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Find out moreAzbuka Publishing House has released a reissue of the book "Silent Witness" in the "Azbuka. Voices" series, 25 years after its first publication. This collection is dedicated to the literary legacy of Sergei Kuryokhin, a prominent figure in the Leningrad rock scene, a composer, and experimentalist who also became known as a singer of absurdism and the creator of the famous "Lenin-mushroom" meme. The book offers an in-depth analysis of Kuryokhin's work and its influence on Russian culture, making it essential reading for anyone interested in music and literature.
This new version of the book, in addition to previously published texts by Kuryokhin, such as screenplays, librettos, and interviews with himself, includes an article titled "The Morphology of Popular Mechanics." This text was first published in OM magazine in January-February 1997. With the publisher's permission, we present excerpts from this article.
- about musical marginality;
- about treacherous interpretation;
- about plagiarism and sampling as a new musical aesthetics;
- about the poetics of pauses;
- about romanticism as a way to escape from postmodernism;
- about folklore and epigonism;
- and, finally, about the dictatorship of art.
About musical marginality
I was lucky that I evolved along with the development of rock music and partly with jazz, since the peaks of dying jazz and blossoming rock coincided. For us, this is history now, but back then, new albums by Coltrane and the Beatles were simply coming out, and no one could have imagined that they would become classics. This period of musical transformation was a landmark that influenced numerous genres and artists, shaping the modern perception of music.
I've always had a love for rock music, but I was also fascinated by jazz, which was quite unusual for my generation. These two genres represent diametrically opposed approaches to musical expression. It still amazes me how some people can enjoy both jazz and rock simultaneously. When someone claims to love both music, I question the sincerity of this statement, as at a deep level, these genres contradict each other. Jazz and rock are two different aspects of human energy, each with its own unique nature. Therefore, mixing these styles often leads to the creation of unsuccessful musical projects that lack originality and depth, causing only bewilderment and ridicule among true connoisseurs.
I passionately played and loved jazz, rock, and classical music, harmoniously combining elements of these three genres. This has allowed me to develop a unique style that can be described as trinitarian schizophrenia, where every musical stream enriches my creative process and inspiration.
At first, playing three different styles of music was difficult, but over time I got used to it. By the 70s, I was already feeling confident. However, I wasn't interested in performing with people who played jazz, classical music, or rock. While playing one, I was constantly thinking about the other. When I played Mozart, I missed jazz, and vice versa. And so I continued: I performed with practically all the rock bands in Leningrad, interacted with most jazz musicians, with the exception of traditional ones, who did not accept me, as well as with classical performers, who, unfortunately, did not take me seriously.
My adequacy to all cultures led to the fact that I ceased to be adequate to any of them. I could not find myself in any environment. Jazz musicians perceived me as a rock musician, rock musicians saw me as a jazzman, and classical performers considered me an unpleasant, mean and stupid person. "Pop mechanics" became a reflection of my ideas about various musical trends. I was not interested in the internal structure of each of these phenomena; only their interaction and influence on each other was important.
On Treacherous Interpretation
Interpretation must always correspond to the subject of reflection. If the interpretation is not related to the topic in question, it is not true reflection, but a superficial analysis. For example, if the performance of Mozart's music does not reflect his unique style, it loses its essence. Similarly, in Soviet jazz, performers who were in their element often seemed out of place to me, as their reflections fell short of the ideal they strove to reproduce. It's important to understand that true interpretation requires a deep understanding of the context and essence of the subject.
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To give a model a caricatured character, it is necessary to sincerely love it, while maintaining an element of betrayal. This betrayal must be deep and all-encompassing. Love for the model is fundamental, since you can only betray what you truly value. By renouncing old love, you open the door to a new one, which allows you to constantly remain in a state of love. This movement does not lead to involution, but, on the contrary, promotes genuine evolution. As a result, you create something new—be it stone or wood—that reflects your development and transformation over time.
On Plagiarism and Sampling as a New Musical Aesthetics
In Pop Mechanics, my goal is to integrate elements of various musical genres. This reflects the unique form of my perception and thinking. Although there is no deep morphological connection between musical cultures, they are able to coexist and interact. As a result of this interaction, a new musical morphology is formed. Modern techno is created according to a similar principle. I borrow the rhythm section and powerful drums from rock music, and also use elements inspired by jazz, for example, fragments from the work of Count Basie, which are superimposed on compositions in the style of Status Quo. Other influences are also added, which makes the sound unique and multilayered.
The advent of the sampler ushered in not only a new technology but also a new aesthetic in music. Techno opened the door to a new musical thinking. Previously, using someone else's music in one's own compositions was perceived as plagiarism, but with the advent of techno, this concept became part of the cultural context and was elevated to a cult. Plagiarism became a key aesthetic element, where various morphological structures are superimposed on a single rhythm capable of evoking an ecstatic state. Rhythm, the foundation of any ritual, makes techno a new ritual music. A similar concept is observed in "Pop Mechanics." Here, the performance of a folk ensemble is irrelevant; only a clearly expressed symbol, a sign, is important. I maintain that it doesn’t matter whether it concerns Russian or Tibetan folklore, the main thing is to create the feeling of folk music.
On the poetics of pauses
Recently, I have become fascinated with creating silence in my works. Previously, I used the technique of layering, adding elements on top of each other, but now I am attracted to a concept based on simplification. I prefer to choose compositions consisting of three or four levels and get rid of one or two of them. For example, imagine a ballet where the dancers perform in complete silence. They carry out familiar movements, but the absence of sound creates a striking impression. It is truly unusual and even absurd. This is where the principle of “loss of one of the key elements” comes into play. If before I strove for saturation, now I focus on pauses. This is a new worldview. A number is announced, but no one comes out; Then someone comes on who doesn't deliver, and there's another pause. Then someone comes on again, and everyone waits again. The skillful use of pauses can create an incredible feeling. It brings real pleasure.
On Romanticism as a Way Out of Postmodernism
The flow of information has reached such a level that it is almost impossible to ignore postmodernism. In response, there is a desire among filmmakers to create simple, sentimental films reminiscent of the works of the 1950s. However, the results often look unsuccessful - it is impossible to step into the same river twice. Their desire to break out of the current situation is noticeable, but the end product is a reflection of reflection, not a sincere need to create such works. To create truly significant works, you need to have courage. Otherwise, every work is tinged with artificiality.
Filmmakers strive to escape the postmodern era, but the lofty spirit of romance they seek often boils down to sentimentalism. Contemporary art demands a powerful romantic impulse that can reach the level of heroism. People, unable to find their place in art, sometimes turn to radical action, as Limonov does, for example. However, true romantic impulse demands self-sacrifice, something only a few are capable of. The desire for tragic love and tragic death creates a need for powerful romantic heroes who can show the way out of postmodernism.
On Folklore and Imitation
Culture in modern society no longer plays such a significant role as it did ten years ago. Folklore should always be the foundation of culture, but our perception of our own folklore often boils down to perceiving it as kitsch. We do not consider it folk art. As soon as an ensemble with traditional Russian instruments appears, it is perceived as kitsch. Other forms of folklore may be accepted, but our own traditions only evoke ridicule. In this context, one could say that our culture is prone to epigonism. Even when punk emerged, it was difficult to imagine that it would find its fans in Russia, but over time, this happened. The same goes for new age music: two simple chords might seem like a hard sell, but the genre has gradually gained popularity and become part of the musical landscape.
On the Dictatorship of Art
Cultural creators often find themselves in a state of inaction and need to be pushed into action without explaining their intentions. This can be done by forcing them to cross creative boundaries or by using financial incentives. For example, you can offer a musician a significant sum for creating a work that will impress audiences. Strict control is necessary in art, which can become the basis for the formation of a new totalitarian state. Certain actions of a small group of people can radically change cultural and political foundations, creating chaos from which it will be difficult to restore the previous framework.
Today, politics already influences culture, but the introduction of a strict regime in the cultural sphere can lead to culture beginning to control politics. Old boundaries must be closed and new ones established. The question of what will happen next remains open. Contradicting the natural course of development is pointless. Simply telling a musician what to do to create art may not earn their respect. Therefore, using tricks and deception is essential to inspire genuine artistic expression. With limited resources and no coercion, the only option is to manipulate the situation to achieve desired cultural results.
Reading is an important aspect of development and learning. It not only enriches our vocabulary but also helps develop critical thinking. Books, articles, and other materials provide an opportunity to immerse ourselves in new ideas and concepts. To improve your reading skills, it's worth focusing on a variety of genres and styles. This will broaden your horizons and deepen your understanding of various topics. Regular reading also helps improve concentration and memory. Don't miss the opportunity to get acquainted with new works and explore the world of literature.
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