– On August 11, a concert took place in St. Petersburg, and a performance in Moscow was scheduled for August 12. Is the heavy schedule getting exhausting?
– The schedule feels surprisingly light to me. It’s not about exhausting tours and many cities, but about meeting like-minded people under streetlights. It’s not the quantity that matters, it’s the quality. I love concerts because the energy from the audience is unique and irreplaceable. Being in the same room, sharing the same wavelength, is something special.
How would you describe the style of your music? Which genre dominates? Does it change over time?
“I keep calling it lo-fi. It forms the foundation of my work. Many call it ethnic, but I see it a bit differently. Ethnic motifs from Asian cultures appear, yet the hip‑hop element remains central. Over the years I have experimented more, but performing hip‑hop solo for a decade is no easy task. Lately, breakbeat, phonk, and trap have grown in prominence. Yet I always stay true to the origins and keep things in my usual, stripped-down approach.”
Which musicians inspired you at the beginning of your career? Have you tried to imitate someone or have you simply searched for your own voice?
– It is often said that early stages drew inspiration from Mujo情, Buddah Killah, and Lord Beatjitzu. The initial sound echoed theirs, and the first tracks bore a strong resemblance. Eventually, a distinctive style emerged spontaneously; there was no deliberate pursuit of a specific direction.
– Whose work draws you in these days?
– The present favorites include Czarfase, MF Doom, Larry June, and The Alchemist. The line of influence continues to evolve with time.
— Is it possible to hear your music in films, TV, or games? Do you receive offers, or do you initiate collaborations yourself?
– Projects with games happen, though not on blockbuster scales. Often the music appears in autobloggers or chaotic, no-holds-barred fight clips. The artist dislikes being forced into opportunities and resents approaches like, “Here is my music, please consider using it.” Still, genuine listeners who appreciate and want to collaborate are welcomed.
Which music festivals have you performed at? What was the most memorable part of this experience?
– Festivals are a long journey, from Japanese cultural celebrations to City Day events. It isn’t easy to pick a single highlight. Automotive showcases and music-focused events like FU-JI hold equal value. It’s best described as a mix of moments rather than a single standout, and a smile often accompanies the answer.
— How do you feel listening to your music on a record? Do you relax and soar, or focus more on the technical side?
The artist mostly listens while performing live. If encountered in other places, such as a taxi, the preference is to switch tracks or turn it off. Preparation involves playing a piece hundreds of times before a concert, which can make repetition unbearable over time.
Not much is known about the biography. Where were you born, and what was childhood like?
– Born in the Udmurt Republic, in the town of Glazov, an industrial city with about 100,000 residents. The year of birth was 1994, and childhood felt like the pinnacle of happiness. Time spent outside, with home entertainment consoles like Dendy and Sega, remains a vivid memory. It was the golden era of television, with Disney, early anime, and classic Hollywood action films shaping conversations about who Schwarzenegger and Predator were.
— How did you study Asian folklore and decide to weave it into your work?
– It happened naturally, not through deliberate study. The influence came through television, anime, YouTube, and popular culture. From childhood, there were ninja films and martial arts fantasies, plus Godzilla. It all accumulated and then leapt into creativity.
– You mentioned driving a Toyota Chaser. Why this choice when it seems obvious to some?
– The family owns two cars — a Mercedes E 200 and a Toyota Chaser. The artist’s own car is the Mercedes; the Toyota belongs to a spouse. The Chaser has right-hand steering and an engaging, powerful feel that invites spirited driving. Its manual transmission encourages adventurous driving. Recently, maintenance costs have risen, partly due to global supply trends and parts shortages for JDM cars, which adds a practical angle to the choice.
As for the Mercedes, it is beloved for its beauty, solidity, and comfort; there’s a running joke about preferences tied to this badge, which resonates with a certain cultural aura as well.
– Have you visited Japan or other Asian countries?
– Travel hasn’t happened yet due to financial and other constraints, but there is hope to visit soon.
— Have you studied Japanese or tried martial arts?
– Some basic Japanese is known, mainly due to anime. It is a difficult language with limited global utility compared to English, which is more practical for broad communication. Martial arts were part of childhood elsewhere, but formal training was limited to basic boxing rather than a sustained regimen.
— Have you thought about creating pieces with elements of Russia’s national music? What is your stance on that?
– There are several tracks that draw on Soviet-era influences. For example, a sample from Edita Piekha’s Veronica and Relics from VIA collectives appear in work. A Tajik singer, Mukaddas Nabiyeva, is referenced in a solo album’s demo. The legacy of older Seppuku collections is also acknowledged, reflecting a broader appreciation for regional musical heritage.
How do you promote your art? Are scandals or provocations a tool, or do you avoid them? What is your view on such tactics?
– Black PR is still PR, but it is not something the artist supports. Honesty matters most. Those who build a name through scandal often attract a toxic audience. Artists who earn their audience through genuine creativity command greater respect. Personal integrity matters more than fame or wealth.
– Who, in your view, is the most talented musician in Russia right now?
– In terms of current momentum, 52 NGG stands out. Antokha MS is also a compelling artist with a distinctive voice, deserving broader recognition.
– After February 24, many artists left Russia and imported music slowed. Could this improve audience reach abroad and reduce concert opportunities domestically?
– That interpretation misses the gravity of the situation. February 24 is a tragedy for any decent person, and profiting from it would be deeply unfair. The focus remains on integrity and resilience in making music, regardless of external conditions.