Can you tell us about this track?

When I was small, my grandmother used to read me a book by a famous Bashqort author, which I re-read last year. In one of the scenes, the main character finds himself sitting beneath a hazelnut tree at midnight, waiting for a flower to appear. One of the myths says that if you’re quick enough to cut the flower and then cut your hand and place the flower under your skin, you’ll become invisible. I remember a few cuts on my father’s hands, which always made me wonder—did he ever want to become invisible?

What's your process?

It’s bilateral, as I work with a set of synthesizers and qurays, our traditional flute. I like synthesizing sounds that resemble natural ones, especially using physical modeling algorithms, and playing with acoustic sounds until they somehow mimic synthesizers. Unfortunately, I suck at playing the quray, but the noisier it gets, the more frequencies it produces—which makes it perfect for resynthesis algorithms.

Tell us about being a musician in Switzerland.

For me, as a migrant, it feels great. I understand why some people are feeling depressed about the current state of things, but to be honest, I can’t fully relate. It’s one of the few things that sometimes frustrates me—both people who don’t recognize that their situation is almost unique, and those who can’t admit that other experiences exist.

Who are your favorite Swiss artists?

Saadet Türköz and Mario Batkovic.

Who would you like to see perform in Switzerland?

Samrattama, Şüräle, Zere Asylbek, Lovozero, and Eldar Tagi.

Any shoutouts?

Check out Adam Badí Donoval if you’re looking for great mastering and mixing at non-Swiss prices.

You can follow HMOT on Nina and Instagram

Now Playing

Playing Next