A new podcast, with Otava Yo

We have a new podcast!
Featuring the inimitable Otava Yo. Presented by Colin Bass.

About grass, goats and lost bagpipes: Q&A with Otava Yo

What does your band name Otava Yo mean? 
Otava is an old agricultural term, which in Russian means 'after grass' – during summer time if you mow the grass, after couple of weeks new grass (fresh and green) will grow on the same place. To be honest not everybody in Russia knows this word. (‘yo’ is simply the transliteration of the unique Russian letter ё)

Your music has been described as Russian Beat. Can you explain? 
This description was created during our tour in Mexico in 2010. We had just recorded our first album “Once upon a time” on which for the first time we tried playing famous Russian songs in very danceable style. At a press-conference at a big world music festival a journalist asked how we would describe our music style. So the answer came to my mind straight away: Russian Beat, as an analogy to Balkan Beat (everybody knows what does it means). We try to play modern Russian folk music, based on Russian traditional music, but transformed by our minds as cosmopolitan citizens. We are trying to play current folk music, not something reconstructed. And we try to keep it alive, and not hide it in an old cozy museum.

You are from the city of St Petersburg – Can you describe your favorite music club and the music scene there? 
St Petersburg is a very big city - there are a lot of music clubs and we have played almost everywhere. Like everywhere else music clubs are full of people who come to have fun. 10 years ago we had even more clubs and more people interested in partying in clubs. Now there are many more things to do in the city besides that, so clubs have to make more of an effort to attract their audience. I am not sure I have a favorite club in the city but there are couple of places where I like to play – the reopened “Aurora” concert hall and the “Waiting Hall” club in the old train station building. I have to admit I don’t go much to clubs unless I’m playing there.

You revive old tunes – what is special about them and why do these appeal to you? 
I really like to listen to traditional tunes myself. There is something special in them which has kept them alive for centuries and will keep them fresh and alive ever longer and longer. I suppose it is accumulated spirituality. Our forefathers kept those tunes for us, they loved them, played them, transformed them and as the result those tunes got a perfect form now. When you play such tunes with proper attitude you can feel something very important - these tunes make you feel better. And the biggest challenge for us as the musicians is to try and compose something which might sound like a traditional tune. I hope you can find this in some of our songs.

Humour is a big part of your show (you even received an award from the Bratislava Humour Academy!)– do you think the English will get your jokes? 
I hope so! The famous British sense of humour (at least our impression of it) feels quite close to us. I love Monty Python and all that black humour style. In our jokes we try to be understandable to everybody and in the same time to stay natural, not to pretend being just comedians. Our music is about much more than just the jokes, but of course we enjoy to make people smile and have fun - I think it fits folk music very well.

You play some traditional Russian instruments – can you describe them? 
First of all I would like to mention the gusli – the Russian village harp or psalterion. I love this instrument. It is quite simple, but in the same time it gives a lot of possibilities for a musician playing it. Also we have the zhaleika - it could be described like the chanter of a bagpipe [without the bellows]. We don’t have Russian bagpipes anymore, they are totally gone. But the zhaleika is very close to a chanter of a Russian bagpipe. Centuries ago shepherds used zhaleikas for communicating with goats and other livestock. Beside that our fiddler Dima plays an authentic Russian village style which together with the more classical style of our second violinist Julia gives a very interesting sound to our songs.

You have played to audiences all over the world – where is the best audience? 
To be honest almost everywhere we are well received by the audience. People in Latvia and Estonia are very responsive to our music (probably because we show them something which is totally different to what they were taught as Russian folk music during Soviet Union times), we had some great festival experiences in Western Europe, and of course at home.

Will you try to teach the English audiences some Russian? What do you want them to learn from Otava Yo? 
Russian is quite a difficult language to learn. Usually people catch simple words as vodka or privet (hello). So I don’t think the audience will remember any of the Russian words we might sing or say, but I don’t think this matters. What is more important: We want to show that sometimes impressions of somebody else’s music can be very mistaken. We know that all over the world everybody knows there is a very big country called Russia, but almost nobody knows anything about our real music culture, or has the wrong impression about. So our goal is to show the world that there is something else that exists in Russia and it is full of life and energy.