— The interviewer asks for more details about the track “Tavern,” seeking the author of the lyrics and melody and whether the interviewee contributed to the composition.
— The piece is described as a light, Irish-flavored tune. The regular creators of the Smeshariki project are Marina Landa and Sergei Vasiliev, as noted by sources such as socialbites.ca. The interviewee, a fan of Irish music, joined the project as a performer.
— When the song first met the artist, what thoughts arose, and were there any changes made during the process?
— The interviewee participated as an actor, which explains the invitation. He respects other writers’ concepts and would not have joined if the concept hadn’t resonated with him.
— Was any special preparation needed for this project?
– It was a straightforward track. The artist arrived at the studio, completed his part within the allotted time, and even explored different vocal stylings to help choose the most fitting approach.
— Do you see this song as having the potential to become a standalone hit?
— The primary goal is to add color to the Smeshariki cartoon universe, the core idea being to complement the animated world with vibrant music that pairs well with the visuals.
— The artist has previously collaborated with Ricky Group of Companies on the Finnick soundtrack. What draws him to such collaborations?
– Children shape the future. Animated series that educate and inform help create a better world.
— Do you watch cartoons yourself?
— He enjoys 3D animation and even creates his own shorts, sharing some of his work on platforms like Zen, VKontakte, and YouTube. He recalls watching many cartoons with his daughters when they were younger and knowing several by heart.
— What artistic projects has he developed as an artist?
— He crafted a hand-drawn music video for “Forester,” later transitioning to 3D for works like “Sons of the Sewer” and “Horrors of an Abandoned House.” He also produced videos for songs such as “Bira-bira-bira” and “Bear” in a similar style. He continues drawing, pursuing many ongoing projects, including KnyaZz’s new album visuals titled “Pay for the Jester!” and a newly completed album design. A recent release features a collection of his childhood to present drawings in a book titled “The Jester’s Fairytale World.”
— Is there a personal favorite among Russian and international cartoons?
— A cherished Soviet-era favorite is “The Secret of the Third Planet,” which he enjoyed both in childhood and adulthood. He has watched Shrek and, about a decade and a half ago, developed an interest in foreign 3D cinema, including a film about a child who longs to see Santa and takes a New Year’s Express ride, though details are intentionally left vague to avoid spoilers.
— Have you and your children seen “Smeshariki”?
— In the interviewee’s family, those years were marked by different favorites; he and his children watched other series, not always the Smeshariki lineup.
— When first encountering the content of “Smeshariki,” did he realize there is depth beyond a typical children’s cartoon?
– This is obvious to him. He believes children’s animations should carry weight and responsibility, aiming to educate while entertaining. By guiding young viewers, they also mature as people.
— What creative plans lie ahead?
— He is preparing for the next year’s concert visuals. In 2024, the band KnyaZz plans major stadium shows with a heavy emphasis on visual storytelling, ensuring audiences experience more than just music—a journey through different worlds.
— How does he assess the reception of “The King and the Clown” this year? Did the series, exhibitions, and events meet expectations, especially among younger audiences?
“I’m pleased with the outcome.” He often wondered how to share their fairy tale with children and teens who might not discover their music on their own. The series reached households widely, which felt like a personal peace, signaling that audiences now have a choice and can discover their music through the show.
— What is his take on the current state of Russian rock and the difficulty of matching the energy and reach of bands like KiSh?
“There are more questions than answers,” he says. He notes a shared challenge across countries: in the digital era, audiences are saturated, making it harder to capture attention. Fewer bands emerge, and writers may lack fresh ideas, though it remains a complex topic with no single explanation.
— Do disputes over song ownership or performances arise often, especially with impersonators?
— He prefers not to police his own creativity; a legal representative handles any infringements, underscoring a practical approach to rights and originality.
— What does he think about artists who copy his style or appearance?
— He values living in his own world and crafting something new to surprise fans. If others follow suit in helpful ways, that’s fine, though he emphasizes the importance of authentic self-expression. He notes that a culture has been created and now entered public consciousness, but genuine creativity remains the core that distinguishes true originality.
— Has there been a recent discovery in his ongoing creativity?
— Vocals have improved through constant touring, making previously challenging songs easier. The approach to new material has shifted, and listeners will hear the difference on the upcoming album. He is also advancing his 3D graphics skills, planning concert visuals and video projects that push the boundaries of what audiences expect from live shows.
— Looking back at Mikhail Gorshenev’s legacy and the year he would have turned 50, would the show align with his character?
“It’s hard to speak for others,” he acknowledges. People evolve in unpredictable ways. He notes that Gorshenev’s openness about struggle resonated with viewers, and the show captured that dynamic. In today’s internet age, materials about him abound, offering a wealth of avenues for those who wish to learn more.