Cxemcast 034 – Molodoy Chelovek
01. Molodoy Chelovek - Kehee
02. Heidi Lord - AM5
03. Chevel - Flippant Remark
04. Gohan - Onlookers Murmur
05. Bleaching Agent - Colo (Shawn O Sullivan Remix)
06. Osynlig Fetma - Sheik Your Ass
07. Molodoy Chelovek - U N T I
08. Molodoy Chelovek - Stupid President
09. Molodoy Chelovek - Divace
10. Funkstorung - Untitled
11. Molodoy Chelovek - Hemi-sync
12. Faces Of Drums - The Lost Tracks 1
13. Molodoy Chelovek - 135
14. Voiron - Itinéris (Legowelt Remix)
15. Molodoy Chelovek - Dope Keys
Who is this Molodoy Chelovek (Young Man)?
Molodoy Chelovek is just me. I made up this nickname on social media. When I started to write music, I decided to use it as well. And before that, I have been playing DJ sets under my own name, Leonel.
How long have you been writing music? What prompted you to do this?
I’ve been writing by myself for not so long, about three years. At some point, I realized that I was ripe for this thing and started to continuously read, watch, try, learn software. Then I bought a couple of instruments, started to extract sounds, and it just took off. Generally, I’ve been listening to electronic music since childhood, have been collecting it and continue to collect.
What inspires you?
My life, lives of people around me, moments from it. Everything that happens to me every day; I generate it and then reproduce it.
What kind of music do you collect?
Absolutely various, I don’t set any limits. Recently, I’ve got addicted to old cassettes from the ’80s: limited editions, obscure ones. It can be just a tape with some nameless crazy sound effects. Not long ago, I was lucky to get a link from a friend leading to a big digitized archive of old cassette music. I sample it, remix and make edits. I can endlessly loop and layer something, and the result is quite interesting.
What do you use to write music?
I don’t have enough hardware to make up a list. In addition, my collection is constantly updating, but I can say that it mainly consists of Roland and Korg stuff. I am always in search. I’ve collected my personal library of sounds of the instruments that I have right now or have had before. Actually, I am currently building a setup for live performances; small functional machines, no need for huge coffins. Constantly learning and exploring new instruments is an exciting experience. I have friends with whom we constantly exchange instruments as well.
Do you have releases?
Not yet. Sometimes I put something on my Bandcamp and send it to musicians and friends, to start a conversation and to make connections. I have Euros coming in from Bandcamp sometimes, even though my music is free. It’s cool when, for example, Parrish Smith or Xosar pay you to support you. Everything is at this stage for now.
How many people pay attention to your Bandcamp releases?
Only those whom I send links to, and some more people following my work.
You come from Ufa. How is it going there for a young musician?
First of all, I gotta say that I don’t consider myself a musician, I’m a “beatmaker”. Secondly, I’m alive and well. However, it is still a hinterland. People often don’t understand me, except for my circle of friends, who I constantly brainwash with music and names. I plan to travel to Moscow more frequently. It is still a place to connect to and it attracts a lot of cool people.
What makes a “beatmaker”?
I wouldn’t say that I know how to play keys or string instruments. I can only control machines and make melodies using chord generators in samplers.
Your mix has recently appeared on Gost Zvuk label. Tell us the story behind its creation.
Once I sent a promo to Gost and Ildar liked it. He proposed me to record a podcast and I made a mix consisting mainly of my tracks. Then he showed it to other guys, everybody approved. That’s the whole story.
What can you say of modern Russian scene?
Many good musicians out there, mostly little-known, just like me.
Which kind of sound resonates with you?
At this moment, I’m into industrial, post-industrial, and minimal wave, mixed with four on the floor, although, frankly speaking, 4/4 is starting to annoy me.
As you’ve said, you communicate with many musicians from around the world. What gives? Does it influence your work somehow?
How does it influence... I’m not even sure it does. I get some feedback and some music in response, a kind of musical interchange. It is so cool when Maoupa Mazzocchetti tells you: “Good music, I would take this and that to play and I will pass the tracks to the boss of Unknown Precept label, which I like a lot”. This gives me confidence that I don’t write as dirty as I think I do.
Interviewed by Bohdan Konakov.