ambient, electronic, abstract, atmospheric, chillout, pad / Novosibirsk "This is a great example of how musi...

Limitless Wave

ambient, electronic, abstract, atmospheric, chillout, pad / Novosibirsk
"This is a great example of how music can speak to you."
Limitless Wave was formed at the moment of another creative crisis. In general, all my aliases varied during creative crises, and then for probably eight months I didn't write anything. Besides, if you do something new, it is better to do it in a separate project and under a new name. Actually, while realizing my creative work Limitless Wave appeared quite accidently. I started with a very different kind of music: some kind of club music, electrohouse, hip-hop... I went from one extreme to another, but I realized that I'm fond of atmosphere and started making something similar to ambient.

I used to work alone, and Limitless Wave is my individual project. Several times I was offered cooperation, including writing music with a duo or trio using this name. I was against it, because I constantly make some changes to the music while working, and there's a rare person who shares my opinion.

Initially I had 1 gb RAM computer and an old monitor, very old, with the cathode-ray tube. And I tried to write somehow on it. Later I bought a MIDI-keyboard of four octaves, and actually it's still alive and perfectly runs. These are my main instruments are my computer, the MIDI keyboard, well, and now the recorder. I've got some certain base of synths that I use, actually I don't have hundreds of them, as many people do. There are about ten of them at most. Because all synths have mainly the same functionality and they can do the same thing.

My own studio allows me to make music much better. It was a very long way to this – studio monitors, studio soundcard, stuff like that... Now I am very comfortable to work with. My old computer monitors had no such sound and frequency capabilities, so when I bought these things, I set all in goose pimples for a week or so, even listening to my own tracks. I heard absolutely every mistake that took place in my music, and now I hear what I need to correct.

I mostly use my own samples, although I sample some other music. In this case I take some kind of melody or harmony and use my way of processing. I try to make it as unrecognizable, as it is as a rule done in many musical circles. But I seldom use it, only when I need to insert something really interesting.

I always carry a recorder in my knapsack. I hear some buzz on a street – record it and make from it something completely different. Or I go across the city streets and hear some interesting sound, for example, children running around, and it sounds so cinematic, so I adjust the sound and record it. Just recently I saw my girlfriend off at the station and recorded the sound of the departing train. I couldn’t help recording it. I gonna make something catchy with this.

Natural reverb is really a cool thing. Actually, I write voice and the environment. In the last track I used the recording of my listening to it. I put the recorder at the end of the room and switched it on. Then I inserted it into the final of the track. That was fun.

Remix is a pretty serious processing of a track. And rework is just bringing small changes in. It's not exactly a common concept, but it is used. In the same time some instruments can be changed, but the main idea of the track remains. I made two reworks on Hammock. Still I like them and listen sometimes both to original compositions, and reworks. I didn't bring great changes in them, left some of the details that I had been caught by. I was working with its background. But all in all, it's somebody else's music, and, of course, I don't take these tracks for mine.

I like rhythmic music, kinda broken rhythm, and at the same time I really like ambient music when you can just sit down and plunge into the sound and not to think. I can compose ambient too, and some chillout music within one project, under one name, because in the end, it will have its own unique zest and people will recognize me in both of those genres. I'm often said: "Listening to several unfinished tracks we recognize yours among them at once".

I start writing, when I realize that there's something new in my head, and I can transfer it into the music. Before that, I stop listening to this very genre of music at all for some time. One can say if you want to write some new material, you have to listen to a lot of other music, but I do the opposite.

Detachment and at the same time involvement in events is the main feeling in my music. Hope? Well, yes, it is, but it is not so much apparent. I constantly reflect on my work, on the subject of what I do write in general. And I once came to a certain point of view on this; I simply transfer my experiences and thoughts into music. I think most musicians act the same way, departing only from their experiences.

Bvdub had much influence on me and my creative works. His music is oversaturated with different features which sometimes I take and interpret on my own way. In lot of his tracks, for example, he uses vocals not simply for delivering some information, but as a musical instrument. I think it's a very interesting way of working with vocals. He has no tracks less than 8 minutes long, so he always reveals absolutely everything he wants.

I'm much surprised when people can't spell at once Limitless Wave. They say: "Limits? Limits Way?" – well, something like that, always distorting it. Sometimes "wave" is just said in Russian "volna". That is, they can't remember the name, although I think it's a simple name. Or they just say: "Maxim that..there's...wave".

It happens that some different music is signed by my name. I found these tracks several times on audio-search and thought: "Seems I never wrote it". Then I listened to – so this was not mine, but one's of the more promoted musicians. Of course, I'm pleased to be considered as the person who wrote this beauty, but it's not me. So, I have to inform people that they should delete it.

Relations with a label are formed in different ways. I've got a great partnership with the Endless Quest label which published my last album and Dima Uvarov, its Director, we are very good friends, we constantly discuss the tracks, both his and mine. Once I worked with another Internet label, and, honestly, the deal didn't work: they didn't pay for sales of my album. Well, I said, "Okay, if you don't pay to me, have your business and don't publish my album any more". They wrote to me then after some time, and said that they wanted to publish it on some physical media , but I said, "No, guys, I don't want working with you".

I tried to broadcast in Periscope. Just thought people might be interested in how I make music. People came, but didn't understand what exactly was happening there, and, obviously were not much interested. They need some "partymakers" to be played, or just to sit...and I don't show kittens. Still you can of course just sit and talk about music itself. Sometimes I turn on some music I listen to, and people say, "Oh, what is it?" They're exited in a way.

Ambient is unusual because it exists everywhere, and yet nobody notice it. As the name suggests, it is "surrounding", so it must be everywhere, and people hear it everywhere, but they don't know what it is. I still try to convey to people that after all it is music, not the wind. Many people don't want to perceive music without drums or without vocals. They say: "Does this really exist?" and they think it's just the background. On the one hand, they are right in a way, it's really a background for some thoughts. You could even say that this is smart music, and if a person has no thoughts, he will listen to this music without understanding.

When people ask me about my music, I say nothing, but just immediately turn it on. If it's not possible, then I say that it's like music from films or something atmospheric and so on. Well, it still does not immediately reach out to the people. Only if I turn it on, they exclaim: "Oh! That's interesting!"

New material is enough for three albums, but I plan to release it as one longplay. I expect to make about 15-18 tracks and conditionally I divide them into three sub-genres. First, the ambient people got used to hear from me. Then there will be music more down to earth, as say more pop – with vocals, percussion and so on. And there will be even something like Burial, so called UK garage, maybe even something minimal. The album will be designed so that each track will flow from one mood to another. I'll do my best to perform this, to build a gradient to create the great contrast between the first and the last tracks.

I started writing my last album more than one year ago. But it doesn't mean that I'm sitting and composing all the year around. There are some moments when I work two weeks in a row, at such times I can make several tracks, and then, say, for a month, I do nothing, cause I just don't want to. This is absolutely standard situation. The incredible work has been done, and much more will be done, so I think that this album will be the starting point in my further career.

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