SILA - Special for YooDj's

SILA – Special for YooDj’s

Not For Fun Records label owner SILA tells us an unexpectable story about ambient and dub beauty ruined in experimental futuristic techno.

— Hi! Very nice to meet you. Let’s talk about your project “SILA”, especially about its birth and development. Why did you choose such an alias?
— Six years ago I was visiting a village monk in Sri Lanka. He told me that all Buddhism is built on three basic principles: Dana (everything you give), Sila (your consciousness in a state of contemplation that can’t be affected by evil at that rate), Bhavana (the Divine energy that comes as a result of contact with higher forces after the practice of Dana and Sila). I really liked that these words are quite understandable and clear in the ancient language of Pali even after several thousand years for a person from a perfect other part of the world. Well, according to associations, Dana is some kind of pop music from the 90’s, Bhavana doesn’t sound very well, but SILA – is a strong name. I stopped on it.

— And do you remember your first acquaintance with electronic music? Tell please in more details.
— Vaguely, I remember as a child I listened to Nirvana and all metal, so I considered that any dance and, in general, electronic music is music for disco and idiots. But when I started playing in an alternative band at the age of 14 and even writing all the music for it (“Quadro Jezima”, then “my lenin”), we started collaborating with different electronic musicians and even our only album was recorded with electronics in each track. And while I very tightly got acquainted with the work of Aphex Twin, Venetian Snares, etc. stereotypes about discos and idiots disappeared very quickly.

— In what are you engaged in aside from music? Is your education related to it?
— Perhaps, music is my main occupation now. Previously, I worked in journalism (when it was still in the early 2000’s), in advertising, at the beginning was a copywriter, and then a creative director at various agencies and on Karamba TV. But this is all the past that brought a lot of money, but it took time from the main occupation, so I left it and live and work at the moment in Thailand, where I made a studio.
Since my childhood I studied with a private guitar tutor, then I passed a 2-year course in jazz college. The real learning went on when I started composing music myself. Then, in practice, I realized that I gravitate towards the avant-garde understanding of harmony, polyphony and Indo-African rhythm. Recently I studied sound engineering and mastering from a Swiss specialist. Now all my tracks in Ableton are named, there is no such a logic order in the rest of my life.

— What are you inspired by and what hardware do you use?
— I’m mainly inspired by silence, a lot of interesting American and European musicians are my friends on Facebook, I communicate with them actively, it is such an interesting micro-world of electronic non-commercial producers in which I am. I use everything that I have and everything that falls into my hands. Previously, I was more chasing equipment, I thought everything depends on it, but now I’m chasing after free time. In general, of course, I’m still an adept of analog sound, almost all the samples on my tracks are guitars, synthesizers and vocals. Now I work with two modular Dark Energy, Moog, with guitar and vocal effects. I have the most evil Fuzz and tube preamp in the world, which is called SILA. It was specially made for me by a German engineer. It is the only one in the world.

— How is your creative process going on? Please describe its journey: from idea to implementation.
— I just sit down and work. To sit can be harder than working. I can go from rhythmic structure and from harmonic. The final picture is 50% technical sound engineering work.

— What are you working on now and what are your plans for the near future? Have you managed to perform somewhere in the past year?
— At the beginning of the year I opened the label Not For Fun Records and released the first single under the name SILA. Now another 5 singles are ready for the release, and another 7 are almost ready. These are various projects in which I have participated over the past 5 years. With Ivan Pribylov we do experimental rock and hip-hop, with Annie Fisher – dope ambient, juke and footwork, also together with Danila Gulin we wrote music for his film, which will appear on Vimeo on March 9th. The soundtrack will be released on Not For Fun Records. Now doing the necessary management work for the label is much less effective than music, but we are looking for a PR-Director and continue to record new tracks.

— Tell please more about the label Not For Fun Records.
— We just started an experimental music record label this year. First release is “SILA – Aeterna EP”. It’s a 3 very different techno tracks, I use them in this mix. Avantgarde and psychedelic techno, with breaks and bass influences on “Aglysh” track, and a dark electro feeling on “Aeterna” track, and a quite happy acid groove on “Caustic Camo”.

17HZ and Victoria Re made really dope videos for 2 tracks, check it on youtube.

Second release we’ve just made 3 days ago. This is an original soundtrack to “Learn to play short film”, that received Mention D’honneur (documentary short nomination) at 35 Milano International FICTS Fest.
And we’re ready for the third release “Анни Фишер – NMPHMNC EP”. I don’t know how to name the genre of it. It’s a very fresh, freak and unique. Our mastering engineer in Berlin described few tracks like this: “Cyberwind” is a frequency modulated, very large bee fighting with aggressive salesman – droids. Then the droids win. “Dirty Cutz” is indescribable for me. Russian ketamin hardstyle misunderstood.”
We are shooting a short video for Анни Фишер EP record right now.
After that we are going to release heavy experimental hip-hop record by ACIDHOP, psychedelic electro krautrock by Teenage Arab, very light techno “Lovejoy” and very heavy experimental techno “Abstract 2.0” releases by SILA.

Label residents:
AO AQOOA / experimental ambient, electronic avantgarde
SILA / techno, experimental
Teenage Arab / experimental rock, krautrock, electronic
Acidhop / experimental hip hop
Анни Фишер / ambient, experimental footwork, dark juke, dopetronic

— Do you have any experience of cooperation with artists and musicians? If not, would you like to work with someone?
— We did abstract ambient album together with TVL. It was recorded live at a main stage at Arma 17 Aux festival. I use name AO AQOOA on this record.

I collaborate with Ivan Pribylov in Teenage Arab (Krautrock, Experimental Rock) and in ACIDHOP (Experimental hip hop). Records will be out on Not For Fun soon.
Another project I deeply involved in is Анни Фишер (Experimental Electronic, Dark Bass, Dark Juke, Footwoork, Dopetronic). Анни Фишер record will come out on Not For Fun in April.
If to speak about artists, amazing freaks and one of the greatest design team in Moscow 17HZ and avantgarde artist Victoria Re as well are the very important art core of Not For Fun Records. We are looking for 3d and motion graphics artists to collaborate with at the moment, for experimental guys for sure.

— Do you have any favorite labels and musicians (or at least those who are worthy of attention?) What do you usually listen to in the player?
— I don’t have player, I have ADAM monitors + sub. My music preferences are wide ranged in different genres, anyway I prefer music that is art and that is not for fun.

— How do you think, is it important for you, from which media to listen to? Is it necessarily with vinyl, or can it be with digital media? Do you collect vinyl or cassettes?
— I’m not really into cassettes, I have some vinyls for sure. Yes there is difference in that how sounds music from the vinyl, but it’s not so important as a differences of the music itself anyway. So no, in general it’s doesn’t matter how, it does matter what are you listening. Personally I listen music and play dj sets with lossless quality only, because mp3 ruins my years a bit.

— How would you describe your music?
— I think that’s impossible.

— Does music help you in everyday life?
— I think I can’t be objective in evaluation of what is an ordinary life, and how it is mixed with a music. Maybe my music prevails.

— Do you think that the creation of music is not just a hobby or a job, but also a certain way of life or perhaps even a point of view?
— A hobby or a work is the big difference already. One brings you just an enjoying, second one brings you a lifestyle, a bit weird though.