How would you define the music of both of your projects – “Bosch’s With You” and “Light Under Water”? Do you think the public has an accurate perception of your music?
“To define is to limit”
I’m not the author of these words, but I really agree with them 100%. Nevertheless, “Bosch’s With You” is, in my opinion, a mix of psychedelia and ambient. “Light Under Water” has a related sound, of course, but anyway, it has more to ambient and minimalism.
It’s hard to tell what the public used to think about us. Perhaps, “Light Under Water” is indeed taken in the way it really is. But “Bosch’s With You” is sometimes thought to be “storm-like post-rock” or something we never played and do not intend to play. I do not blame people for misinformation – neither those who create it, nor still less those who suffer from it. I think I understood everything a long time ago already: In order to be called a “post-rock band” it’s sufficient to play guitars and refuse from singing… though, even singing can suit.
Why instrumental music? How did you come to playing this type of music?
Just because music by itself is enough. If we need words – we’ll put them inside. This is not a fundamental position.
Do the groups have a distinct leader, or the music a result of common activity from all the members? And how do you think the roles in the instrumental group should be distributed?
I don’t have a distinct opinion for role distribution in any group. I totally can’t see myself as a guy who will tell others how they should play. Let them sort this out themselves. Perhaps, I’m the thought leader among us here. However, music that you can hear at the shows is the result of common activity, certainly.
Now let’s talk about the groups’ history. How did everything start and how did the names for the groups appear? Do they have the real correspondence with the music made by them?
Here’s the “Bosch’s With You” history: first it was my one-man studio-based project. In 2004 we had another band – “Pilots Up In Smoke”. Some of the things I’ve brought to the group didn’t suit the band’s conception. That’s why all the other band members have prohibited these things. Then I decided to record the album all alone. By that time I thought that I’m writing the album just for myself, though an independent label “Jagi Jagi” decided to release it. That’s how “Bosch’s with You” appeared, briefly. Bosch is my favorite artist. One evening, when the first album was nearly recorded, I thumbed a sketchbook of his paintings, trying to think out a name for my new project.
“Light Under Water” appeared two years ago. Love to both ambient and minimalism, and a desire to play this music live have united us. About the project's name, “Light Under Water” is a name of one of the tracks of the “Bosch’s With You” second album. A figure has turned out to be suitable and we decided that this is what we were looking for.
“Defamiliarisation” has a strange remark – “Live In Studio”. Could you please describe how the album was recorded and why was this recording method selected?
The remark “Live In Studio” tells you that the album was recorded live, one at a time. Previous “Bosch’s With You” records, as well as the fourth record that is to be released by R.A.I.G. soon, were recorded in the other way. The first two albums are definitely my solo works, because all of the instruments except for the drums were made by me. When played live, these tracks sound completely different, and we desired to record them sounding like that very much.
Another question concerning this record: its intentional meditativeness, especially in the first track – does it aim to relax a listener psychologically and ship him into some tranquil state? And, generally, what emotions does this record try to create, in your opinion?
It’s hard to tell exactly which emotions a record should create. Everybody feels music in his own way. And, surely, while listening to some meditative pieces of our music, some steep into its atmosphere and get enjoyment of it, and the others start feeling bored. It would be strange to tell that those who are not imbued they are wrong. There’s a lot of music, and anyone may find what he likes.
And what about all those “hctd” in the songs’ names – what do they mean? And generally, what approach do you use when choosing track names for each of the bands?
HCTD is “here came the day”. All the names come up as a result of meditation and brainstorming.
What bands would you like to play with?
In October, an outstanding Italian group “Port-Royal” will come to Russia. If all goes well, we’ll play together in Moscow and St. Petersburg. The coordinator of the festival “Stop The Silence” and I have done a lot for these shows to take place, and now they are the only thing we think about. I must admit that I feel very happy and excited while waiting for them.
How do you find the state of modern Russian and post-Soviet post-rock? How can you see the horizons of its extension?
Russian post-rock, in my opinion, is now in apprenticeship period. Some original things that appear, do not always suit the post-rock borders, though it’s quite interesting music. As for horizons… in 5-10 years, when world fashion will come to our mainstream, post-rock will finally find its place on TV and radio rotations. But the world will have some new post-post-post-rock by that time.
And what about the horizons of the world post-rock?
Who knows where the horizon may lead? Probably, post-rock will evolve, and something new will appear.
“Bosch’s With You” has had some lineup changes. What do you expect to find in a new member?
We expect adequacy, professionalism, and a high desire to play particularly this music.
Another standard question: what are you listening to now? What music piques your interest?
I always tend to listen to a lot of different music. There’s plenty of favorite bands. Here are few of them:
air formation, bardo pond, belong, black ox orkestar, chihei hatakeyama, dead texan, early day miners, fleeting joys, flying saucer attack, hala strana, hisato higuchi, labradford, landing, loren connors, rachel's, rafael toral, rothko, tim hecker, windy & carl, yellow6. And, of course, I like very much a silver mt. zion, godspeed you black emperor, my bloody valentine, velvet underground, syd barrett and others of that kind.
What are you busy with, except for music?
If you’re asking about my hobby, I’m a great admirer of auteur cinema and good books. But anyway, music takes 90% of my time. If you’re asking about my work, it’s just an instrument for making money to play music. So, it’s not an interesting thing to talk about.
What do you see in the future of “Bosch’s With You” and “Light Under Water”? What are the plans for projects' development? Will they possibly become closer to each other, or will they expand in totally different ways, becoming still less similar to each other?
Bosch is the only one who knows that. It’s art, anyway, that’s why there’s always an element of surprise. It never happens exactly the way you plan. Even while recording, you still figure out new thoughts and new passages.
What’s the most important and valuable quality of the people who listen to your music,?
A desire to listen, to develop musical tastes, and a readiness to understand – at least try to understand and take new things.
Finally, what are your immediate plans? What about shows, tours, new records? Do you plan tour abroad, particularly, in Ukraine?
In the near future plans we have a lot of band practice. When we’re ready, we can speak about the shows. If someone asks us to come to Ukraine, we’ll go. We have planned shows abroad also, but I’d like to leave these plans unrevealed at a time. By the end of the year, the debut release by “Light Under Water” will come out. It will be released in Germany, so, maybe it will be hard to get, though, I’m sure that anyone who will desire to, will manage to do it. Now we prepare to record a second album.
“Bosch’s With You” is now working on a trilogy “Dreams That Come A Thing”. The first part of it will come out in the fall on R.A.I.G. label. It’s quite soon. The second part is already recorded, though it’s still too early to talk about its release. We’d like to release this material on vinyl only. Maybe, we’ll do it just in this way. As for the third part – we’ve started to work on it, but the finish isn’t close still.
What would you like to wish to all the people who will read this interview – e.g. your existing or future listeners?
I’d wish to find your own things – both in music and in life. And those who have already found them – keep on moving.
The SIlent Ballet thanks Dima T. Pilot and Bosch's With You for the interview. More information on the band can be found here.