Tour dates



Concert Management


Tour Dates

  • 20.07 Izhevsk
  • 21.07 Nashestvie
  • 25.07 Moskva
  • 31.07 Sankt-Peterburg
  • 04.08 Taman
  • 17.08 Rostov-na-Donu
  • 18.08 Roza Hutor

26.05.2004 IN HUMAN APPEARANCE - Fuzz Magazine, December 2003

Fuzz Magazine, December 2003


They are able to destroy the borders between so called Russian rock and western music. They are reaching the audience without aggressive TV and radio rotations. They are the band Animal Jazz. The art of Animal Jazz is an incredible synthesis of brutal musical bases and complex harmonies, associative and emotional modes and impossible guitar structures, strong power-intensive vocal and deep easy perceiving lyricism, irreproachable technical skill onstage and in studio. Zhavnerovich has met with the musicians to talk about their new album "Stereolove".

Fuzz: Tell about general concept of the album and more detailed about each one of the tracks.
Mihalych (vocal): This album is about love. It's about love to a concrete person, about unrequited love, tragic but in the optimistic form. In general, this work will be much more optimistic than previous ones. Therefore, it's "Stereolove".
Gene (guitar): This isn't about love to the native land, like Shevchuck sings. And if some band as "SMASH" sings simply about love, we sing about cruel love.
Mihalych: Yes, about brutal, but it's positive. It's such optimistic love maniac. There're a lot of unintelligible words and phrases in texts, which have to be thought enough.

Fuzz: By the way, what's the main for you, music or lyrics?
Mihalych: Of course, music is. It's everything and lyrics are a certain semantic thing helping us to express verbally that we in music do.
Gene: Lyrics for Russians.
Mihalych: Yes, there're no English texts on the album. Though we thought to make some songs in English, but then decided to do all understandable.

Fuzz: It looks paradoxically enough. I mean your sound is generally pro - western oriented.
Mihalych: In general, life is a paradoxical, especially the part of it concerning Animal Jazz. And the recording process of the album was absolutely paradoxical.
Gene: I always thought when I looked at pop-stars or someone like that how they can make a recording of one album for years. And only now during the recording of our album I understood what it means to work in studio. It's not just a recording of your usual concert well-known guitar parts, but it is many variants of it, played with different moods. If I came angry - I got angry recording, if I came kind - got kind, came drunk - got shit, came sober - got sober and etc. That's why "Stereolove" is a real work and all of us musicians and producers worked on it. I guess it will be a worthy product.
Mihalych: Yeah, really. We put much attention to the studio working process. We changed guitars, studios. Basically, the recording was made at DDT studio. And the emotional state was very important for us. Many things depended on the mood in which we were during recording. And then we took tracks suiting us emotionally. And the album will be emotionally sated. We tried to make it very alive, so we had to work hard to do it such.
Andrei Zaitsev (producer): At the beginning, I and our sound-producer Yura wanted to record an album in a style of synthe-pop. But then we realized if we do it, that won't be Animal Jazz at all. And in general, we'll have to be engaged in something another.
Mihalych: But anyway, we'll mock the synthe-pop still! You know, I and Boris our keyboard player wanted to make an album in a genre of crazy-chanson. The same songs but in this style. Though, Boris now is in optimistic mood and crazy-chanson is such a maniac thing that: so we decided to postpone this idea.
Gene: As to the album. "Stereolove" is a high-grade heavy real rock record. I believe all kids who'll buy the record will like it.
Mihalych: And housewives will like it too. That's just for them. To tell the truth, there're no jokes on the album, it's very serious. Though, there's one moment when I'm speaking damns. It happened occasionally and Yura left it in the recording.
Gene: And there're a few moments when I'm playing wrong.
Mihalych: Generally, we wanted to kill the album at the moment we see first mistakes. But then we thought it's very worthy to be killed for two wrong played notes.

Fuzz: Let's talk about songs from the album.
Mihalych: Well, song "Stereolubov" is a title song and that's not because of its good title but because of its content. This is about unrequited love.

Fuzz: Why unrequited, if it flows from two channels at one time?
Mihalych: It's a cruel love. In this case it's practically lethal. Love and death come together from two speakers. They always cross with each other and some mysterious life combinations appear. Most of songs were recorded with such sensations.
Gene: I guess, there's one person in our band who is able to express his love to the song at the first time. And then don't' think about it at all. He made his drums parts so perfect that the others had to rerecord their own parts for a few times just to be equal to what he did. We have great drums throughout the whole album. I think it's a big plus. Especially for song "Stereolove". It's just overfilled with power.
Mihalych: I was recording vocal for this song and felt sometimes like someone was breathing in my headphones. And then I listened attentively it turned out that our drummer just was so emotionally beating. The drums emanate something alive. Song "Listopad" is the most autumn song from all recorded. Because I tried to express this mood, when grass is still green and leaf are already falling. Actually, it happens such feeling inside.
Andrei: This is the most typical song at the point of modern rock music. It's the most listenable song. There're no any megasurprises.
Mihalych: This one is the most Animal Jazz's song and it could be on any of our albums.
Gene: I don't like the part of acoustic guitar, which I have written myself, 'cause after the fortieth playing of it, my fingers start to cramp.
Mihalych: If we make him to play this, then he goes to the bar to get some coffee and to come to. And we have to make out without guitarist. Next song called "America", it's not about terrorism. It's about the opening of America within you.
Gene: Mihalych always wanted to America, but he wasn't let.
Mihalych: This is the only song on the album where I am laughing at everything I am doing there. If there is any pathos in this song, it's obviously false. I tried to put it like I taunt at taunts. There're such words "My America is opened". But it's absolutely impossible. Saying this one man falls in such inexpressible pathos.
Andrei: By the way, you noticed that all the heaviest songs of Animal Jazz named with one word. For example, "Iuda" or "Moscow" too.
Mihalych: It's because the heavy songs are simple and clear. And if a song is easy it's usually more complicated and it's necessary to take the whole line to a title. And "America" is such a joking.
Gene: That was the last song we were recording with a seven-stringed guitar. Such a farewell theme.
Mihalych: It happened that Gene broke the guitar after recording.
Gene: And then sold it as a rarity to the band "KIRPICHY". By the way, we used three guitars during making of the album. It was acoustic, seven-stringed and six-stringed "Fender". 8 parts were recorded with each of them.
Mihalych: Song "Moscow". I don't know how Muscovites will consider it. I have very good feeling to the city from the point of what people live in it. I have a lot of friends in Moscow. We meet and spend time very pleasant. This is the case when my relations with the city and with the people are different. I cannot separate St. Petersburg from people living there, because I live there and I know everybody. But in Moscow, there're these completely mad stone walls, this pathos, vanity, traffic - all this is one thing. And the people I sit with in the kitchen in the same city - are completely another. The song is about my attitude to the city. I'm afraid of it and I don't love it. I wrote the text, but musicians which played the song can have the other opinion on this. "Smeysya" - this song I always sing addressing directly to the audience. It's about mutual relations of any composer, artist, song-writer and public. It's about when you're perceived as a joker. My attitude to this is such: "laugh at me, but only one hour I'm yours". And the people onstage laugh better than the others.
Gene: Yeah, when he is singing these words I'm showing this one hour with my middle finger. It's very funny!
Mihalych: Juts a song about fear of stage, of public, of people in general. Next "Pobegi Resniz" . Its working title was "Optimistic" and it's about that everything gonna be alright. Time will put everything to its places and all you need to do it's just to relax and wait for things will happen to you. It doesn't matter bad or good, everything's for better. There's very simple and banal idea in this song. A life with problems is a distinctive mark of modern young 17-19 year people. To cut a long story short, there's no need to be nervous, but to perceive everything as a due. "Nikomu" is very personal song. Firstly, when I was singing it I couldn't strain the tears. This is the most tragic song. Maybe it reminds MUSE with some elements of vocal. "Drugoe Kino" is about The Cinema House in St. Petersburg, where the most modern films are shown. Sometimes there's a prompter sitting behind and alive sounding a film. When it happens I sit down by him and look at his face not on the screen. These people live such life which no one of the movie heroes does. And besides the cinema hall the song is about unfortunate love. "Glazami Etogo Mira" is our eldest and the most psychodelic song. There's the most complex vocal. Except the main party I've sung a lot of back vocals. In general, I did all vocals for the album. This song has the shortest and the clearest lyrics in four lines. And one of them is taken to a title of the song. The idea is simple. No need to force the world with your principles. You just have to give yourself to the happening around and form yourself in accordance with it. It's similar to Buddhism, though I'm not the supporter of this religion. But a positive moment is in that, first - it takes less nerves, second - let all go as it goes. Initially, we thought this song to be something like TOOL, but then in the end it became anti TOOL.
Gene: Green song about green eyes.
Mihalych: Next is "Oranzhevij Dao".
Gene: I like this one very much, because there's such great guitar part.
Mihalych: Yes, all guitarists are selfish. They think only about their guitar parts.
Gene: No, there's a really class guitar, I'm talking not about technical aspects. I mean there's such heavy emotional guitar melody. And it's recorded with the tempo it should exist.
Mihalych: Actually, the name of the song connected with Moscow. When one year ago we played our concert there and after finishing a show we were waiting for a taxi. In some moment I've noticed a crowd of people in orange clothes or with orange hair around me. Then I was just thinking about life way, about Dao. And somehow these two words united together in my mind. I've thought it would be great if everybody had their own orange Dao. Song "15" was out earlier on a same-named single as a supplement to magazines FUZZ and NME. This composition is created on motives of newspaper article, which I've read. The article was about maniac killing 15-year girls. The song is on behalf of 15-year girl dyeing in the park. In autumn.
Gene: By the way, about maniacs. Once I came on a search site and entered the name Ryahovsky and I got thousand of links. Several were about me and Animal Jazz and all the others were about some Dmitryi Ryahovsky who in period from 1991 till 1993 was killing girls and women, basely nuns. So I guess the song was written not occasionally. It's written by Ryahovsky about Ryahovsky and 15-year girl.
Mihalych: "Marlen Ditrich" is from our single "Bolero for Marlen Ditrich" released in September. We've considered impossible to ignore this song and not to put in the album, because it's a tremendous idiocy. Don't try to find any serious sense there, because it's dangerous for brains. You can damage them.
Gene: Yeah, it's a cool song.
Mihalych: Actually, it's a song of necrophilist. In general, it's gothic. Completely gothic song, but all Goths will spit where they get on me if will read all this. Generally, they're so much bred. It's time to shoot them out. And the plot is such - young man went to a cemetery where Marlen Ditrich was buried, dug out a coffin took out the body, danced with it, made all his funny necrophilic things. Taking into account how much I love her and if I could I would merry her. But, of course, she wouldn't agree, because I'm a bagger if us to compare. Well, okay. Now I'll tell what I've never told before about this song. It's about Merlin Monroe. That was just a question of rhymes. Ditrich is more suiting than Monroe. The song was made very easy. I came on rehearsal and told our keyboard player: Boris, imagine you're in the 30s of last century, you're black man sitting in a cafe and playing the old piano. Play to me something like ragtime. He did it in seven times slowly. I said, play it in eight times slowly. He did as I asked. That was the couplet for the song, where I'm singing strange things with stupid voice. And the refrain was made even faster. On a command "Guys, play Animal Jazz!" we played one chord, as we always do and finished on mi. We finish at once as see mi.

Discography. Releases of Animal Jazz in their own words.

"Orangejazz" - March 16, 2002
This is our first release. It was such a good kindergarten. We were so excited on fact that we've made a live recording and at last we've liked the way it sounded. Actually, that was very qualified recording, especially taking into account the place where we were making it. We don't say to anyone where it was. Two songs were recorded at our concert before Rollins Band. And the others were made at such place: even if we tell the name no one will believe that it was possible to make such class recording there. Design of the cover was made by Igor Buligin's friend Sergey Sokolov. We suppose it to be our best and the most interesting cover design. He just took the orange, cut it and put a half of it into the scanner. Of course, the scanner failed then. The cover was made in 15 minutes. The pictures inside have appeared so - Igor took all our photos and put them down on floor. And he made a shot of this. "Orangejazz" in general is the prototype of the all of Animal Jazz. Just like a first child in family it's pretty nervous and complicated. That was the album, which we wanted to release just to show we could do it. It was released by Tropillo. Then we often used the recording as demo. Though we were told it was wrong and we should make a normal demo of 3-4 songs. Later when we were making our next recordings we always reminded "Orangejazz". And we were afraid of this album, because it was so alive played like it never will be done again.

"Antrakt" - May 10, 2002
Our second release - the break between first concert album and first studio LP. That's why it's named so. Also "Antrakt" is the name of the instrumental composition, which wasn't on that single. The music was written by Boris when he was playing the piano in Sosnovy Bor. The piano was with only one sounding octave. Mihalych wrote the bass part on it too. The single contains four songs - "Requiem", "Iuda", "Tay" and "Bez Tebya". All these songs are absolutely different. "Bez Tebya" is our Frank Sinatra as to the style. "Tay" is our longest song. The cover was designed by Gene's brother. And the photos were made at SKIF festival. We were playing there and Boris with Gene also took part in defile. The designer needed "crazy musicians" for his show. And someone there made these pictures and we decided to put them on the cover.

"Animalizm" - November 11, 2002
When we were producing "Animalizm" we used one thing - cola with the cheapest wine 50/50 and due to it we could make this record. The album is less undone maybe not very accomplished like any first one is. But it's just such as we supposed it to be at that moment. The cover for the album was made by amazing girl named Skalozub. She's a specialist in work with ice and tin. There's a turtle on the cover but nobody see it. The LP includes unique composition of Animal Jazz. It's titled "Programnaya" and it's a hidden track. Once Mihalych came to the studio and told he'd found the article about some jazz band and proposed to see how it will look if they change the name of that band with their own. So, he was reading this article and the band was playing absolutely psychodelic music. It was a mix of Italian opera vocal and guitar riff. This is Pashtet's favourite album. And this LP is remarkable with the fact that few songs from it were taken to the radio and the band was signed with KDK records.

"15" - March 3, 2003
This is our first step on the way to "Stereolove" album. We planned it to be a heavy single anticipating next studio LP. And we worked on this like it was an album. Even site was made especially for the single. The cover was made by Gene's brother again.
Photos for this single are our last where we're dressed in suits. At that time we came to conclusion we're something more than just a contradiction between black and white and we decided to change our clothing style. We've overcome this polarity and came to something general. The fighting of contradictions bores generality, as Marx said. And we just were moving to the other sound, from eclectic of "Animalizm" to the generality. Single contains four heavy tracks and one shocking melodic and tender, which gave a name to the single. "15" is our heaviest work as to a sound.

"Esli Dyshish" - June 21, 2003
After "15" we had many ideas, which didn't fit the heavy sound concept. So we decided to release the experimental single containing pretentious piano version of "Drugoe Kino" and "Nikomu" recorded at one cut and also there are some remixes. "Aravika Crazy Version" was played by Boris on the piano and sung by Mihalych in Georgian-Armenian-Arabian language.

"Bolero for Marlen Ditrich" - September 28, 2003
Single "Bolero for Marlen Ditrich" is a marvel with a touch of decadence. The main track is our variant of famous "Bolero" by Morris Ravel. This composition in our barbarian remaking got some optimism and it's a white side of the single. And the dark glamour of "Marlen Ditrich" is a black side of it. The contradiction in mixing of ironic maybe even comic form and content with a fade of necrophilia makes this song one of the most interesting in the history of Animal Jazz. Also there're next tracks - our version of "El Condor Pasa", made practically in a spirit of "Led Zeppelin", already known "Antrakt" and crazy cover on a pop song famed in 30s of the past century.


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