Cxemcast 058 – Sasha Very
Let’s start with the set. It’s a live, not just a dj-mix, so there are supposed to be only your tracks, right?
Here’s the way I put it — there are no tracks, like, you know, “tracks”. There is a program, a sequence of patterns that I’ve made for my gigs. It can be difficult to finish a track mainly because of lack of enthusiasm, but you can always put a part of it in a mix for the cool guys. I guess it sounds pretty logical.
The set is interrupted a few times (at least, it seems so). How did you record it and what did you use for it?
Those interruptions are the only thing I made intentionally for this podcast. I also use my previous recordings and rehearsals as intros/outros or interruptions in the middle. The last track here is from a situate project “outambia” (its members wore gloves from “Outventure” and “Columbia” brands) — it’s called “sasspex”, oh, I’m sorry, “sasspex :)”. There only are pads by Vlad Bergman and a low-version of one of my tracks from my draft series. I record and compose in Ableton. I’m such a freeloader.
Tell me about your home studio. What’s in there?
There is a kinda storage room in my house right now. I have a Nord, a Waldorf Blofeld, some kind of rack delay (everything is left by my friend who moved out). My main setup: Korg EM-1, “kitchen” Volca (sampler & fm) and a Roland portable studio. I like the environment where music is made, it is closed, which makes my material more meaningful. When you face boundaries — it pushes you to bypass them.
Almost everyone I’ve talked to before our conversation has told me that you’re very productive — is that a way to get through this packed Kyiv electronic scene or you just have a nice amount of material? Or is it something else?
Productive, you say? What is the opposite word for that? Because I actually think I am like that one more. At least, I was until I met Konakov at a New Year party in 2017th (he was rushing to play at the main stage from the bar). I wanted some attention and showed him my socks from Unsound festival (the money for purchase was borrowed from Slava Lepsheev, by the way). Reaction was ambiguous, but the message was clear: “Come on, Sanya! Try to get in over your head.” It pretty much coincided with my plans, but still, I can’t say that I’m working on my music every day. It’s more like a few days in a week. Maybe even less.
My music is sublimation. And if you want to get through, you just have to show your way. It’s always like that. And personal connections, of course. Syndicates rule.
I also heard about your great live performances. Describe me the typical one.
Typical sound of my live acts can be traced in the recordings of my live acts. Sometimes I consider the mood of the party and adhere to it, but, as I said before, a mix is an archive of my live act. This way you can see that I’m not a very productive guy. At least in this particular way.
There’s a mix you made for Shanghai-based project Mynah where you mixed tracks from Ukrainian and French musicians. Why did you choose that specific combination?
As I mentioned above — syndicate. There are only my friends’ tracks (and their friends’ tracks too). I don’t know many musicians from other countries (and some of them just forgot to send me their tracks).
It was unexpected to find on one of your Soundcloud EPs the #AlternativeRock hashtag. Tell me about Снайхатт Трио project.
Снайхатт Трио — that’s a nice question! This is a duo: Sergiy Kharchenko, drummer, and Sasha Polyakov, guitarist (that’s me, actually). This is the toughest, but at the same time the most intimate thing in my life. This is the music we wanted to listen to but couldn’t find anywhere. We started with that, cherishing every sound! That was the most challenging experience I went through. There’s everything in it — from songs and personal stuff to the introduction to this big world and the possibility to make your overworld or underworld, whatever. We moved out, tried ourselves in adult life, found love, lost it, cried, got bored, got nervous, faced money problems… it went on for, like, three years. Little things, but very important ones. We played under the name Michael Circle Meat, but made our first release as Снайхатт Трио because that name means even less than our first one.
What else do you like? What do you listen to at home or while carrying a delivery at work? What influences you right now?
When I do my deliveries I listen to the city, when I’m feeling nervous in transport or on the street I usually rap or mumble my own songs. My main influences are my environment and music from the closest ones. I usually consume music only as research or just to discover it in general.
Your track was in a recent Kiev House showcase at NTS Radio, so I think I can ask you that: what is the sound of Kyiv #rightnow?
#rightnow we mostly have imitation, I guess. I can’t see any Bristol or Chicago here, neither right now nor in the near future (partly joking). But that doesn’t mean that we don’t have sincere musicians here. We have them and they’ll be OK.
What should we expect at Cxema from you? And after Cxema as well?
I would like to perform at Boiler Room as an artist and play Leo Tolstoy’s “The First Step: on vegetarianism” audiobook. I even can make it faster in Youtube player to make it in time. This book is about vegetarianism and mercy (I promise to play actual music on Cxema and other proper events). Boiler Room has sick as fuck amount of viewers and diverse roster of musicians, so I think that could be totally fine. I could even be proud of it later. But after these words this scenario is locked for me, I think.
Interviewed by Darko Lisen.