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Gleb Kolyadin

WITH: Gleb Kolyadin



Marc Thibeault - February 2018

Profilprog - Hello Gleb. Thank you to take time to answer our questions for Profil Prog.

PP - Can you explain to us just how you had the idea to make this concept album? What is the story?

Greg Kolyadin - I had the idea of a solo album since 7 years ago while we were making on the first iamthemorning album. But I didn’t take it seriously. I’m writing something like a musical diary, where I record music tracks within one night. For a few years I accumulated so much of them that at some point I felt ashamed that so much material was unused. After iamthemorning’s Lighthouse I just wanted to pick some of my old sketches, polish and then record them in the studio. But right as I got to grips with that old material an absolutely new music began to shape in my head that was much more honest and relevant for that moment.

In terms of subject-matter this album is a story about a person who sees the abandoned empty house in his dream, but has never seen it in real life. That location is sort of a projection of the inner self. While passing through twisted corridors and climbing up ladders the character puts the scattered ideas together and comes to the holistic view of his own world.

As the first part leaves us “falling into the void” of absolute introversion; the second one is a tale of escaping those dark depths and finding the path towards extraversion and enlightenment.

PP - Did you already have in mind the artists whom you wanted to play on your album when you began composing your music? Is it more complicated to work remotely with musicians when you do not see them?

GK - Not really. First of all, I concentrated on music because I wanted to make an honest and sincere album. I think, if you started your work with the question of "who I would invite to play" – the final result will be completely different. Of course, I imagined some people when I composed some parts, but I really didn't think about it seriously until all the demos were ready. Only after that moment I was invited by those people that I like.
I like the option of working remotely. Perhaps the reason is that I’m more of an introvert. Although, I think, this type of work is not better or worse than when you play live with each other, it's just a different type of work. Everyone has time to think in a comfortable environment and record at any convenient time. Sometimes musicians even don’t need to be personally acquainted because they can communicate through the music and their playing.
In this album I made a very clear and 'detailed' scheme, almost completely arranged, with the main parts already written and roughly the same timing as in the final version. From there I only had to send that draft to the musicians so they’d play their parts possibly adding their own colours and vision, leaving the core intact. That resulted in a sort of an architectural project that was taking shape under Vlad Avy and my control.

PP - After listening to your album a few times, one feels the '' touches '' and the sound of IAMTHEMORNING but there is also a little something more in the music, more fragile and more intense at the same time. More introspective or personal perhaps?

GK - It was a pretty tough time for myself when I began to work on this album. It was like a beginning of a new period, the need to understand and put myself together. Naturally, this self-analysis passed onto the music and the whole work process. In other words, I came up with a sort of a “model” of my psychological self of that time.
Also, I slightly expanded the boundaries of self-expression as the album is almost entirely instrumental.

PP - Is it easier to write instrumental parts or parts with singing?

GK - I would say that these are two different modes. I have a lot of melodies in my head when I compose music with vocals. I try to transfer these melodies to the accompaniment, leaving space to voice. In other words, you seem to dive under the water where you make your own world, creating the movement of waves that support the vocal line.

In instrumental music - all the space is yours, and you start to think differently and you have more options. But you still need to create a kind of "formula" that will combine the various musical layers.

In general, these are like a two different puzzles, each in its own way interesting.

PP - I have the impression that you have slightly ''forked'' towards Jazz on this album. Was it desired or is it the musical contributions of the other musicians which gave this result?

GK - I guess which parts you mean, although I wouldn’t say that this is a proper jazz. I was thinking more about rhythm and timbre. In general, in this album, a lot is tied to rhythmic patterns, and in terms of harmonies everything is quite simple. I just wanted to get a jazzy vibe in some places... That’s interesting that you ask about it. Perhaps, it's time to upgrade my skills in jazz harmony.

PP - I have the impression that the Canadian Vlad Avy and you have developed a beautiful complicity. How did you know him?

GK - We met Vlad at the time when he was on the technical team of iatm. He helped a lot with our earliest releases, but this time, alone, he made all this work not only as a sound engineer but also as a sound artist who shaped the sound of the whole album. And also, he played all the guitar parts.

PP - Perhaps you do not know it, but Canadians know you, follow your career and speak about you. Is there chance to see you in Canada or Quebec, as IAMTHEMORNING or as a solo artist?

GK - I'm glad to hear that people are listening our music in Canada! It would be very nice to visit you with a concerts. It's not so easy to get to you from Russia, but let's believe that this will happen!

PP - Any final word?

GK - Thanks for conversation! Have a good weather and music, of course!

PP - Thank you very much to have answered our questions!! We wish you success for your excellent album and hope to see you soon in Canada!

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