NECRO STELLAR interview for the German GOTHIC magazine by Joerg Kleudgen

1.: When I heard the first song of NECRO STELLAR ("Saturating Cemetery") it appeared to me like but suddenly the mood changed and the song turned into a fascinating Russian hymn. Where do you find your inspiration/influences?

Yuri Zvezdniy - Thank you. The matter is that I do not perceive inspiration as the directing factor in my music. The inspiration is only a short-term sensual reaction of the person to external streams of life, which at the moment of strong feelings, can be advanced by him in his consciousness up to a level of fractals of a separate and independent reality. The further actions of the inspired in this case are realization of this isolated and secret emotional dialogue which arises between the author and an environment, or refusal of expression. Such refusal can be named as the suppression of the creative beginning in the person, that, certainly, does not correspond the reality. Though I perfectly know mechanisms of inspiration, I do not aspire to follow this way. In my opinion, high creativity cannot be followed by inspiration, as short-term and coming emotional games with a reality. I appreciate the original spiritual creativity only as a service and a way. The inspiration in this case is only one of tools, perhaps having a greater value, than physical means of performance in the hands of the actor, for example musical instruments.
In this connection the inspiration without participation of a spiritual way remains destiny of the favourites, not too far artists which naturally degenerate as by virtue of existential attitudes change they are not capable to express with former force that what they have began their way with. There are millions of examples. If I am guided in the creativity not so much by time factors of inspiration, as mush by realization of highest possible at the given moment spiritual abilities, - I have chance to avoid degeneration as the natural law of a cause and consequence, or to delay a process of degeneration of me as the author for vaguely long term.

2.: NECRO STELLAR seems to reflect the principle of dualism: nature - machines, male - female Is it a concept or just an accident?

Yuri Z - No, not absolutely so, NECRO STELLAR on the contrary, reflects a principle of the world's significance. Destruction of an idea duality, based on logic-rational representations of the majority, can be really named as one of concepts of our creativity. I have tried to embody this idea, as the idea of time destruction, in “ Pulsing Zero ” album which has been released last year. The principle of duality - is what any artist constantly meet on his way, overcoming the habitual frameworks in his creative development. In this sense duality can be submitted as a certain braking block inside a consciousness. Destruction of a principle of duality can be comparable to a second element of Nietzsche idea about the three transformations of spirit where "the value of all things» and "you - should" is a duality, a dragon of eternal division, and « I want » - is a will of a lion, as one of creator's roles, described in a parable.

3.: Why did you chose electronic music to express yourselves and how started it?

Yuri Z - It is not absolutely so. I am engaged in different music. For example, the album named "White Tranquillity" has been released this year. Either electronic or real instruments are used there. Its stylistics - is psychedelic rock based on kraut.
I started as the rock musician and since I was 15 years old I had been playing with different bands as guitarist and bass guitarist. My personal project takes origin in 1995. I never considered electronic music in the pure state to express my creative requirements totally. I appreciate a primary reality in electronic music which is absolutely inhuman. There was time when this music seemed to be as a pure gene of the granted, squeezed out information out of depths of the universe, a set of signals as the ciphered alphabet of other worlds, as alien language worthy all-round studying. However studying of this language turned a wrong way, namely without taking into account the internal nature of a phenomenon of electronic sounds. Development of electronic music has been based by the majority of musicians on smoothing of sharp corners, and desire "to brush", to humanize what basically was impossible to change cardinally without distortion of the internal nature. As the result electronic music has lost the core, the essence, the secret and is used now as the mass consumption to entertain people.
I always held the opinion that the music influence mechanism on a psychophysical substance of the person can be shown with special force in the case when the musician extremely precisely expresses a primary essence of any music or the original nature of a rhythm. In this sense the certain layer of musicians such as PGR and his magnificent untimely album “ The Chemical Bridge ”, also Arcane Device, Werkbund, the Hafler Trio and others, - discover essence of electronic music not so much from the point of view of continuation of classical tradition of pioneers like James Tenny, Jane-Claude Reset, Arnaud Petit, etc., but proceeding from direct vision's intuitive sensation of authenticity of electronic music. For this reason some products of such authors possess force of extreme influence and are direct conductors in the world of inmost secret which are hidden behind «electronic music» word combination.
As to me, I can say, that I try to approach electronic sound to those positions which I have described above. I try to approach closer a primary essence of synthesis process, but I can't tell, that approaching this in that measure in which I would like it to be, I find set of explanations of this which I leave inside me. In conclusion I would like to say, that nevertheless I'm going to compensate this dissatisfaction by recording "The Extending universe" album which I plan to start soon. One of tasks which I shall try to embody, recording this album, is an opportunity to show the original essence of electronic music, to show it the way I see it.

4.: What were the biggest problems you had to fight at that time? And what has changed over the years?

Yuri Z - The basic difficulty which I have met consisted in impossibility to express myself when I was 15-16 years old. I have been literally over flown with the information, being over listened and widely-read, but when I tried to take place in the creative image the same way the idols of my youth did, I have come across an insuperable barrier of impossibility of self expression. Everything I did that time, seemed to me to be worthless and disgusting, however any force carried me further, and I continued to be engaged in drawing and music. During the certain moment I have understood, that finally the limits separating me in my creative expression from the surrounding world, are destroyed and I can full value perceive myself. After that, I do not experience any serious difficulties, as I regard myself as the completely realized person.

5.: Are you using any special Russian equipment such as synthesizers?

Yuri Z - Yes, I use the equipment made during the Soviet period - analog synthesizers and processors, but only unique sounding equipment. Some synthesizers are characterized by their filter, for example Formanta EMS-01, Polivoks and a number of others. The second category includes instruments constructed initially "incorrectly". For example, constructed with using are not concerning the musical industry details and having a strange sound. The third are unique due to application of a different sort of specific development in particular a voctrol filters, etc. Almost all old equipment I buy, I give the master who changes all dried up condensers and expands opportunities of a synthesizer twice. After the coordination and taking out additional controls on the front panel the synthesizer or the effect-processor becomes a favorite toy which I can play till the new interesting techniques appear to be bought.

6.: I saw your beautiful homepage and My Space website do you feel any effect caused by this internet appearance?

Yuri Z - Thanks. I think, My Space is useful as an additional element of promo besides this resource is interesting from the psychological point of view, it allows to estimate the attitude of new listeners from different countries meeting our music for the first time. For example, the attitude of admirers from Japan, Mexico and Portugal is especially fanatical. There are many fans from America and Canada.
The benefit is also new interesting acquaintances, for example, various radio stations write us to ask tracks for DJ set, invitations to participate in compilation, such as a compilation of WAVS Records.

7.: Is there any feedback from Western European/American people? How do they receive/comment your music? What do they feel, when they listen to it?

Yuri Z - There are only pleasant reactions. Probably, those who do not like our music, do not write us. We receive questions from Western European and American listeners. The most frequent question concerns the idea of the project and that secret which people want to see as the certain aura surrounding the music and the band. Many are desired to see us closer, to visit our performances. Other questions concern image, character of used instruments and other accompanying elements.
The basic and most frequent question is a question on mystery of an atmosphere surrounding the band. Meaningly or at an intuitive level the listener wishes to support this mystery and even to help the author to create it. It concludes a subconscious approach of a listener to the sacrament of music creation.
I do not try to create secret of the band and to hang out a mystical aura. The only thing I follow in this sense is – to keep a distance. The distance does not limit listener to access in understanding and treatment of musical object at all. The distance limits listener to approach the artists person too close, that actually conducts to loss of secret which represents not so much mysticism, but an individual and very especial, unique creative way of the artist. It is inadmissible to let the listener to achieve the secret of any song creation, though the secret of a really worth product is consisted in different.