KUBIKMAGGI
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KUBIKMAGGI

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Band Classical Avant-garde

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- Are the 19th century's vanguard and modernism being continued nowadays?

- The vanguard didn't begin in the 19th century. Roughly speaking, this is a word that's been always used, is in use now, and will always be. The vanguard and the modernism have always been close to us; we are trying to keep to them.

- Ksenia, what do you prefer: the classics or your own works? Do you like your music to become classics sometime afterward?

- If I prefer the classics, why compose? (laughs) The classics is some auditory relief for me, it gives me new horizons in my creative work. In about 50 - 70 years, my own morks, maybe, will become the classics either, yet I don't have such a goal.
- When play live, you often improvise. Is it on purpose that you do not play solid compositions?
- This is just one of few music methods. The contemporary music can't exist without improvising - as well as a human being doesn't. We are to think something up all the time. When the music is being created right here and right now - that's why improvisation is the summit of music: it is art in time. I am not a poet, I am a musician. Let somebody put texts down, I will improvise. - kp.ua


Freakery with a straight face, paradoxality. The musicians confess that what they play is jazz punk, but I think it's a made up story for the most part – for the sake of paradox. The conventional view of punk as a protest transforming into aggression is the last thing which comes to your mind when listening to these fairy tales. The lightness and melodiousness of jazz were on the contrary made specially for them. - Novayagazeta (Mary Salnikova)


Kubikmaggi may be the most nervous Russian band. Their performing on Jazz Koktebel last autumn wrapped up in a veil of decadent reflections brought a cold note, in all senses, into the content of the set-list and turned out to be a break-through of the festival. - Nash Neformat (Sergey Garagulya)


Fedorova's presentation of musical material makes us remember in the first place the two voices of Cocorosie, then Tori Amos, Regna Spektor, Alina Orlova and others come to your mind. Abstract lyrics about love and nature applying softly on jazz scales and arpeggios, were interrupted at times by high-pitched splashes of acoustic guitar and drums. - Jamsession (Alex Zolotovitsky)


Their press releases are vague, their place in the musical world is strange, since promotion requires exactly defined musical style. With reluctance they are accepted in jazz clubs, and with suspicion they are met at rock clubs. You could call it, for example, a Lobachevskiy kind of pop music – when figuratively spontaneous meets thoroughly rehearsed, leaving the listener to guess which one is what... - Openspace (Radif Kashapov)


Their press releases are vague, their place in the musical world is strange, since promotion requires exactly defined musical style. With reluctance they are accepted in jazz clubs, and with suspicion they are met at rock clubs. You could call it, for example, a Lobachevskiy kind of pop music – when figuratively spontaneous meets thoroughly rehearsed, leaving the listener to guess which one is what... - Rolling Stone (Ivan Napreenko)


Their music makes quick and unexpected turns. Any tranquil piece might be interrupted by a sharp filling... - FUZZ


Kubikmaggi continue to offer idiotic, grotesque, and "high-pressure" investigations of reality's baroque multiplicity. It's a process that involves much training, constant hard work, and little rest. In addition, these efforts - as noted - are very much part and parcel of the local literary, if not psychological landscape. It may not seem a very happy realm in which to reside, but given the awful shallowness of the moneyed environment that Dostoevskii's Lev Myshkin discovered in the 19th century, maybe mental instability doesn't look so bad. - David MacFadyen


David MacFadyen: What plans do you all have this summer? Are there any fixed projects you’re working on, or is everybody taking a break?

Kubikmaggi: Each year we plan heading off to some of the better festivals, but it has never worked out that way. Unfortunately, we don’t have the right kind of connections yet, and information or demo recordings distributed by email never lead to anything. It could be because we only know of a few festivals that’d be willing to host our kind of music. We’ve been looking for a manger for quite some time, the kind of person who could help us in this area. - David MacFadyen


Discography

2008 - "Ono ne trebuetsya" ("Needless" album)
2010 - "Oom Ra" (Ksenia Fedorova solo album)
2011 - DVD "Generation EH" (about The Empty Hills Festival), bonus

Photos

Bio


The group has great difficulty remembering dates. Having worked over a long period with all kinds of musical time signatures, the musicians are barely able to count!

Being the quintessence of post-modernism, KUBIKMAGGI music is so diverse, that it’s really hard to describe it in words. Some will enjoy the echoes of Tori Amos and Fiona Apple, some will be overwhelmed by the allusions on Victor Wooten and Mr. Bungle. It’s also possible that some will imagine the heritage of Auktyon. But just like in Dali’s ‘Face of Mae West’, it’s only in combination of the bright and unique artistic approach and the music itself, these details can form a wholesome image of KUBIKMAGGI.

Currently, the band is working on a new album.
‘Ono ne trebuetsa’ (translates as ‘It’s not required’) was released by Ulitka Records in 2008. Abandoning the common attempt of many jazz albums to render the music with its primeval sound, the sound producer of ‘Ono ne trebuetsa’ acts more like the crowning element in the process of music creation. Unusual mixing techniques, often based on sharp contrasts and sound effects are going to keep you amused even if you are not a big fan of jazz or avant-guard.

Some of the band’s performance highlights include the following:
- Television appearance in 2006 (live performance on 100TV)
- SKIF Festival, 2007
- Jazz Koktebel Festival, 2008
- Pustye Holmi Festival, 2010
- Saint Petersburg International Film Festival, "The Silent Pictures and Live Music" Project, 2010
- The International Festival of Visual Art and Music "ALTER EGO" XXII, 2011

Composing soundtracks and performing live for "Silent Movie with Live Music" project in 2009 and 2010:
-Wings, USA, 1927, directed by William A. Wellman
-The Doll with Millions, USSR, 1928, directed by Sergei Komarov
-The Three Million Trial, USSR, 1926, directed by Yakov Protazanov