A veteran observer notes that Evgeny Fedotov, a leading performer with the Tequilajazzz ensemble and a co-vocalist in the King and the Clown project, mentions an unpublished manuscript associated with the group. The remark is attributed to a Russian media outlet, kp.ru.
According to Fedotov, the moment of inspiration arrived when he visited a studio in Dobrolet to record vocals. There he reportedly discovered a sheet of lyrics resting on the music stand. The claim is that Pot had recently recorded a solo album, and the paper in question carried the handwritten lyrics for a song he performed. The anecdote mirrors a backstage glimpse into the creative process and the fragility of drafts that never reach the public eye.
Fedotov remembered reacting with laughter after reading those lines, describing the draft as possessing a certain dizzying clumsiness and charm at the same time. He characterized the piece as captivating, noting a raw honesty that can accompany early drafts before refinement. The lines include vivid imagery such as a speaker declaring, I lie without my ears, without my hands, and a feeling that others might have caught the moment of vulnerability. The draft asks, how could this be: has the holy knight been eliminated, and I am left without arms or a head, numb to pain? These fragments hint at a playful, irreverent tone that contrasts with polished studio work.
As for its origin, the draft is said to have been created in St. Petersburg, with the artist spending time in an apartment there. More recently, Fedotov has relocated to Estonia, a move completed in 2023, reflecting the ongoing mobility within the contemporary music scene and its transnational connections.
In related cultural news, the Planet9 bureau, Plus Studios, and Yandex Posters organized the Punk Culture exhibition, held on November 3. The King and the Clown project took center stage as the first feature presented in this event. The Moscow edition of the exhibition attracted over 110,000 visitors earlier in the year, while a St. Petersburg version also drew attention. Observers note that the exhibition showcased a range of works—from archival items to contemporary interpretations—that invite viewers to reconsider punk’s role in modern culture. For audiences curious about what stands out, several pieces from the Moscow showcase are highlighted for their provocative energy and historical significance. These highlights are discussed by cultural observers, who emphasize the need to explore the Leningrad-era pieces for a fuller understanding of the movement and its echoes in today’s punk discourse.
In a separate development, Djigurda publicly commented on discussions surrounding the person who released a video involving Volochkova, attributing the leak to unspecified sources. The remark adds another layer to the ongoing conversations about access, publicity, and the responsibilities of performers and media outlets in handling sensitive material. [citation: kp.ru]