"Ten months passed between conceiving the idea and the beginning of experiments with minimalist harmonic overtones made with acoustic guitar in the beginning of 2004 and the end of work on True Delusion album in late 2004. The first six of them were the months of thinking and contemplation, traveling and trial recording of instruments in habitable rooms and kitchens, recording and auditing of rural nature sounds by night and by day. The very idea was simple at first. I meant to play the guitar experimenting with minimalist harmonic overtones. Meanwhile I tried to take deep rhythmic breaths timed with guitar sounds. The result was almost meditative, as the guitar buzzing sound was slowly fading out and the body felt close to hyperventilated. However, in view of my desire to further progress with composition, I decided to go beyond repetition and minimalism. Later the album progressed in terms of the similar use of the piano. It was not exactly harmonic overtones, but the sound was slow, melodic and minimalist, so the album can be conventionally divided into two parts."
The album can be regarded as consisting of two logical parts, I used guitar in the first part and piano in the second one. I recorded guitar and various experiments with objects and contact microphones at my home, old Soviet-made piano - at my freinds', and the field recording - in many places of Kharkiv and its region. Then, basing on and impressed by the records made, I would create my compositions.
This is not just an experiment for its own sake. The "True Delusion" album has been created to express a certain idea, in other words, I had a purpose. Therefore all the sounds of it (including melodies) are vital components of the aesthetics which is supposed to cause a feeling of ambivalence. The conversation with the audience is also important: I want my music to stir it, to win its favor, and in a way the melodies are meant to do that, too.
A huge part of what I do is the result of deliberate or unintentional misuse of the sound sources. In fact, the basic idea of what I aim at is a great accumulation of accidental, unexpected methods and sounds.
There's good and bad in everything, so I can't state that music within some bounds is a bad thing while unlimited music is an absolutely positive one. With my music, I try to create some spacetime which complies with certain rules, coordinates, and bounds. I believe it is easier to perceive such music as some medium in which you exist while you're listening to it. It is what you can call environmental music.
To be true, I have no idea as to how people write books. The way a book is commenced and the process of working on it are quite a mystery to me, so it wouldn't be completely accurate to say that I have been writing a book. To me, what contains the primary idea is the sound, but I had my mind on the ambivalence of all things' nature, and this has suggested the album's plot and trend.