Blogger Ilya Milokhin recently spoke with the outlet Beware now, expressing dissatisfaction with his former producer, Maria Pogrebnyak. He alleges that Pogrebnyak failed to align with his goals and interests, instead prioritizing her own needs and professional gains. Milokhin describes a pattern of rigid controls and limiting terms that he says stifled his creative and career choices.
Milokhin claims that at a certain point serious investors showed interest in backing his work, and he even entered into discussions with Gazgolder, a prominent record label. He says he began vocal training and prepared to sign a contract, but Pogrebnyak allegedly refused to sign on his behalf, which Milokhin cites as a turning point leading to his separation from her management. He asserts that this dismissal forced him to leave Russia under pressure, as threats against him and his team escalated.
According to Milokhin, the threats extended beyond intimidation. He describes coercive moves that included the risk of illegal drug-related actions being used to pressure compliance, which made a safe exit imperative. He recounts that he had to flee Moscow under cover of darkness, taking with him only what he could save. Milokhin says the subsequent reality was that his digital accounts were effectively controlled by others, leaving him unable to recover data or access important communications unless he complied with contractual demands. He adds that the situation created an environment of fear and uncertainty about his future career and personal safety, a consequence he says was directly linked to the contractual relationship and the people involved in it.
The narrative Milokhin shares paints a picture of tension between an artist seeking broad support and a manager who allegedly pursued a narrow, self-serving agenda. The account emphasizes how professional relationships in the music industry can influence an artist’s trajectory, especially when financial backers and producers become entangled with creative decisions, and how disputes over control of contracts can lead to drastic measures, including relocation and the loss of critical communications channels. Milokhin stresses that his decision to distance himself from Pogrebnyak was not merely about artistic differences but also about safeguarding his safety and his ability to pursue music under terms that reflected his own vision and standards.
In closing, the remarks from Milokhin touch on broader questions about collaboration, accountability, and the responsibilities that come with managing a rising talent. The situation illustrates the high stakes involved when investments, contracts, and personal security intersect in a rapidly changing entertainment landscape. The overall account underscores the importance of clear terms, transparent negotiation, and protective measures for artists navigating early success amid external pressures. While the specifics of any legal actions, settlements, or outcomes remain to be clarified, the narrative offers an insight into the challenges faced by performers as they chart their paths through a demanding industry. It also reflects how relationships within the music business can shape or derail a career, depending on how partnerships are structured and managed.