To rephrase (quite drastically) George Orwell: all people are unique, but some people are more unique than others. They don’t necessarily stand out from the crowd, in fact most of them are pretty modest and don’t like to advertise their uniqueness. This is why I value their acquaintance greatly – they help me look at the world in a different light, through the prism of their talent. Today trippin’ the rift is talking to one of those people.

tipkinTell us about your project Aqosto and its unique name.

Aqosto – You know, some people ask me how I managed to come up with such original and resonant name. They picture me sitting in an armchair and thinking, what kind of moniker should I pick for myself. No, it doesn’t happen like that with me. I noticed that when I’m trying to come up with some title, not a damn thing comes to mind. And with time I cam to realize that the real titles have to find themselves. And that’s what happened with Aqosto. One summer I was vacationing at my friend’s place, we were sitting around, chatting, listening to music, basically just having a good time. Suddenly my glance fell on the big calendar that was hanging on the front door. It had dates and the name of the current month in different languages. Since it was end of the summer, I noticed the word Agosto, which means “August” in Italian. I changed the second letter, so it would sound somewhat softer and would look prettier in writing and that’s how the name for my project was born.

t. – What is music to you – expressing your own thoughts and feelings or trying to evoke those in other people through art?

A. – Expressing my own thoughts and feelings, of course, mainly. But at the same time trying to bring my impressions, emotions, feelings to the listeners through the music. I wish that at least a dozen people find reflections of their soul in my music.

t. – I know that you’re very interested in metaphysics and even preach your own philosophy of life. I must say that your views of live are full of optimism while your music belongs to much darker side of the spectrum. How do you explain that?

A. – Well, you’re exaggerating a bit with metaphysics and philosophy. It’s just every person forms a certain attitude towards life and certain way of thinking, and a lot depends on it. But yes, if analyzed, my views of life are in fact more optimistic than my music (laughs), it’s just happens that way for some reason. By the way, some people after listening to my music say that this guy must be a very depressed person. But it’s not the case at all. I don’t think there are terms in music like grim, depressing, cheerful etc. When creating music, a person is immersed in this particular state that is impossible to compare with anything, it is euphoria and darkness and sadness at the same time. I was interested in creating something slow, dark, for listening in solitude. So the listener would understand something or at least felt something.

t. – So you don’t see your music playing in front of the audience? Or live concert is a different story?

A. – I think a live concert is a very different story. It’s something unimaginable and you have to present that properly. Generally, I see my music playing in front of the audience, but I feel like my muse isn’t ready for that yet, she’s very shy and distrustful, you know (laughs). Naturally, to play my music for a pleasant audience is on my wish list.

t. – My favorite tracks of yours have female names – Alison and Melissa. I wonder if those ladies exist in real life and if they know that they have music numbers created after them?

A. – Those are my favorites, too (laughs). No, everything is more abstract with me in that sense, my music in general is one big mysterious abstraction. It would have been too simple if I fell in love with some wonderful girl and dedicated a song to her. Alison, Melissa – they are collective female images, they can be put together from imaginary details as well as real. They are two main heroines of my album that exist in the form of a sound track. Non-material dolls that came to life through my melodies. There are parts of Alison and Melissa in every one of us.

t. – If you would compare your music to a different kind of art, would your tracks be more like paintings or works of literature?

A. – I think my music is more like painting. Literature is more sensible and informative, I guess you could create an abstraction with words as well, but it won’t be the same, too specific. Painting is different story. You look at the painting, trying to find the meaning that the author was trying to convey, but then you get lost in your own thoughts, filling the painting with your own meaning. As a result, you see and think whatever you want. I was in Musée d’Orsay in Paris and there I couldn’t tear myself away from the impressionist paintings. Every new look at the panting – a new idea, thought, try to guess what the author wanted to convey. This is a great field of creative planes. Our thoughts are so free and vast that one can easily get lost. But maybe there’s no meaning in the very search for the meaning? Same thing with my music.

t. – Tell us about your last album – Hibernation. Why did you find the idea of seasonal dormancy so attractive? What was the reaction to the release?

A. – I came up with the concept for this album a long time ago. I wanted to create something mysterious, homogenous, wholesome. So the first track of the album would be the entrance door and the last – the exit door, and everything in-between depends only on the listener. Hibernation – album-dormancy. It’s a background for listener’s thoughts that I carefully painted. In this album I tried to express feelings and emotions from walking through a big supermarket at night, when there’s no one around, from walking in the rain in the evening, etc. Hibernation is the music of emptiness. Empty cafes at night, empty airports, supermarkets. It’s this strange feeling inside, when there’s you and this place surrounding you, and from non one being around this certain state of lethargy is born. State of unreal. I think I hit the bull’s-eye in the sense that if someone would ride an empty bus at night listening to my album, he’ll understand what I’m talking about. About reaction. I don’t know, it’s Russia. There are some good comments, seven hundred downloads on the [torrent] tracker and whole bunch of links in search engine. Some berate, some praise, everything as usual.

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