The information and entertainment channel Liquid Flash presents.
3... 2... 1...
Warm News!
Hello everybody! This is Warm News. My name is Vlad Smirnov.
We are in the Liquid Flash broadcasti ng capital, Novosibirsk city.
Today we are here with two very gifted, creative and experienced musiсians.
The first one is a beatmaker, a CIS G-Funk sound producer, Igor Brisker aka Breez.
Hello everybody! That is me indeed.
My name is Igor Brisker, I hope that many people recognize my stage name "Breez".
Yeah! And our second participant is a composer, a producer, a multi-instrumental musician,
who has already been here on the radio, Pavel Pustov aka Push-I.
Hello-hello!
Such a concise "Hello"! Now we are heading to the most interesting.
Warm News!
So, we have a beatmaker and a sound producer, Igor Brisker,
and a composer and a multi-instrumental musician, Pavel Pustov, in our radio show.
Today they introduce a special album for us, and we are going to talk about it in details.
But, for the time being, can you tell us a bit about yourself, Breez?
You can check this in the description below, that Pavel Pustov has already told
a long and beautiful story about himself, that he is a very experienced musician.
And yet, we haven't heard about you today.
And, I think, there are few people left who haven't heard about you at all.
Judging by the fact that, as soon as I mention you, everybody seems to know you.
Tell us about your creative career, and what you've been doing all this time.
I like the way you pronounced my name. "Breeeeeez!".
It sounded like as in the historical part of the release we are going to talk about a bit later.
Generous words they are, that few people don't know who I am.
Actually, it's quite vice versa. Few people know, even less remember.
Back in the day I was narrowly popular indeed.
I think that my main primetime was in 2008-2010.
Later, in 2012-2013 I started to retire from music affairs.
Till the present moment, I didn't manifest.
What music related activities made you popular, how do you think?
That was probably my first international level activity,
when I took part in the beatmaking battle by Rap.ru.
Wow!
To be honest, that was the first and the last such proposal from them.
Unfortunately, they have never done anything like that after.
We were lucky at that time, it was in 2007.
The year of Diamond Style Productions beatmaking team foundation.
I had a hand in it in the day.
The beatmaking battle, where four of us took part, was just in time, on the wave of our foundation.
I was lucky to make it to the finals. I cannot recall a precise amount of participants by now.
About 400 people took part in the cut. Further, the amount decreased.
People were sorted out. Then grouped in pairs, the usual.
So, I made it to the finals, and then I conceded to the participant by the name Bermutto.
He was a good Kazakh musician, but that's the story for another time.
Has he any reference to Skriptonite?
He might have nowadays. Actually, I have no idea – it was very long ago.
Furthermore, Skriptonite was very young at that time.
By the way, considering the battle, some tracks that I composed as a participant
were eventually included in the release we shall talk about today. I'll mention it in time.
I made it to the finals quite all right, and I conceded in the final game.
I think it is fair, because it's a kind of karma.
To the very last stage everything I did was honest — I got the tasks, created a new instrumental,
finalized it, published it, and waited for the results.
Somehow, in the very final game, I decided to cheat a little.
I took the already existing instrumental track
that was composed together with one of Diamond Style teammates, Will Shine.
Due to the subject of the assignment, I thought that track would suite well,
because I needed to promote myself somehow in quite a pompous way.
The assignment was "I, legend".
So I came up with an idea to compose a track — something like "G Funk Legend".
Not only I used an existing instrumental, I also summoned two more participants to take part.
The first is a friend of mine Sergey "Jizza Prо" from London.
He recorded a voice part. It's not rapping, nor recitative.
Something like a speaker's voice which goes with the music, in rap-style, not formal.
And the second participant, a very talented artist,
and a friend of mine L-Tune. He lives in Moscow.
He recorded the vocals part of the track with a so-called talkbox gadget.
Likely, he is the first one in Russia and ex-USSR who professionally uses such type of vocals.
This is a story for another time.
We managed to make a sound-authentic track, but, nevertheless, we failed to take the first prize.
I think that it was a kind of lesson for me. After all, you have to be honest to the end.
Now I admit my sins. But it all worked out for the best.
Ten years after, this track became a part of my release.
It plays a role of background music for the first part of the Story.
Secretly, I have further plans for this track.
I have quite a utilitarian attitude towards music. Good music mustn't be wasted in vain.
It should be used for something eventually. Now I fully understand that, in fact, it has no expiry date,
if it's successful, made with sincerity and inspiration.
You might as well find it in the coffers 10 years later, and it will still sound brand new and interesting.
Everything depends on the performers who will participate, the concept, the idea, my own sound producing skill.
Great! And the most interesting point is, that art is, indeed, immortal.
That is what Breez is speaking of at the moment. We shall continue to inquire:
what were other large or successful projects in your personal history?
What made you famous? What else did you do?
Okay, Vlad. Since you have permitted, I'll give a short narration.
It wouldn't be right to start the review with the year 2007, the year of the said battle,
because everything started a bit earlier.
It was a hard year 2000. The end of 90s, actually. I used to live at Vashnil, Krasnoobsk town (the district of Novosibirsk).
At that moment there were quite a lot of people who liked rap. There was some flava.
We were hanging out together. There were several groups of people.
By the year 2000 a friend and a classmate of mine, Kostya Rerikh aka Shorty,
initiated gathering the people interested in rap culture and the second wave of breakdance, which was within the years 1999-2000.
The crew was formed under his influence. We started gathering together and practicing.
Some local Culture House provided a rehearsal place for us.
Within that crew 3 persons who were eager to make rap music,
to compose, and to record songs, stood out, though we were incompetent at that time.
Kostya aka Shorty, Gregory Podistov aka Griffon, and me.
We tried to record something, as any beginners would.
I mostly composed lyrics.
We tried to rap to someone else's beats,
having no equipment. We had no experience, nor knowledge, nothing.
Everything we tried was performed live.
Later we started visiting some home studios via folks we knew.
Then were local studios, where we recorded some tracks.
Unfortunately, for different reasons, we didn't manage to collect enough content to make an album.
As I can remember, in a year or two Gregory Podistov left the group due to personal circumstances.
But, another friend of mine, Ivan Akhlestin aka Skif joined.
We continued to work together with him up to 2004-2005, but still with no releases,
i.e. there always were some tracks we were working on.
I studied composing, worked on instrumentals, tried to improve my skill. Skif also took part in it.
He came to my home, we sat poking around and brainstorming some ideas, later I refined and finalized them.
Approximately by the year 2006 I gathered some music content.
At least half of these beats took no part in any tracks. There was even no prospect of using them.
That is why I made up my mind, that it was time for me to somehow assert myself,
because our minor success that we acquired in the beginning of 2000s,
had already faded, for we never performed, nor toured.
Nevertheless, the Internet grew and promoted itself, and the local rap flava,
as well as the All-Russian, hip-hop.ru, etc., rose together with it.
Social network VK emerged.
I gathered all the products of my creativity and decided to drop it into the public.
I made a compilation of instrumentals and started advertising myself everywhere I could.
People wrote to me. By 2007 I got acquainted with the guys,
with whom we conceived and created Diamond Style Productions.
First of all, I came across Eugene Kozhevnikov aka Uralblack.
He's from Snezhinks, Chelyabinsk Region. He keeps on making music by now.
There's some kind of label, 4Klassix, and he promotes his music under this label.
Another participant is Alexey Polischuk from Omsk, aka Shorty, aka BeatMagik.
Sergey Rybchinsky, who is the boss and the mastermind of Diamond Style at the moment.
This association continues to evolve without my interference for quite a time,
but, nevertheless, guys are great.
That is how we dived into Rap.ru battle, which lasted for about half a year
and was quite successful, at the very least, for me.
Such conditions — when you have a task, a competitive spirit, dramatically boosted motivation,
you are perforce inclined to do things you never did before and improve your skill.
I think I succeeded in it, which is why I'm still proud of the most music content recorded at that time.
So, we come to the point where your solo creativity begins, don't we?
That is after the year 2007.
Exactly. The battle started in 2007, ended in 2008.
I started working on instrumental album right away. By that time I already had a good content,
partly created for the battle, refined and finalized, remade.
Besides, I recorded several brand new instrumentals.
Alexey "Shorty" Polishchuk and Eugene "Uralblack" Kozhevnikov, again, took part in this album.
In the spring of 2009, in March, I made this internet release. Its name was "Rhythm'o'Holik".
Actually it sounds like...
It should have described me as a person addicted to rhythm, addicted to this music.
The album was distributed via ru-net, at least within rap-flava.
We used no special marketing tools: there was an official release via VK community,
where we managed to attract quite many people.
In addition we created a website devoted to this album, where people could download it.
Usually when you publish some free product, it is widely distributed later by the consumers.
I googled and found copies. It's very good indeed. No copyright violation, no piracy possible.
The album was conceived as something free-for-all. Rap instrumental album is a specific thing.
It became a good resource for beginners and advanced rappers.
They used instrumentals to make some demo-recordings.
Some of them sent me their demos, and I found some demos on VK by chance.
A bit later, more than half of instrumental content was bought from me by performers.
Music can be monetized indeed. I would also like to say that the release was quite diverse of sound.
Nevertheless, a lot of people tried to put the label of G-Funk on it.
I disagree with that, I never stated it like that.
There were but 2 or 3 authentic sound tracks, that refer to this style. It was mostly various West Coast rap.
It can be called like that, due to it's instrumental part. There were some symphonic, even classic tunes.
It can be found quite often in West Coast rap. There were some sample-based projects.
I guess it was the impact of fashion of that period. Kanye West had a great influence at that time.
It was known for its pitched voice samples. Many people tried to repeat the effect, I also used that trick.
I also did that back in the day. From the other side, I might have lost myself a little in all this diversity.
I'd like to come forward mostly as a West Coast and, primarily, a G-Funk producer.
How did it evolve? What stage did you reach after you made this release?
During the next 2 or 3 years there were no interesting projects,
I think, all the resources were charged with our Soundclick web-site development.
Those who deal with music know that this site is still working.
At that moment it was almost the only platform where musicians could sell their content.
We were occupied in the promotion as a team.
We composed music, published it on our web-page and took some action to attract people in order to promote the site.
We made collaborative projects, cooperated with the musicians who already asserted themselves.
In 2009 I moved to Ukraine by fate. I've lived, for a little more than a year, in Chernigov,
and I continued to make music while I lived there.
I worked together with different artists, fortunately, they contacted me.
I started a very productive acquaintance with Arsen Arutunyan-Ginsburgh.
He approached me, when he needed a beatmaker, via Myspace. At that moment it still had its prime time.
We composed several tracks that consequently were included into his album.
During that time, Arsen switched to live sound, gathered a group, and produced an album in early 10s.
By the end of 2010, due to personal circumstances again, I returned to Novosibirsk.
At that period I somehow had a setback in my relations with Diamond style.
I knew it would come to that, because eventually our attitude towards music, understanding of music itself,
and its promotion began to differ.
I felt uncomfortable following trends, though it was vital for the commercial aspect.
That was what this team was created for. We parted in 2011, even with no official breakup.
What happened to your composing process after that?
What were other crucial moments? What tracks were released after that?
For some time I continued composing, in order to promote and sell via Soundclick.
We did that together with the former Diamond Style member, Eugene Kozhevnikov.
That was the time when 4Klassix emerged, Eugene still promotes it, though I left it, due to some personal reasons.
Composing music on an ongoing basis in order to turn it into some kind of assembly line – it's just not for me.
I reached the point when everything like that becomes insignificant. Music is something more for me.
In 2011 a tragic event occurred. It led me to a new turn in my music.
As I can remember, in March, 2011 a famous vocalist,
perhaps the most famous rap vocalist, Nate Dogg passed away.
He was the man who composed refrains and made the tracks hits on the top of the charts.
He was not only the most popular performer in G-Funk, West Coast, but also in the whole rap culture.
Unfortunately, he passed away when he was only 41.
It turned out very interesting, that just before that I finished an instrumental,
that I started composing being a Ukraine citizen.
When I was writing it, I felt something in the sound, very similar to Nate's tracks, even a bit mystical flashed.
Something interesting and elusive.
Right after I finished this project, I got the tragic news about Nate.
It was painful, but it also made me understand, what that music was for.
It had certainly become a tribute to the artist. It was a small Internet release.
I published instrumental part with some tribute words, that weren't set to the music,
just published in text and dedicated to Nate.
Later on, I showed this tribute to my friend in Saint Petersburg. His name was Igor Krainik.
He proposed his very own view of it. He threw out the idea concerning what we could do with that track.
There's a very popular rap vocalist in our community. His name is Anton Sidorov aka Maestro A-Sid.
His most popular collaborative work was with the rap band by the name "Krec".
He had recorded a lot of hooks for them. Igor advised me to contact him.
It was obvious, that together with his vocals, his voice,
and, again, with his view and understanding of this music's peculiarity,
he could make a creditable high-grade record.
So, I sent him a demo. He sent me back a vocalized hook demo quite promptly.
He composed lyrics by himself, recorded a chorus. I liked it from the start,
that he based his lyrics on the famous Nate Dogg's line "Nobody does it better".
The words about Nate continue into the hook. That was the first time I tried to compose lyrics in English.
I wrote two verses for vocals. They were simple in content, their meaning was hidden in the open.
My friend, Sergey Jizza Pro from London, who I have already spoken of, helped me to adjust the text.
Concurrently I decided to improve the sound by means of talkbox, and, lucky for me,
Alexey L-tune mentioned him already, generously agreed to take part in this project.
The three of us were constantly communicating and discussing.
I think that it resulted in a very sincere, honest and vivid outcome.
I'm still proud of it, I like it and occasionally expose it.
I managed to contact a few bloggers who were popular at that moment —
not video bloggers as today, textual bloggers.
It provided us with some amount of promo.
This release is still on Soundcloud, the amount of plays slightly grows.
When we worked on the main track, that we released as a single,
there came up the idea to compose two or three single support tracks,
create a tribute in a format close to EP or single, containing 3 or 4 tracks.
That is why I started seeking contacts via Twitter, it was quite relevant at that time.
I managed to contact Kokane, the famous classical West Coast artist from Pomona.
He has a very unique vocals style. And the second person, who I could come across,
was from the same category of classic Bay Area and West Coast stars, Rappin' 4-Tay.
He is well-known for his collaborative track from the album by Tupac Shakur "All Eyez On Me".
The track is "Only God Can Judge me". There is 4-Tay's verse.
I think most audience knows him for this track. Of course, he has his own music, his own albums.
Unfortunately, we didn't manage to finalize that track,
make out the concept, technically record another track and film a video.
It was stored in the coffers up to 2013 or 2014. I could tell about it later, I guess.
I see, you've had a lot of accomplishments! The stories go one after another.
I think, it's time when we come to the story about the current release that we gathered here for, there's not much time left.
This collaboration with Ya Boy Black Ice aka Trav Lyrics aka Y.B.B.I., can you tell us about how this album emerged,
how it was named, what it was created for? And the track that we are going to put on air.
I got acquainted with Black Ice in 2007,
simultaneously with my working for Diamond Style, taking part in the beatmaking battle.
That was the time when I was considering my project under the working title "G-Funk Iz Back".
I wanted western rappers to be involved in it, authentic West Coast style performers –
from Los Angeles, Compton, LBC, Bay Area etc.
Since many people used to hang out on Myspace, I found many of them,
though few of them gave me feedback.
Finally, only two people sent me some demo records, that unfortunately sunk into oblivion,
because, for some reasons, I couldn't get finalized studio records.
Only demo tracks were available. In Black Ice's case, we immediately stared a dialog.
He was fascinated by the fact, that some dude from Russia, Siberia, sends him the music that sounds authentic. A kind of culture shock.
I'll put it this way: at that moment none of us was thinking of creating an entire collaborative project.
We were both occupied with our personal aims.
I wanted to record some tracks for my future mixtape that I planned;
Black Ice, in turn, had some kind of working project too, it included tracks with beatmakers from various countries.
It turned out very interesting. At that moment, he also started communicating with musicians outside the US.
He had already worked with some Polish beatmaker at that time, with French, with Japanese.
He distributed his album in Japan, because there are a lot of G-Funk fans there. The Japaneses are devoted fans in general.
They really stuck at this style.
That was the ground we bonded over on. This communication started in 2008,
I sent him a new instrumental in addition to the content I sent him earlier.
This instrumental was initially composed for the Rap.ru battle, by the way. All these events went hand in hand.
It's very interesting on this account. He was immediately captivated by the music.
In a short time he sent me a demo, later a studio finalized record was made.
The track "I'm Leaving" is included into our release practically unchanged.
In late 2008 I continued to compose new instrumentals with no reference to the battle or Diamond Style.
One of these instrumentals can be found in the release.
It was recorded in late 2008 and became a base for the "Bay Area 2 Siberia" track. The track became the core,
because this idea, the refrain, the name that was created by Black Ice is an epic one.
Inadvertently rhyming "Bay Area 2 Siberia" — this phrase reflects the meaning of the whole project.
The project we were unaware of that time.
It was the track that told a story of our connection in particular and many other things.
In the late 2008, in autumn Pavel Pustov, who is currently here, in the studio, came in touch.
I can hardly know what happened there behind the scenes, but secretly he told me,
that it was very exciting and interesting for him to propose some working music content for me,
to "check this out" as teens or rappers usually say.
Indeed, Pavel sent me some content, that he described as G-Funk. It was even named "G-Funk beat", that simple.
You know, I liked it a lot.
It didn't sound finalized, the drums were weak, it wasn't mixed well, the rhythmic pattern could be more intricate.
But what astonished and pleased me, was the keyboard part. Very interesting base. Сlassic Rhodes chords.
Another curious choice was the well-known West Side whistle.
Pavel somehow, magically, tuned it with variability.
All the variations were eventually implemented. He sent me track content.
I think, he'll be telling about it in few minutes. I was already inspired at that time.
I can't tell precisely, how long it took me to refine the track,
but I finalized it and immediately sent it to Black Ice together with the "Bay Area 2 Siberia" instrumental.
And I heard no comments from him concerning it.
But actually all was pretty interesting. Later on, eventually 2 years after, when I was in Ukraine,
he contacted me just so out of the blue, after two years of "no hear", and sent me a demo record.
I was shaken up. I was wrapped up in Diamond Style activities, and, simultaneously, in some family affairs.
I was surviving. Everything worked out, like chemistry, when there is the music,
the artist who feels it, the lyrics composed and recorded in such a way,
that everything merged together, and there is nothing to be refined, 'cause the composition is completed.
Ironically, I never got any relevant commentary from him, if there had been a quality studio vocals,
because it sounded like a pre-made track,
mastered by means of a simple laptop, with some crackling and wheezing. I thought it was home-made.
As a matter of fact, I used to think like that up to 2013 or 2014.
There was a magnificent content, but it hadn't been finally recorded.
And I had no idea what to do with it.
But later, when we resumed a dialog with Black Ice, I found out that, for all this time of radio silence,
a well recorded acapella had been stored in his coffers and could not reach me.
But, thanks goodness, this matter was resolved, he sent me the track out — main vocals, back vocals, adlibs. As usual.
In 2013-2014 I partly returned to making music, because I withdrew from it. I became silent, made no releases.
Then I started working on the content.
Now I want Pavel to join our conversation and tell about his view of this story.
Pavel Pustov, a composer, a producer, a person who mastered a legendary West Coast beeper.
Tell us, please, what is this instrument? What is it anyway?
That beeper? It's some lead.
Whistle lead, let's call it like that. This track was recorded very spontaneously.
I tried chords, found three, put them into a sequencer somehow. I had no computer, only a keyboard station.
Then I added the whistle.
I don't know how I managed to record it, I haven't repeated It without mistakes yet.
Back in that time, I recorded it from the first try. And then I thought that I should send it to Breez for his opinion.
Cause Breez is a monster of beatmaking.
I got his ICQ number from our mutual friend, Ilya Zevakin aka The Wake.
Then I contacted Breez and we started the dialog. He asked me to send him separate tracks.
I had to gather all the keyboard stuff, go to a studio in the far end of the city,
and export every track separately to just send it to him.
So Igor finalized the track, and it turned out to be great. It was the year 2009 (*2008, actually).
Up to 2016 I knew nothing about its further fate. We contacted from time to time,
I showed Igor my other beats, but that's the story for another time.
So, it was entirely spontaneous: three chords and a whistle.
So it came to that. Igor, what the track did this story result in? What's the name of it?
It turns out, that every track has its own "behind the scenes".
Pavel's sacrifice to send me the track out — I never knew about it.
As well as Pavel didn't know the history of this track's emergence and later refining.
The track can be heard via the released album. Its name is "Painless Drama".
(The straight Russian translation of the track name)
It tells an interesting story, which I hardly understand, frankly speaking.
Not all the nuances are clear to me. The story is about an imaginary Bay Area rapper,
who was either forgotten, or hadn't earned the desired success in his native land,
but somehow he promoted himself in other countries, in Europe in particular.
Due to the plot, he flew to Oslo, Norway. By 2015-2016 I practically finalized it.
Of course, I stick to the original version, which was recorded in 2008, its instrumental part.
Considering nowadays reality, I understood that the sound needed improving.
I threw away some sound garbage, some odd instruments.
I admit that the notorious whistle also underwent some remastering,
however I preserved its original pattern. It lost nothing and gained in quality.
In my opinion, it's one of my successful tracks, and one of the best tracks of the release.
What it's interesting for, is the story it tells. There's the story behind the scenes,
the story of its emergence here in Novosibirsk and in Richmond.
And the track itself is a part of the history that covers ten years, which the release tells about.
Which track shall we put on air in the conclusion of Warm News?
With which track would you like to finish, and what is its story?
I want it to be the track by the title "Destination", it's the key and final track of the album.
It has a speaking name, 'cause this track epitomizes some achieved goal.
Not only does it sum up all the ten year history, all the difficulties, obstacles, circumstances,
but it's also interesting, because in addition to Black Ice,
his close friends who are also classical Bay Area rappers take part in it.
They are Rinnessy and Ronald Porter.
I said it in Russian. Actually his last name sounds like...
It's interesting. In fact, Rinnessy opens the album, his vocals can also be heard in the first song, "I'm Leaving'".
It was my first acquaintance with him, hand in hand with my contact with Black Ice.
I want to thank him for having supported our project.
He participates in the "Destination" as a rapper as well as a chorus singer.
The hook is very sincere and interesting. He also raps the third verse.
Black Ice opens the track with his story,
which he uses to illustrate all the 10 years period of our communication, friendship, cooperation.
He uses metaphors for comparison. There is the line, pardon my French, "dug me a tunnel cuz…"
In this way, telling about a tunnel, he gives the reference to "Shawshank Redemption".
By the way, there's another interesting thing about composing this track.
Since this track had already been a stumbling block, and we couldn't make a release because of that,
all the rest material was finalized, for quite a time we couldn't give birth to this conceptual composition.
For different reasons. At that moment, I knew for sure, that the recording is on its way,
I waited for the content to technically be sent to me,
for the first time in my life I've fully watched a cinema classic, "Shawshank Redemption".
It fitted the mood. In several days the track finally arrived, and I understood, that it was providence.
Again, something collective unconscious happened, some chemistry.
Shawshank accompanied the creation of this song in a way.
In this very track Ronald tells the story of his life, music, family, children, his attitude towards all that.
Rinnessy also narrated his part of the story, interconnected with his rap career,
that he tried to compose something when he was a kid, in particular. He called it "pre-teen",
he was about 11 or 12, and he was harshly criticized by his elder brother, who was also a rapper.
Despite this criticism (or even thanks to it) he managed to become one of Bay Area classic old school rappers.
That's what he tells in the track, and shows respect to his brother, who gave him a good kick.
Another interesting point is that not only it finishes the release,
but also has a peculiar outro, recorded by Black Ice, after the main part of the composition.
He takes stock and says the things that are core to me and for many others.
About that "Slow motion's better than no motion".
We should leave our fishbowl and climb up a mountain.
When you have reached the top, it's time to return and take a couple of close people with you, help them.
This friendship created a good ground, a strong idea, that can be developed further.
Because we have plans to make video content, record new tracks,
concept continue promoting the "Bay Area 2 Siberia"
I hope that in the nearest future I'll manage to visit California, Bay Area, Richmond.
Frankly, I dream of bringing Black Ice here. There are exact words in his verse "…Now I'm in Siberia".
He dug this virtual tunnel to find himself here.
I think, that the line between this figure of speech about coming here and actual visit is very thin.
The release, and everything I do to promote it, the things I keep in mind and discuss with my friends,
who are interested in it — all of it cumulates my life around it and inspires me greatly.
For me it's a comeback and returning to music. That empowers and makes you feel that it's not in vain.
Thank you very much.
Today we were talking to a producer, international (and the US from now on, I guess) G-Funk beatmaker,
Igor Brisker aka Breez,
and a composer, a producer, a multi-instrumentalist
Pavel Pustov aka Push-I, aka Great West Coast Whistle master.
We finish our program with the "Destination" track from the new album.
Let's hope that "Bay Area 2 Siberia" will reveal new details and new releases.
We wish you good luck, guys, thank you a lot!
Thanks to you! It just boiled up during these years.
That is why — thank you to have let me pour that out. Shout out to all y'all!
Today we found out a lot of interesting things about music,
I think it's a priceless interview for those who look for extra musical performers info.
And about how everything is done. Few people can tell it in details. Pavel Pustov, thank you too!
Thank you, Vlad! Thank you, Igor! Thanks to all of you!
More to listen to, more to find out.
Enjoy "Destination". We'll discover your destination in the next Warm News broadcasts.
My name is Vlad Smirnov, Liquid Flash, Novosibirsk. Goodbye!
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