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«I’ve always been interested in Rasputin»

Swedish singer penned hit songs, and now is preparing a musical about the fall of the Russian Empire

In Moscow, a concert comes Vacuum - known Swedish electropop band, which did not release albums with 2004 of the year, but it is still loved by a huge number of domestic students. On the eve of the concert with vocalist Vacuum Mattias Lindblom talked Correspondent "" Oleg Sobolev.

The group Vacuum - strange fate. Now - this duo Mattias Lindblom and Anders Wollbeck, they started in the 1990s as a trio in the company of Alexander Bard, known for his work in the Army of Lovers and philosophical writings. In this composition they recorded their most famous songs I Breathe and Tones of Attraction, Tearing including Russian charts in the end of the last decade. Soon Bard left the team, Vacuum and have released several albums in the early zero, but with 2004 year are actually a concert composition. both together - Lindblom and Wollbeck work more, and separately - as the author of the music and songs for other pop artists from around the world. In summary Lindblom, in particular, listed cooperation with lots of famous artists: from the Korean group Girls' Generation to the former Nightwish vocalist Tarja Turunen. On the eve of the Moscow concert Vacuum Lindblom told about his life and work today.

"": You have a very interesting Instagram. You are trying to post it in a very long notes, sometimes diary, sometimes - in the form of structured thinking about everything. How did you get so turned?

Mattias Lindblom: A few years ago a friend of mine Edvard Radzinsky We started a big project: I undertook to write a musical based on one of his books. While working on it constantly become ghosts haunt me, with whom I had a very, very long time. The head was torn by thoughts. In order not to lose any of these thoughts, I began to write large messages in Instagram. They were first and foremost for myself. But I was amazed, when he realized, that people is also interesting.

But it always happens, not? First, I am writing to itself, you spread it somewhere in the Internet - and then, bang, and is read by people.

Of course, of course! But still pretty incredible, that my fans capture my thoughts. generally,, if now in the Internet something and spread, the only thing, that come from the heart and open soul. I think, my stream of consciousness in Instagram - it's just there's something from the heart. At all, I myself often use these notes - mostly for inspiration. I come up with them very quickly and write, and then send, without any of editing. And then, as time passes, I open them again and find for themselves a lot of important and topical thoughts.

It turns out, it's such a mudbord.

Yes, yes, the right word. intelligent mudbord. One may wonder, and what I do I spread these notes. Why do they do? Probably, Board of, to someone else - not just me - they later inspired. Basically my job as a musician and as an artist - to bring people inspiration and to direct them to new experiences and thoughts.

Yes, you and themselves often write articles about inspiration.

I'll tell you what,. One of the most important things in my life I was told by Radzinsky.

Radzinsky - absolutely stunning man, my idol

so here, at the very beginning of our musical, he told me the following: "Facts are interchangeable each other, but what really matters, so is the emotional truth ". In music and art are important emotions - and if they are transferred correctly, unless the context around them works, they themselves become true. She was very emotional truth, of which he told me Edward. What do we achieve after recognizing the emotional truth? inspiration. know, what I'm talking about? here, let us say, there is Jesus Christ. There is no single objective evidence of its existence. But because we live in a culture, where the teachings of Jesus Christ are very important, we still know, that it existed. This is the emotional truth. I think, I was a little difficult to explain…

Yes, no, no, what do you, everything is clear. So always nice to talk to someone, which is really complex thoughts. But it's okay, better tell, how you became friends with Edward Radzinsky. Imagining you together, comes to mind is the name of an old movie Jack Lemmon and Walter Маттау - "Odd Couple".

Ha-ha, Yes, I will agree, what, at first sight, we really look like The Odd Couple. But when we talk, all very different. Our acquaintance began, when I read a book by Edward Rasputin, I do not remember, which one (probably, The Rasputin File — ca.. ""). I've always been interested in Rasputin, history of the Romanovs, all of these things - but only thanks to the book by Edward I in the first felt almost real witness of those events, which read. Inspired, I and my colleague Anders Wollbeck went into the studio, where we have a song for this book was born. But listening to her, I understood, I her little. I wanted to create something much more extensive.

We flew to Moscow and met with Edward, to propose an idea for a musical. Edward was very open to such an idea, and in our first meeting, we talked with him for seven hours. It was the best conversation of my life. I felt, Edward trusts me, and thinking, that he felt the same thing with his hand. At some point that night he looked for his deep blue eyes in my eyes and said,: "Matthias, you will have to deal with the ghosts. AND, you know, they are likely to be allowed you to my, will share their secrets. But I do not know, if they can you ever let go ".

So what, comes, Your musical - a kind of exorcism? Trying to do so, to the ghosts you released?

Of course. All work on the musical accompanied by such an idea. We again you return to the topic of emotional truth. I believe that, that creativity - is a ritual. And in the course of this ritual is necessary to sacrifice himself. You have to be faithful to creativity - and to be embedded in it to the maximum, no matter what. This is absolutely normal process.

Good. See - Sweden, to put it mildly, not very well known for musicals. Tell, you are welcome, What musicals inspired you in the process and what musicals studied?

When I was a child, I constantly traveled with his mother to London, in West End, watch musicals. You, perhaps, It seems strange to the following statement, but very often these wonderful huge statement did not make me any impression at all. I even sometimes particularly upset: I remember, I was very disappointed, "Phantom of the Opera". The musical has to be something more, than, What you see and hear. He should penetrate your soul. On our project work amazing Russian director-producers, that make the best visual design stage shows in the world, but only their efforts, we would have had little. In terms of music, this project - just the best, that we composed together with Anders, but that would be too small for a successful staging.

You said that, you need to make sacrifices in the name of art. What sacrifices episodes you have associated with your musical?

I wrote the libretto absolutely one, living in a hut in the mountains, in Italy. I was chopping wood yourself, he made himself a meal, I saw no one and no one spoke. And I worked nights on end, and in the afternoon sleep. You can not believe, how much this experience speaks in your future life.

Because the musical is based on the historical story, you probably have used some musical references to the era, when the action takes place, is not it?

well yes, something like we did with Anders. But soon we were more concerned about the issue of emotional truth. That's what, let's, I'll tell you a story. Long, when we were preparing for the active work on the musical, I went to the one place in Russia, One museum. Russia, by the way, this is the main love of my life, extremely expensive to me country. so here, I went to look at the history of your country, to a certain cluster of the story - and before the trip Edward warned me. He said: "If your topics will speak the truth and you will know it, do not be afraid to correct them ". And so, I was in a museum. Woman-guide leads us, a small group of tourists, tour. And then she said something wrong. I correct it - and it just makes me a comment: breakwater, you probably know all of this from the book Radzinsky, in which it is so-and-so I wrote about everything! certainly, She was right.

When the guide was wrong again, two, three, I corrected her and corrected, it came out of himself and offered me a tour instead

I was only too glad to do it - and made, conducted by our group completely unknown to me until now to the museum and told all, which he dedicated! a woman I, true, It was genuinely sorry.

among people, who influenced you as a musician, not very many of those, who in his life wrote a musical. David Bowie, David Sylvian - these people did not compose musicals.

Not, you're not right, Bowie at the end of life has created a "Lazarus", very interesting musical!

Yes, just, how could I forget about the "Lazarus". Sorry. And as you think, David Sylvian might compose a musical?

I do not think, that he needed. more precisely, I can not imagine, that he would want to take on this. I am now in parallel with the rest of the affairs of finishing work on the album Andy Taylor, Former guitarist Duran Duran. And here on the first evening sessions in Ibiza I asked him, which could not ask: "Andy, do you know David Sylvian?" Is he, naturally, It turned out to be acquainted with him, but nodding - and at the same time told me, a sincere respect he feels for Sylvain for, that he was departed from a very predictable way pop musician, I take a more experimental things. That seems to me, David - it is rather the kind of artist, who must always be their own way and life in the work. It will be difficult to use something of others as a basis for their work. This is by no means a replica against David Sylvian, but a statement of facts. I do not have such. No difficulty about that, I'm writing a musical based on someone else's book, I'm in the process has not experienced.

among the artists, you work, a lot more of those, who brings a theatricality in the music - and this issue is very important, when we think about the musical as an art form. Tell, eg, you have adopted something of this sense of working with Tarja Turunen?

Not. We Tarja - is another "odd couple", as you say. But it does not teach me anything, and I do not teach it. We work together, because we have a head and mind are arranged almost identically. I will even say something: I was always amazed, that Tarja perfectly porcelain skin. From it comes the radiance. She, of course, as we all, He is the man, but still not out of this world. the main thing, for that I respect her - is her excellent understanding of his integrity as an artist. She never engaged in those creative things, which does not want to. We had in this respect is also very similar people.

And what things you do not want to? What do you offer this, from what you give? Can you give any example?

Oh, examples are many. Every morning I find in my mail dozens of emails from various professionals of the music industry: such a singer is looking for sponsors, so some actors urgently need music, well, you know. Almost of all, I refuse. Hook can only very special things. Need to say, that with me it has not always been.

Ten or fifteen years ago, I used to take on any job, which, I thought, He could help me with my own career

But, as often happens, It lacked only a single case of life, to cease to do so. Once we Anders Vacuum recorded as a ballad Starting (When the Story Ended) - song, I still think one of the peaks of his work. At the same time I was asked to write a song for a very popular English actress. In that day, when her song of my work has taken place in the top 10 of the British charts, I received two calls. The first - from my agent, who told me about the success of the very thing, I wrote for another artist of. The second - from our Anders assistant, who told, Starting that (When the Story Ended) vengeance is played on some radio wave somewhere in Sweden. From the first call I got no emotions at all, though, an amicable, I should rejoice. From the second I was overwhelmed with happiness. Since then, I think, that real success for an artist - it's not money, the ladder does not promote, and only then, that in fact it brings satisfaction.


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