HomeRussiaSinger Suzanne told how she treats the musicians who imitate her

    Singer Suzanne told how she treats the musicians who imitate her

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    — You are called a “musical experimenter”, is this term close to you? Tell me about your path in creativity.

    — I have always been an experimenter and find myself in this. I became famous after singing a famous Beyoncé song on a TV show. But concrete recognition, recognition and respect from colleagues in the shop have appeared since the release of the songs “Crumbs in a Blanket”, “Wild”, “Broken”, “Getting Used to Wean”, recorded in 2013-2015. Then they began to write about me as the hope of Russian music, although at that time I still lived in Ukraine. My first album, unfortunately, was not released in full, but the musicians became interested in me and began to offer collaborations. It so happened that the third wave of my popularity fell on interaction with Malbec.

    I note that my material reaches the average listener within five years. For example, now choreographers are actively staging the song “I’m Getting Used to Weaning”, despite the fact that more than five years have passed since it was written. This music is for those who are looking for a response in the body of strong energy, and not a track to which you can hang out fiercely, use something. It is in order to feel yourself, work out your mental clamps and free yourself … For those who are looking. I know that many performers are inspired by my creative path as an original performer. It pleases me.

    — By the way, about Malbec… On what basis did your interaction with the team take place?

    – I was not a member of the Malbec group, I am Suzanne ( smiles ). We just released collaborative features for a few years. I was responsible for experimenting with sound. I have always loved to look for what attracts and excites me: genres, styles, directions and retrospectives of human culture. I have always liked the blues and spirituals – the sacred music of African Americans, with whom I associated myself. In addition, I have always been attracted to the ethnic music of the Slavic peoples. All this led to the fact that, having absorbed the cultural code of folk music, I acquired the ability to mix it with popular sound. later, can you say you’re ahead of your time? Are you creating a trend that matures?

    — Very often I joke that I’m from the future and I’m walking backwards. Of course, I have breakdowns based on the fact that I cannot fully open up on a planetary scale. But then I realize how many people my work inspires to create their own music. They write to me, waiting for a meeting or a simple interaction. They are interested in exploring me, thanks to the fact that I myself am looking for myself. This is an endless process!

    — Tell us about your upcoming performance, which will take place on August 19 as part of the Yandex Music summer program at Plus Dacha in Gorky Park?

    — It so happened that for this performance with Yandex Music I was lucky enough to work with the most talented, in my opinion and taste, sound producer in the entire CIS, the father and creator of a unique and no one different style of sound – Nikita Kamensky. I got the opportunity to interact with innovative music that has a lot of live instruments and a heart. For example, we invite musicians who play the violin, ukulele, koto, harp and other unusual musical instruments. Everything happens in an improvisation format, after which we choose the best pieces. Everything is in the moment! The melody that, for example, I am humming right now, should be fixed at this very moment, and not five minutes later. Otherwise, it will take on a different sound. This fixation allows you to document a laconic melody, in which there is a lot of life, feelings and sensations of flight. I will even say that this music introduces you into a trance, immerses you and allows you to experiment with the body. My compositions were choreographed by many dancers, with whom, among other things, I interact on the upcoming performance. I have many friends among the dance community of Russia and the CIS.

    — And how did your interaction with the artist Alina Vinogradova develop, with whom you plan to create the cover right during the performance?

    — I have a video for the song “Holy Water”, which consists of animated paintings by Alina Vinogradova. She takes symbolism from the religious movements of different peoples. Rather, she sketches the images that come to her. I like her coloring. In her work there is a revision of the most powerful civilizations of antiquity – for example, Ancient Egypt and Mesopotamia. And I am inspired by the cults of goddesses, mystery and service to the divine principles, namely female figures. I see a lot of strength and aestheticism in this. I like everything connected with oriental currents. I associate them with everything that I find in my native culture, which I love and adore. It turns out such eclecticism.

    — How comfortable are you working with other artists—and how often does a 100% match happen?

    — Speaking of this, I will give an example. I wrote with a request for a collaboration to the artist @onastya, who works in the noir aesthetic of the disgusting. She revived the paintings for the video “Holy Water”, created by Alina Vinogradova. I am completely satisfied with the result. In general, I think that art should be created from improvised means. Including thanks to the method of messages and contacts with other artists. The more collaborations, the more magnificent our native culture blooms, the more mobile and viable it is on the body of the world. maybe even in the very near future?

    — In the near future everyone will strive for performance: combining plastics, sound, visuals, 3D, sculpture, architecture. Perhaps there will be an improved return of art deco and modern styles. I think that we will return to more sophisticated and sophisticated forms. I mean, of course, innovators, not the general mass. It will pull up and distort the fundamentals and beginnings, faking the surface for what is a deep and, say, expanding trend.

    — Is it possible to say that Kanye West set this trend for the audiovisual format?

    — I think the ancient Greeks set it with their theaters. Kanye West is a viable pop product that I personally would call popular fast food. For me, he is not a role model. I rather rush to the world of theater, performance, Broadway – productions that combine plasticity, speech and movement.

    ing that music in general has recently become a kind of fast food?

    — It has always been like this, and there is no point in fighting it. It exists as a phenomenon to which I have nothing to do. I will stick to my path: to free myself more and more and try to realize hidden, not yet manifested talents. And, of course, the ability to collaborate.

    – So you don’t worry about it?

    – Yes, to put it rougher, then let it be the Russian quintessence of perception – “neglect, let’s waltz.”

    – Every artist from the world of music who has been on stage for a long time , for each specific album comes up with a specific style. The same Madonna was also a geisha, and emphasized country music, appearing in a cowboy hat …

    – I don’t think it was invented. This is the vision of Madonna, who is one of the coolest visionaries in show business. It so happened that I had biographies of Madonna and Marilyn Monroe at home, which were reflected in me. What can you say about Madonna? She’s the queen of pop culture, precisely because she’s been able to get into character and enhance it through collaborations with dancers, artists, designers, and others that make the show impossible. However, I can not say that I like her new work. We must leave on time. Unfortunately, not everyone copes with this task without losing face and dignity.

    — It seemed to me that the song “Holy Water” is the same new round of your creativity. Is it so? If so, what kind of search does it reflect?

    — I realize my admiration for the cultures that are the most advanced throughout the existence of planet Earth. I often refer to the religious beliefs of Asia and India. I am interested in the phenomenon of the priesthood and everything related to the forgotten ways of contact with higher powers. This is an appeal to the possibility of connecting with the divine through art, falling into a trance while singing and connecting to this channel people who still do not know how to find such resources in themselves. The body is not something mortal, not something that needs to be tortured, but a way to connect if you take care of yourself and look in the experience of previous generations.

    — You have an album out “Alternative”. What surprises should the fans expect from the future LP?

    — I don’t want to say that something unexpected awaits them. Everything I do is often unexpected for myself. This is what comes out. You can say that I am a kind of mediator. I develop the power of performing arts and organizational skills, I use all my charm and charm so that my style is readable and recognizable. I think I succeed. The main idea is to convey with minimal distortion those messages that come from my sensitivity. For the first time, I will perform the tracks “Blood on the Floor”, “Remember” and “Milagros” from the new album just at Plus Dacha.

    — How do you think, to interact with the audience Is it an essential part of your profession? And how can you characterize this audience?

    — These are people who read books and try different ways to find the key to themselves – from psychologists to travel, spiritual practices or their absence, but at the same time listening to your inner world. These are people of a new formation and time. I think that in a sense, I shape the audience with my interests. These are people who have a response to my work.

    — For you, is it more like a part of the profession or a need for interchange?

    — I don’t see people as animals that can be motivated by simple stimuli prescribed in manipulation books. For me, this is not a technical process. I love my listeners. We have chats in which they tell me, for example, how to get inspired, and share their findings. It’s the researchers, I guess. People who have an interest and a thirst for knowledge, a wide emotional range that can accommodate everything that the artists and I squeezed into musical forms.

    — We have already touched on the topic of imitation, are there those who consciously copy you?

    — Yes. Half of the new artists on the playlists that I’m also placed on are direct heirs of my style. Of course, there are changes due to the power of refraction of timbre, talent, perception and other characteristics. What can I say about it? So I’m doing my job right. Of course, it pisses me off sometimes, because I still haven’t received a Grammy. It pleases me, but at the same time it infuriates me a little.

    — Did the producers try to drive you into the framework of any image?

    — They tried to make me a sexy woman. I had to broadcast something that I didn’t even know at the age of 16. The producers tried to make me something like a cross between Beyoncé and Rihanna, and they also used Bianca, who was popular at that time, wonderfully presenting her charms, as an example. This is one of the worst experiences of my life. Having it, I now cherish my own qualities.

    — I see that you often recommend books on social networks. Is literature for you more entertainment or a source of inspiration?

    — This is inspiration and communication for me, because there is nothing better than communication with dead geniuses ( laughs ). This is also entertainment and, of course, a way to escape for a while into your head, since it is there that everything is cooked, and then it falls out and takes shape in objective reality. I live in my head and I don’t deny it. Dancing helps me to ground myself.

    — You recommended the magical realism novel Beauty Is Woe. From the outside it seems that you are not indifferent to such mystical things…

    — Of course, if you take at least one quote from the texts of the MEGALITH album, then an orgasmic type of inspiration, expressed in exalted verses to the whole manifestation of the divine, eros, agape – to love in general. There are a lot of things in this album that are similar to the rhythm of spells.

    — But this is not flirting with the form, but something that comes from you?

    — I do what I feel and feel, how words dance, rhythms and, perhaps, biorhythms of the body are expressed.

    — Recently, the show “The Role of a Father in a Girl’s Life” was released, in which you spoke quite frankly about your childhood. For example, you said that you built your career partly because of the desire to make up for what you didn’t receive from your father. Do you think that creativity can heal our traumas?

    — Absolutely! This is the only thing that can heal, as well as a direct appeal to God. I learned these truths and I can relay them until the end of my days.

    — As a listener, did you have a moment when someone’s creativity helped to resurrect?

    — Yes, for example, the singer Yasmine Levy and, of course, Björk, who I like for her hugeness. We all live in space, but we have a local scale. Something happened to her the coincidence by which it reflects the expansion of the universe by its mere being. I was inspired to combine styles and genres by the Peruvian singer Yma Sumac. I also like the jazz singer Rachelle Ferrell, who writhes everything she can during performances. What happens to her face and limbs may seem ugly and unaesthetic, but it is so alive that it tears to pieces. Personally, when I sing, I look like a person who strongly seduces someone. In general, this process is similar to having sex, since in it you are the way nature created you. Naturalness is repulsive, but at the same time it breathes magic.

    – You said that you unwittingly copied some manners from your father. Do you notice any of your own traits in your daughter?

    – Many people say that we are similar, but I cannot see it. Of course, some antics are sometimes traced, while I will immediately say that this is a separate person with his own world. She is original in what she does. It seems to me that she is growing more free, which makes me hope for the beautiful.

    – In the beginning, we have already touched on your roots. Do you have a desire to somehow reflect African American music in your work? For example, the Belgian singer Stromae mixes ethnic music with electronic sound.

    — I have never focused specifically on African music. I have an orientation of sound from opium dens, some secret rooms and harems. There is a sense of the noir of the East, which I call oriental gothic. My father is Arab, Muslim and half Ethiopian. In me, the intersection of two cultures – Christian and Muslim, thanks to which I feel myself on the border between. Of course, I have African roots. At the same time, in my family there were even pygmies, Yoruba. My maternal great-grandfather is from Ghana, and my grandfather is a Polish Jew. I am an absolute child of the world. There are so many genetic codes of different nationalities in me, so I cannot say that I belong specifically to any people. In this case, I chose and passionately love the Russian language and Slavic culture. But at the same time I can be inspired by the peoples of South America.

    — What advice would you give to young artists?

    – Do not copy or inherit. Dig in and dig. How to do it? Watch people and yourself, snatch from books, meet people and dance endlessly, because a lot of understanding comes through the body and all monsters come out and angels are released!


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