Interview with Kiril Dzhajkovski

Magical Chaos and New Temptations

Kiril Džajkovski, one of the things that contemporary Macedonian music scene is proud of, and the author whose music touches deeply everyone who once heard it, will “sign” the first really great performance in front of the Macedonian audience on 16th of March this year. With his “supports”: Shale vs. 2SP-1 and Nikola (100% Pure/Concept Fragments) and the special guest Nikola Kodzabashija, on the basis of Milčo Mančevski’s video art in Third Ear (Treto uvo) Production, that carefully prepared performance will became reality in the Hall No. 1 at Skopje Fair complex. In the eve of this happening, we document this e-mail conversation made with Kiril.

LJ: After such a long time, first with Bastion, then with Leb i sol, and finally – with so many projects behind you, do you consider that you finally found your true type of music within yourself and in general – in your work?
KIRIL: I certainly do hope that I’ll never find the answer to this question. And I don’t know if there is a need for it. I think that the very search for that “real type”, or for the “true type” of music is what makes you go on further and further, and I wouldn’t like that process to stop or to be compromised by some belief that I’ve reached it… There is a saying: “you’re as good as your recent deed is”. That saying ruthlessly defines that process.
LJ: If so, how do you see your way of development? You started with electro-pop, which, in that time, was a novelty in the areas of former Yugoslavia, and with a potential that unfortunately and from some incomprehensive reasons remained unsaid along with its new sense of visual expression (here I speak of the video-clips Milčo Mančevski made then, and they were censored in whole and forbidden for screening). Then, you were part of the definitely most commercial period of the Leb i sol band, and finally – the projects that actually brought you back to your first origins and ideas – electronic music.
KIRIL: Chronologically, you get the “closing the circle”-effect, as on the music-related issues, so on the people-related collaborations I’ve made, but I never think or try to see things in that way. I leave the magical chaos of the historical uncertainty to put me in front of the beautiful new temptations.
LJ: Remarkably interesting is the period of your stay in Australia. As first, you worked with some local band there, then you attacked the advertising music production, and after that was the extraordinary fruitful collaboration with Vlada Divljan (The Aparatchiks project)… Then, you took active participation in the two albums of Kismet band, and finally you established your own label, under which you published your own projects.
#2 KIRIL: My stay in Australia, above all, I see as a great life experience. I was lucky to work with some really talented people, who were, at the same time – my real friends, and that’s really an advantage, as it always is. All those projects were precious experience and a step forward in my musical mature-process. The establishing of my own label was more a necessity in the independent production, then some ambitious publishing enterprise.
LJ: Recently, you’re spending much more time in Macedonia. Isn’t that mean that you quit on the work on both fronts (home and abroad), or it is only a spurious mask, as your music materials erase not only the time – but also the space limits?
KIRIL: I always try that what I work to function beyond time & space limits, so from that point of view – I don’t bond myself to any certain territories. It doesn’t mean that the place I work in doesn’t influence on my work, or that my birth origin also doesn’t determine (in some level) – what I am – in my essence.
LJ: In spite the patterns for the pop-scene actor, we can – more and more often – see you as a “utility music“ author. It means that you made very successful collaborations with the directors Aleksandar Popovski and especially with Milčo Mančevski. Is it, maybe, the music expression that provokes you as a contemporary music-maker?
KIRIL: Making “utility music“ is very inspiring for me. It gives you a possibility to “play” with various music styles and to “sample” yourself with the old and to face the traditional and classic music forms. Many times it makes you to step into some unexplored territories, and the taste of that art adventure is the most attractive “thing” in this business… Wrapping the music during finalizing of the film or theater play is a kind of magic that enchants, something I can end up doing indefinitely…
LJ: Thus that type of music requires a greater engagement, time, honesty within, research, digging within yourself?
KIRIL: All those values you mentioned should always be part of any engagement.
LJ: Very interesting is your way to the traditional music. You started with using it as a samples for your old scores, throwing them into the future, and you ended up, at this time somehow, with the collaboration with Vanja Lazarova, in the project that for many was a true masterpiece – Ritmistika. How did you reach the origins of the traditional Macedonian music and how much is possible that it can be your individual characteristic among which you’ll be “recognized” in the world?
KIRIL: The experimenting with the Macedonian traditional music came to me naturally, it somehow imposed itself as an inevitable part of my personal habitat and of my own birth heritage. I think that it gives a strong mark upon my work in electronic music. But I certainly don’t want that to evolve into some kind of a pattern or some formula that will lead my future work and future projects. As long as it makes some sense and some artistic justification, the traditional music will be a part of my music expression.
LJ: I suppose that the DJ sets will be the grounds for your great concert that should happen at Sajmishte (the halls at Skopje Fair complex), besides my information that you’re preparing some team that will support you with some live performances. Do you think that it is the very future of today’s contemporary performances?
#3 KIRIL: This time I’ll perform escorted by a group, some kind of a band, and that’s something what I always wanted to try – the real combination of music electronics with live musicians. I think that this kind of merger gives very interesting results and gives to the electronic basis some specific density and thrill. Also, at the Sajmishte concert, a small group of musicians from Macedonian Philharmonic will appear, but with what kind of a purpose and function –it will remain a small surprise.
LJ: According to you, where the contemporary music “goes” to? Especially the electronic music?
KIRIL: It’s hard to predict some certain formulations on the development in the electro-sound. Today, the electronic music is a large industry and a part of that what represents the mainstream. From the other side, the technology provides a superior control on the production of such music, and so many options for new styles and sub-styles are easily possible now: any new and progressive music styles – aside from the great budgets of the big discography publishers.
LJ: How much knowledge do you have on Macedonian contemporary music? Have you noted (or not) something special here, and what are the chances for our music reality here to face the wide world? Do we know now, and did we learn how to communicate in the modern/contemporary way with the world’s promoters and publishers?
KIRIL: We all know that in Macedonia we have many talented people and that we make high quality music. Many of them have already established themselves abroad, and with much success, I can notice. I don’t see the reason why that trend shouldn’t continue… Our promoters and publishers, in the given conditions, do their job very well, and today, the “communication with the world” is every-day’s routine, one needs only a computer and a telephone line. It only remains – to tend the most important and the most delicate communication – the communication within yourself.
LJ: It’s been a while since the Dust soundtrack. In the meantime, you made the music score for the theater play Dracula. As far as I know, you’re preparing the material for your new album. When is the schedule time for its appearance, how many people will help its realization and under what label it will be published?
KIRIL: It’s still early to think of a publishing a new album. Maybe in the fall – the earliest. I would certainly like it to be finished by this summer, but I can’t guarantee it. My plans are that it should be a double album with various and interesting music guests, but I’m not certain about the publisher… If I find time, I’ll publish a theater music compilation.