Ferrein, originally from Novosibirsk, Russia, released his EP on Warminal Records in september, 2011. Tomorrow EP — is eight tracks, each with its own history. Moreover, under the ‘history’ is meant not only an emotional experience, which musician put in every track of the release, but also the very real history of the origin of some of the melodies and sounds. The fact that hidden in the compositions 'Yardman' and 'Ghost Kitchen', the significance of idols for young musicians and many other things are discussed in an interview with Ilya.
Begin with a few words on how you found your passion for music.
My acquaintance with music was, like for most children of that time, through the old Soviet piano. At the music school I attended I did not like solfeggio. After acquiring the first computer I started experimenting. I have checked out a microphone from a Chinese player, soldered and fitted to record the sounds. Soon I made the first record, which involved my friends and all who I have met on the way.
Once the technical issues were solved, the easier it is to express yourself and convey the sound which is on the inside.
How long have you been looking for a sound that satisfied you?
Much of the development was the technical issues. Once the technical issues were solved, the easier it is to express yourself and convey the sound which is on the inside.
Do you find it easier and more interesting to work with someone else or do you like working independently, without involving other musicians into the creative process?
It is easier to work independently, because music for me is always a matter of personality. It is interesting, of course, working with someone. To do this, I have my friends in the form of FCF.
Tell me about this collaboration.
FCF — this is me and my friends. All separately engaged in music, and somehow we decided to collect all our equipment and collaborate. The result was a very interesting record, consisting of a totally different sound, but united by our individuality. We decided to call it experimental techno. Basically, this is improvisation, and every time we do it we get something new. No tracks, just synths. Later we began to spread our sounds and friends were invited to our performances.
Do you perform often? What do you think about the demand for your sound in the context of the local scene?
We get our jollies with performances as FCF, but even with such a direction it does not quite fit into the format of nightclubs. Basically, those parties are not for a wide range, but they are there and that's good.
You are busy just making music or are including promotions, producing...?
Only making music. To make recordings on tapes or disks is part of my personal interests. If you can call that promo or production — then yes, I do it.
Tell me about Tomorrow EP. How long have you worked on the story? Why did it come out exactly on Warminal?
Tomorrow EP could have been released earlier, but we waited for the Autumn. This is a special time of year. The track ‘Farewell’ was originally called ‘Farewell To Summer’.
When I first heard about Essáy, I sent to him demo immediately, but it was a very long time before I heard back. He replied that he is very busy, but he will listen to the material. In the autumn he called on skype and we had a couple of short conversations.
The basis of the EP consists of recordings from the recorder. Each sound has its own history and atmosphere, which I tried to transfer into the tracks. For example, in the track ‘Yardman’ it included the sound of caretaker who sweeps outside the window. This sound reminds me of my childhood, when I was travelling to kindergarten in the mornings.
The track ‘Ghost Kitchen’ also has a story. Once we had a bunch of people in the apartment, all were in complete oblivion and I forgot switched-on recorder in the kitchen. After hearing the recording the next day, I found a very strange sound on it. The main sample on it was the clanking of the pan. So all the names of the tracks on this EP are telling a story.
Our website supports free releases. And so the next questions we ask all musicians. How do you generally feel about free distribution of music, when musicians allow the material to the network to download or to allow listeners to pay what they want?
It is positive. Any promotion is always positive, though largely symbolic.
But what about the musicians, if they are not getting the money?
Well here I believe that the work and the music are two different directions. And if you are paid for it — it is great, but it should not be a goal, otherwise the music will become your work.
And what specifically frightens you most in the formula of ‘music = work?’.
I really do not want the music to become my job. For me it is a private space where I owe nothing to anybody. Work for me is a concept that is associated with difficulty to benefit society.
Do you think a budding musician should have any idols in the music industry? Or it could harm a beginner?
Of course, to have idols is good. You can and you need to be equal (in sound, not in copying), but the man writes himself, in any case. Even if you imitate someone else.
Critics and observers constantly compared budding musicians with already established artists. Isn't it tiring in general?
I think being compared with someone is not always a pleasant process for a musician. Well... It is good if they only compare... Here are not so many steps from the plagiarism. Well, it’s a slippery question for me of course. Comparison is a very doubtful occupation, in my opinion. I do not know, if it's nice or not.
translation from Russian — Dee Humphris, Anna Maslennikova