The biography of the holy fool

It seems that he is the only one for all of Russia - an alternative showman, opposing the art of absurdity of our reality - and at the same time there are definitely several of them, and how much it is incomprehensible. But it is obvious that the groin around which the army of fans rallied after participating in the Battle of Psychics television show, a groin of religious trash films X “Green Elephant” and “Five bottles of vodka” and groin-the author of the original musical genre, which he calls “Pakhomovskih Fricatronics”, are different people.

And there is also a groin-artist who left the Moscow art anddegrand of the middle of X, but he is a hero for another section of this site. In connection with the advent of the new Album of Pachom, Eskimos, recorded with another artist Zhenya Kukoverov, Denis Boyarinov talked with Sergey Igorevich Pakhomov about his life in art, his philosophy, collaborations with Chris Katler and Maroon 5, continuity with Mamonov and any bargain.

There was such a violin - a quarter, a quarter. Mom slipped and fell on the violin. On this my violin technique is over. But I was fascinated by these classes: fingers setting up, setting a bow, the smell of rosin. In general, I have been engaged in showing all my life. It is more important for me not to fulfill the work, but to sit beautifully in front of the white piano.

Correctly put your hands on the tool, take the chords elegantly, throw your head, sweat. Fripp had a Frippertronika, but this is Pakhomovska Ficatronics. Music is an invisible substance, I think, and in order to make music, it is enough to make sounds. When they ask me: “What are you doing in life? This is quite human and very close to everyone, this is a democratic form, on the other hand, this is a statement by an adventurer, because music is, of course, an adventure.

All my work is an unprincipled polygamy. In all endeavors, including musical ones. I have no barriers. There is no service to some specific musical direction or religion. Or even attachments. This is my property: unprincipled, built into the reception. Their first component is classical music, because my mother constantly took me to the Bolshoi Theater and in the Philharmonic: academic, beautiful, complex music, gold of nibelungs, etc.

And the second-I remember when I was 18 years old, I was hanging out on a small Georgian community of illegal artists, and Seryozha Letov with home-made saxophons and in a sheet came there. He began to play very loudly-to blow, make some lingering sounds, and it surprised me very much.

I was in the company of Andrei Suchilin from "to major" and asked him: “Is it possible to do so? Can he even play harmony? And I was at some kind of exhibition, and some electronic workers played there-I don’t remember who, but not Alexey Borisov-and with the help of electric boxes they published something. This impressed. In general, what kind of music did Moscow underground artists listen to at that time?

For example, I talked with the artists of the hippie direction. In other circles-in analytical and conceptual, among the monastery-they listened to completely different music: classic, minimalism. And I was a swinger and a surfer between these ideologies. Like a bright hero, hippies pulled me to him, and conceptualists - to himself. And I tiptoed out on a chip from the bump to the bump.

And before that, I worked as an artist in a pioneer camp, and there was a beautiful chordonist Sasha - a small strange person, sexually preoccupied. He introduced me into the world of musical impressionism. We listened to music with him and sorted it out - Debussy, Persell, etc. It was the year th. Then I made a fresco to a friend who later became a bandit and who was shot and bought a player for a fee.

He began to go to the stores of records - spent billions of hours there. You come to the "melody" at Kalinin or on Leninsky - and stand for three hours and look at these records. You buy something. Four rubles were foreign good - Polish, Czech. Well, these were sacred, temple things. I was a swinger and a surfer between these ideologies. Then I became interested in percussion - the African tradition, Latin American.

Began to collect percussion instruments and percussion. I had no particular poverty - I sold my work and bought different Kongs, Bongo, Dzhembe. They played very poorly on the percussion - I talked with all the percussionists, but no one could play normally, did not feel rhythmic graphics. We had our own sect of Baster percussionists. I had a friend Misha Shprints, who made percussion instruments on his balcony.

So I became interested in Cuban music, these records were sold: Irakere, Arturo Sandoval. He listened to music - he dismantled the bass and drums. When instrumental music was bored with me, I decided that it was best for me with my rogue in nature just to speak, yell, screaming and so on. No need to carry either a tube, or drums, or a creak, because you can fall on it, but came - yelled and left.

So I came to the purity of the genre. Then I listened to every academic avant -garde - dodecafonia, Schlenberg region, atonality.Just perestroika began, and I suddenly realized that it was cool to make these strange sounds with those who could not, but who want to play people. So it turns out the most interesting, complex, advanced avant -garde. I gathered a group - I had the only requirement for its participants: everyone should be psycho.

Official to have a certificate. The group had a wide range of diseases - mostly schizophrenics and psychopaths, but the most beautiful person with Down syndrome played with us. He played on a penny - hit the instrument three times for a two -hour concert, and then for another two hours he asked if he played well. I answered him: "Great." This is Yura Ivanov and I, a guitarist from the first composition of the “buffoons”, recorded.

He, my old friend, was older than us-called us to the studio in some theater, and we recorded. But it was, rather, the track of Yura Ivanov, and the fact that they played on their own, you can see on YouTube - there are some strange manifestations. Our musical system consisted of three signs: a wave is something that is a only one, a point is a jerky and something else is the third-the middle between the wave and the point.

We also had a reception “to the last viewer” - I called for the group to go on stage and not to leave it until the last viewer leaves. It was necessary to play as beautifully and as ugly as possible. We had a brass-section-two helixes, a saxophone, thrombone, and I played on drums and percussions and at the same time conducted. He asked to switch from point to wave.

The Jum Om group was needed for anarchist breaking into space: “And here we are to hello. Nobody to call us, but we will bite you to the grinding of a toothy. ” This is a good technique. I advise all the youth and the poor: guys, work with your ambitions, but only talented. For example, we burst into the festival "Alternative", which the late Tanya Didenko did. There, in the hall, someone whore-bucket-beam-bucket plays Feldman, and we are in the corridor of Dumy-Pertim, make dodecafonic sounds, play our points, and waves, and something third.

We were kicked out of there - there were fights, all this was accompanied by joyful dynamics. But after one of these performances, Tanya Didenko told me that this was one of the best concerts in her life. So we reached some heights in our pseudo-Academy Academician, we began to call us at festivals. Suddenly, a baroness from Syria appeared and says: let's come with us in some halls.

We did not reach Syria, but reached some kind of festival in Berlin. I asked my friends to make home -made tools - we had giant tremobites and shock units from plywood, powerful things. That was the avant -garde. Have you ever crossed with him? He arrived at Hansa Records to write some kind of soundtrack, and we turned out to be neighbors in Grunvald.

They lived on the Königsalle, and I lived on Hyansstrasse - I had a residence there, in the house of the founder of the Museum of the Berlin Wall of Rainer Hildebrandt. Kurekhin and I spent two days without separation. I showed him my Berlin, he is my own. We discussed the records. Then we crossed him several times in Russia at some concerts. Seryozha was open a man and very talented.

Constantly fantasized and sang something. Because at this time I mainly lived in Europe. When I showed him my collection of records in Berlin - I had Tuxedomoon and Vangelis in it, for example, - on the one hand, it surprised him: after all, Tuxedomoon was advanced, and Vangelis - snot. On the other hand, Sergei himself gradually came to the fact that the musical space is one.

There is no division into "Sweet" and "elite." This is all a single world, one universe.