazz-rock group "Slides". After this was a group "Nadezhda", where I worked for two years. And in the 80th year, I accidentally caught the eye of David Tukhmanov. Someone recommended me to listen to him. At the meeting he asked for something to play. I was with the guitar, and it stuck right in the console, without any effects. I thought, in order to impress me, you need to play very quickly. Sound was no, the guitar sounded like tin. He was (and is) a progressive, his music was at that time still a fairly advanced. And so I began to play, how could quickly.

I do not remember what was playing notes 32-mi, or 64-mi, to fill the void with sound. I do not know, but it gave him an impression, and he says: "Well, come with me to the cottage:. He was then a mini-studio. I came to the dacha with his effect, which was home-made type distorshina or overdrive. And already at this effect I began to play more music. That's how it all began. I recorded the guitar for various artists such as Yak Yola, Sofia Rotaru, or for many other stars of the time. After some time, David Fedorovich even started asking my advice about the arrangements and some more musical moments.

I started trying to make these arrangements and after that, he proposed a new project. I told him that I have a talented trio, singers and other musicians. Getting happened very quickly, which is then instantly turned into the birth of a new group. And so it came rock group "Moscow".

5.Chto prompted you to create a group of "Gorky Park" N

After the group "Moscow", we tried to recreate the project as such, although it was very difficult in those days. I do not know whether the Soviet authorities prevented, or something else. It was absolutely some indifference. People like our music, but by the people business, for some reason there was no interest. All this despite the fact that the group "Moscow" to collect sports palaces. It was impossible to do, so that this project would have survived. I decided to assemble a team, first of three people, then we were joined by keyboard player, who later played in the group of "Autograph". Later we were joined by a new musician, it was Sergei Mazaev (vocalist of "Moral Code"). In this composition, we played in the night restaurants fairly advanced proprietary music, which at the time sounded very good.

When the time came, the so-called restructuring, I tried to do several projects in parallel. Or rather, I even made them, and recorded. One project made Stas Namin, which involved several singers and music was quite modern. Unfortunately, this story no one heard, although he was completely recorded and mixed. I do not know why he did not come. Just at this time in the park they. Gorky's studio appeared, which built Vitaly Bogdanov now president of the company Ms Max. And Stas Namin made there own music center. In this studio, we started experimenting. We sat down and wrote a different material. At the beginning of the composition was me and Alexander Lvov - our drummer. Then we were joined by Nikolay Noskov, he came and recorded the vocals.

And then later bassist Alexander "Marshal" and the last was Jan Yanenko. What prompted a group, it is difficult to say. I think the availability of material, primarily. He seems to live inside me. Then there was a time when the air flew a lot of ideas. We wanted to create a group, which is largely drawn to their attention on the professional, musical direction and playing at the level of the Western rock groups, both in terms of instrumentalism, and tracks. In the first place needed songs, because you can play very technical music but if not, how at one time said to me one very famous musician, "stop playing exercises". I long to remember this advice, that would not play exercises, and music. We began to write, to seek, to experiment.

And we managed to record a demo tape which aroused great interest among those who heard. Especially from people who came from abroad. They listened to everything that was at that time in our country, and no one was deprived of the attention. Everyone really liked our demo tape. It seems that it was written in English, and it still present some musical played its role. And it has helped the group to do what was intended. In particular, to attract attention in the future to sign a contract and all that this is followed. But this was only half the battle. In the west, signed the contract a lot of people, including those from Russia. It is important not to sign it, and bring to a logical conclusion. We had a lot of work in the western studios with renowned producer, is also applying their knowledge and a lot, learning from them.

6.Kto of musicians influenced you in your early formation of N

At the beginning of my becoming influenced me a huge spectrum of bands and artists.

It is difficult to enumerate all. This is a huge number of teams who play heavy music, jazz, fusion and also a lot of tool and of course the classics.

7. First your speeches with Western artists, as a group, or Scorpions Festival in Luzhniki Have you brought any discoveries N

. In our presentations to the group Scorpions, we discovered a very high level of professionalism to prodakshina on stage
. We do not know what may exist. Then a few years later it became the norm for us. But then it was just wildly fantastic. All musicians and, importantly, all staff groups, were people of the highest, professional level. And they worked just like a Swiss watch. In America, we have worked with different companies prodakshin, and I say not every could boast such a level of technical staff, who had a group of Scorpions. Their German pedantry around itself showed. As for the performances at the Festival in Luzhniki, I think that this was the first sad experience, which showed that before the concert had to rehearse.

We rented a huge airplane hangar for rehearsals. I remember how we lost time - day spent for programming, guitar effects and keyboards, instead of just playing. What we just did not do it, mainly engaged in purely technical matters. And, of course, from such "rehearsal", we feel not very comfortable on stage. And later, we took into account their old mistakes. We had a room for storing equipment and for what would rehearse there was. When we lived in New York, we rented a room for 8.10 dollars per hour, which stood all that is needed for rehearsal. I remember we rehearsed for weeks on this instrumentation. Here was a real approach. After a couple of weeks, we went on a European tour and become a completely different group. I think that we should think less about prodakshine, and more about the music.

8. As you all came to America N

In many ways influenced our arrival in America, our first demo we recorded in the studio park them. Gorky. We then collaborated with the Stas Namin, and he carried with him a whole set of these recordings. He was then the musical center, which was about fifty groups. And naturally to a producer that has been done to provide the material which he has. The situation was favorable, the restructuring, the end of the Cold War, but the main role is played by our music, which was at the western groups. Stas Namin drove our record in America, and all said it, and just a few songs, because they were modern in musical respect. And it helped us to sign a contract. The company drew attention to us, and all very quickly whirled. Accordingly, the wave of interest in Russia also affected, but in our case it was not the main.

At that time, an opportunity was provided to all our teams. But as I said the contract is only half case. You are given time and opportunity, and then everything depends on you. And if you do not use it, as it should, then you have no chance.

9. Tell us about your performances in America and Europe N

This can be a long story, because in America we had two big tours.

For some reason we have so happened that we were not opening group, and headliner'ami.

Before we worked on two or three American groups. And so we went from city to city. We fully toured the U.S. and then we made a second round, which was already, chronological or something. With us went a television company that was filming a TV show simultaneously. It is published every week. But the group of "Gorky Park" in Arizona, but it is in another state. It was a whole series. Every week on American TV for half an hour or forty minutes they showed. That's what we are shooting in cowboy town, in each other, we are jumping on the mustangs, or are we in Louisiana are sailing along with a crocodile on a flat boat and the crocodile farm suem their fingers in his mouth, and the like.

So we have twice traveled to America, and the second round we have a great concert on the beach in Daytona Beach, where the race. We played right on the beach, and there was and MTV, and all that jazz. It was the 90 th year. The concert went on and after the tour, but then began what we call the "ordeal" and that probably nobody in this business has escaped. We did it happen that our album went in all countries, only some more, but somewhere less. Where some progress has been simply phenomenal. Here in particular, for example, in Scandinavian countries and especially in Denmark. This is a rare country where it is very difficult to succeed.

When we were recording their first album with producer Bruce Feyrbeyrnom, unfortunately he died six months ago. God rest his soul. Before our acquaintance with us, he has produced such famous artists and bands like Aerosmith, Bon Jovi, Bryan Adams, AC / DC, Scorpions, and other. The last album, which he made before his death, it was the album Kiss. So, when we recorded with him, he invited us to his home for dinner. And we were very surprised when, on entering his house, and we were among many artists, we have not seen such an abundance of platinum discs on the walls, as he was supposed to be their lot.

And out of this collection on the wall was only one small gold plate with a red flag and a white cross. It was a plate of Denmark. We asked him, and where all your plastinkiN He replied that they are all in the basement of his house. And why does it weigh zdesN He said that Denmark is a country where impossible to get any awards. And so it weighs here as a relic. Strange as it may seem, but here in Denmark was just a huge success. At that time, were very popular bands such as Guns N 'Roses and others. And suddenly we resell circulation of these groups, and our album to be nine months in the Top-5.

When we went on tour to Denmark, do not expect that we will both take. We gave concerts in different countries, but here it was all different. In the early days of our performances, we came to five hundred, one thousand, three thousand people. But when suddenly, two days in a row we collect on the 25-Tb and Tb 16-thousand. And then we play headliner'ami at the festival in the 70-thousand-odd people, and the next day stand at nine o'clock in the morning, which wakes up and gets to listen to 50-thousand. And we learn that even sold 13 thousand additional tickets. Certainly for us it was a stunning success, but a few obscure. We are all perceived as though it exists independently of us.

10. Affected as some of you work with such producers as Bruce Feyrbeyrn (Bruce Fairbairn), Phi Ueybill (Fee Waybill) and Erwin Maspero (Erwin Musper) N

Each in its own way has influenced us. Well, for example, Phi Ueybill (Fee Waybill) is a singer from the group Tubes it is very funny man. But no less, he invited us to record the singer Richard Marx (Richard Marx) and guitarist Steve Lukatera (Steve Lukather). Since it was just fun. We went about their business and knew that we write. And he often sat by the phone and did his work producing. Bruce, as no country will, gave us absolute freedom. Sometimes he would come and corrected the singer in the correct accent. But mostly he went to train at his son's football team. Although, when he worked with the band Van Halen, he was very tough, just behaved like a despot.

We talked about our road-manager, she was friends with the musicians of this group. Erwin Maspero - a completely different person. He directly participated in the reduction of our albums. He had his own approach and vast experience in working with sound. I had learned a. Moreover, he did not hide from me and my every question, he gave absolutely, detailed response. I said he has such professional techniques, which he owns only. While a lot of time in studios, with different sound engineer, I just saw that someone had applied certain techniques that are, in principle, reflect the nature of global sound and formed his. With him was very interesting to work.

11. What I remember you interesting in writing to you of such musicians as Steve Lukatera Allan Holdsworth (Allan Holdsworth) and Frank Zappa (Frank Zappa).

Steve Lukater very good musician and we are still with him in good relations. The last time we met with him for two years and a half ago in Tallinn. We were together for two days. He's very spiritual person, despite the fact that he loves a little drink, and I would say that it is quite a devout Christian. I even gave him an icon of the Mother of God. That's very nice to me now to remember. A little icon I had with him. He took her hand and kissed it gratefully put it in his breast pocket.

Steve brought with him a rack guitar processing, the size of a refrigerator. When he showed me his set-up in Tallinn, it was completely different. From what I had seen before, nothing left. This was no different in its own customized. But when he came to record a guitar (back to top), his huge rack was fully connected and working, ie. recording he made at the "Details" sound. When we asked him if he could remove the delay, we then add it to the intelligence, he said that nobody trusts, especially the sound engineers.

Here are the main feature of this guitar - recorded on tape already fully processed sound. For information only struck a balance, the volume level. Sound of a guitar signed up fine. He is very emotional musician. His whole game is based on emotion, although it is quite technical in. Then he heard one of our song, which was not included in the album, but was bonus track and it played Dveyzil Zappa (Dweezil Zappa). A Dveyzil it uses fancy guitar techniques. And Steve, playing the code song, played all the same, as if in jest, but much more interesting.

As I said earlier about him, that he was very sociable and warm-hearted man. This "shirt guy". Allan Holdsworth is the complete opposite. In the game Allan also very emotional, but in its. He has such internal controls and the degree of gradation of understanding of his game, which only he understands. One takes a guitar solo, he played like a whirlwind. From beginning to end. I looked at, this time on his face, it was as though petrified. But when he finished, he said: "There is no way I can no longer. I used to work in the studio one ".

And I said to him: "Allan - no problem." We left him in the studio, while they themselves went to the cinema. When we returned, he sat happily drinking beer. We listened to what he wrote - well. Alan says: "Here in this place I did not finish. There are three squares, two I played, and one no. It should be there to play N "" Yes, of course, it's the culmination of this must play the game "- we replied. "Well then you're not connected." I plug it in and we began to see how he will play again and he was not like everything he wrote.

But one of the doubles he played brilliantly, and I told him that this track will not touch, although he wanted to beat this place. Still, I insisted on this double, but he let zapisshet on the other, he wants. We again left him alone, that he would feel comfortable. Five minutes later he came and said that all played. There, in solitude, he feels better in the studio. And when I listened to what he played. I told him: "Allan you played delicately. But listen to his previous record.

"He said:" Yes, it is much more emotional. "Let it then leave. "No" - Allan says: "You see over there the fourteenth and fifteenth notes and there should be flat, but I played a clean note." Although we do not hear, like, and so normal. Then I found this note and say to Allan that I understood where she was and I was settling her will switch from the double, that you played on those two. He speaks well. Just give me a promise that you do it. And I kept my word.

Now I want to say a little Frank Zappa. He was our true friend and in many ways helped us to constantly worry about. Always invited us to his home for all the holidays, knowing that we have no family. He gave us stunning just invaluable professional advice. We are very grateful to him for that. And even when quite ill, he made us write assembly,, Moscow Calling ", and then sent her to London. The last years of his life, he was engaged only in classical and experimental music, being seriously ill.

12. You also have participated in music show "NAMM Show" and what can you tell about this N

We have participated many times in these. In our first appearance on the show we just drove through it like a camel. Our first record at that time had not yet gone on sale, but all have heard about us. We were brought to Chicago and led through the exhibition, showing the different equipment. Of course, we were interested. There, we met with many famous musicians and us are familiar with them. The second time we got to "NAMM Show", already known as a group, which by then was in the charts and on MTV.

Many firms would like us to use in their promotional. Once I sat at the advertising firm stand "Kramer" surrounded by his guitars in the form of the balalaika and the people handing out autographs. When we walked through the exhibition, all firms offered us their equipment. Even the firm "Marshall", which usually does not give anyone their equipment for free, gave us a whole set and also did the firm "Ampeg". Problems with the equipment we had. Many of the exhibitions at once declared that they were not offered anything because they have nowhere all that stuff is already set. At first we did not refuse such gifts. In the following our stay at the exhibition was very productive for us. Several times we had unpluged performances with the influence of fusion, on the stands firm "Landola" guitars, "Kurzweil" and still others. We were received very well.

13. As you start to look for your sound and style of guitar playing N

I think that probably all the same life as it helped. I liked certain types of sound. For example, the sound of a violin - I always liked it, because in my childhood I was engaged in precisely this instrument. In his early youth, I liked the sound of Jimmy Page (Jimmy Page) and Brian May's (Brian May). Then I liked the sound of Eddie Van Helena (Eddie Van Halen) and Allan Holdsworth in his early release. Over time, this is so and formed. I would say more accurately, I liked the expressive sound, which has such emotional potential. I needed a this sound range of emotions on the guitar.

14. Finally we come to the most interesting for those who wish to learn more about your guitars, amps, effects, and your work in the studio and at concerts.

Most of the concerts I use the guitar, which I did a master Igor Barbashov. I also used the guitar company's "Kramer", which are specially made for me in the form of a balalaika, but not because it is such a form, but because they sounded very good. Due to the large shell, a huge response. On these guitars, I recorded the first and the other albums. In studio recordings, I now use to a large extent the old "Gibson" ES-335. In this most unusual guitar sound. He is very wide due to the fact that she was semi-acoustic and it cost her dear old pickups.

15. What are you using a sound processing N

For studio work I use a processor company "tcelectronic", model G-Force, and at concerts "tcelectronic" 2290. At its core, it has the effect of delay, as well as five loop'ov that I needed for switching different blocks. For example, I like to use a pedal wah, its sound should be very discrete, no matter in what order I turn on the different effects. If you include wah directly to the amplifier, then when it turned off, in the direct signal passing through the pedal, will be the loss of the level and change in frequency response, and the sound becomes muddy and unclear. Although I really like "Crybaby" wah-wah, but it can put all the common signal.

Then will need to make some compensation, but the nature of the sound will be different. Somehow, passing through the circuit wah, changing color of sound. And that would avoid this, you need to enter wah pedal in the chain. Input and output it as an element. That is, it should be enabled sequentially, but simultaneously introduced. In the same way I do, if I, for example, should include an equalizer or something else. Just for this very good use here, such loop'y.

16. Tell me about your amp detuning at the company "Groove Tubes" N

I had a lot of different amplifiers such as the "Rivera", "Soldano", "Kascha" and other. But most of all I liked the "Marshall" 900th series. And has influenced my choice guitarist Zack Wylde (Zakk Wylde). Once, I went to a concert, Ozzy Osbourne and I really liked the sound of guitars. After the speech I went to Zack and said that he used. He said that the guitar "Gibson" and power "Marshall" 900th series. I decided to try it, and it turned out, the sound was of such a nature. I bought the same power and worked with him for several rounds. And I liked it very much. Sometimes I chemical and used the power of pure sound "Fender" He stood in my rack with disabled column, as if it had been closed resistance. And for the main course I used the sound "Marshall".

When we started recording the album "Stare", before that, I learned something from someone or read, now do not remember exactly what to do to the amplifier beaf. And I began to learn where it is possible to realize. I was sent first to the service "Mesa Boogie", but they proved to be a day off. Then I found a wizard with the phone company's "Groove Tubes".

I phoned there and they told me that this can be done. At the company I met with the master, who is engaged in tuning and modifying amplifiers. His name was Wizard. He was born in Canada from the City of Vancouver. It turned out that he spent ten years working at the company "Marshall" and made custom padded hundred amps for the band AC / DC.

When I showed him my amps, then he told me that I no longer recognize their sound. He told me that he picks up the lamp EL34, so that they were paired, and building an on their own technology. It is also something else repaired and rebuilt. Then we went to the demo room, and came to us the president of the company and asked me what I would have tried them Amplifiers. They have a very nice clean sound for the game in country style. But when I turned on my amp, it really did not recognize. It sounded clean, wide and he had some sort of an open and powerful sound. It appeared more overdrive. And I realized how much it is really important to have a good rebuilt power. Also, for the formation of sound, I sometimes use different devices such as "Zoom", which is sometimes inserted into the rack, when I want, what is the specific effects. Now I use "POD Line 6", because, with it very convenient to work and it emulates the sound of different amplifiers. But to use it needs a strong, clean power (although it can work at all directly to the console). It does not work with anything at hand.

17. What is your approach to the selection of guitars N

I usually take a guitar and without it the connection just playing on it and listen to how she resonate. And if, as they say, she sings in her hands, it means everything is in order. Then you turn it into an amplifier and listen to pure sound. But if you hear that the guitar and no connection has a padded sound, and it quickly goes out, it is possible and not try to connect it.

18. Do you have a favorite guitar N

Now I really like the "Gibson" ES-335. But I also love a good guitar company "Fender", different models stratocaster, telecaster, a good model of "Jaguar", on it are the pickups, which create a wide sound. Of the pickup I also like the sing-coil, the company "Gibson" - they have a powerful raw sound. And More, I have one tool that I like, but I play it very rarely. This is a slide guitar, too firm "Gibson", issuance of 40-ies.

19. What studio equipment do you use when writing your new album N

In the studio work constantly meet new technical developments. For example, devices for signal processing. But this time we are faced with a fundamentally new system. She now has many known and is called Pro Tools, make the firm "Digidesign". In fact, this is a complete system of record. Working with her is very convenient, it almost has no restrictions and it can expand to infinity.

Such systems are eg used for the sound of such films as "Star Wars", which sounds simultaneously more than a hundred channels of audio. Therefore, when the film dubbing films have always used the most sophisticated systems, which are superior to their complexity, used for recording music. I think Pro Tools is one of the most progressive to date, this system is Pro Tools. In writing the last album, we were just with her and face. In working with this system, it helped me a very talented sound engineer, whose name is Sergei Kuznetsov. Previously, I strongly felt the lack of highly professional sound engineers, who have done good reduction, because if the record we still somehow have learned that there is little to reduce. Just Sergei, one of the first highly skilled professionals, with whom I met and he really knows what to do. He is absolutely perfect system knows Pro Tools.

This system is so flexible and versatile, that its possibilities are limited only fataziey Rights. Now in the west lot of albums for artists such as Bjork and many others, all made in this system. And this was my first experience with it and I was very pleased. And I hope that I will continue to work in this direction. Record on it sounds like the analog and the quality is the same, but the only difference is that everything happens in a computer with a very high digit.

20. Are you following you what's new computer technologies in the field of recording and what you read specialized literature N

. Yes, . I carefully watch the development of computer technology, . because if earlier, . Fifteen years ago, . word of computer technology in the concept of the musician had nothing to do with recording music, . only associated with some games, . then today computer, . standing at the musician's house, . can be absolutely complete workstation,
. It includes the process from start and to its knowledge. It depends so to speak, on budget and the power of a computer station, which he has.

I naturally watch as technology razvivayutsya rapidly and that will be in five years I can not even imagine. In order to follow this course, I love to read a lot. And I read quite a variety of magazines, from Mix, EQElectronic Musician, Homed Studio, Audio Media, Pro Sound and others. Sometimes I read our books, we also began to go professional journals, where there are copyright and interesting translated article. The Internet also provides very good help.

There you can instantly get to the pages of any magazine or manufacturer. And you can not just transfer the files themselves are different, but also keep track of such information, and sometimes download various useful things. And I often do it. Computer today is almost like "a dog - man's best friend, a musician who directly zanimaetsya songwriting, arranging, or more than a. I also want to thank the company "Rosmail", which kindly provided us your internet access.

21. Now let's talk about the new album Gorky Park, and your solo album if he planned to N

It is now difficult to talk specifically about my solo project, because I had to write all the music for the group. And most of my ideas and just put into the music of this group. I think that if ever it will then most likely, it may not be a solo project, and the soundtrack for the movie. By the way I have received several proposals. Our music is already falling in Western films. As for ours, I do not know. This interesting work. And will be interesting to try to instrumental music, which would be tied with a symphony orchestra. That such a sound I will be interested to work. It was there would be more use of guitar playing, tk. Group size is quite compact.

The song is a kind of short film, where you want to have time to meet in three or four minutes, while all the talk. Although in this album, like all the others we will have and the experimental arrangement, it is our first album, which will be in Russian. What for us was the most important. Save the sound and style of the group, as well as to transform it into life today. Whatever the style and visibility were. It is very important for any artist or group. The group now consists of four. For keyboards - Nikolay Kuzmin, drums - Alexander Makin, vocals and bass guitar Alex Nelidov and I on guitar. In addition, I compose music, make arrangements and he sing some songs. Production, too, on my shoulders. We have so happened that the group always sang all. And this time we all sing in the. Few knew that Nicholas Kuz'minykh beautiful voice and a proprietary manner. He'd spent his youth he sang and played music for artists such as, Grand Funk, Yes, Emerson, Lake & Palmer.

And he will also be presented on this album in a new capacity. Finally, I want to present our singer and bass guitarist Alexei Nelidova. He has a powerful voice and I would compare it with vocalist Chris Cornell (Chris Cornell) from the group Soundgarden. After the group is such a unit, which always consists of several people. Is a kind of family. But in the family are divorce, although it is not good. About the group all say that it is primarily music and their own sound. We have a lot of fans who are not confined only to our country. Enough to look at our U.S. site. Despite the lack of a long time already some information from the group. Nevertheless, people in all rewritten and can understand that the fans very much and they are international.

22. What music are you listening to now N

When I have free time, I listen to very different music. It can be modern and classical.

23. When planning to release your new CD N

First to be released maxi single. I think that probably it will be in January - February 2001. It will highlight three compositions, which are backed by one or two video. The first single, is likely to be a song called "Made in Russia".

We wanted to make a song that she was not konyukturnoy, and reflects our position in life. Since we lived quite a long period of time in the West and went through many different twists, turns. Just comes a time when every man's life is changing a lot. And thus there is a reappraisal. See what people have returned to their homeland, such as Solzhenitsyn. Although he could not live there very well. In America, I realized that Russia is a special land - because here I was born. On it you can talk endlessly. Everything in me is the music, was given the land. Despite the fact that I learned a lot from Western music, the music does not consist of etudes and exercises, and it comes from inside. All the most important thing I got here. We have absolutely no right attitude to everything that's happening here.

s all the time for some reason, look to the West, not even noticing that there comes a profound crisis, the level of which does not have dreamed Russia. Unfortunately that's such a blindness, the majority of the population, and probably is the reason that in our society, such differences. But the most valuable things really are.

24. Alex, thank you for the interesting interview. Your way of life deserves respect. I want to wish you and further creative.

Thank you, I want to, in turn, wish you and the magazine IN / OUT every success:



Long road to the Temple ...



Alexei Belov no longer afraid of Russian п?п?п?п©п?п?п№п?п?я€пЎп?