Monday, November 12, 2012

The far end of the line



I went to the end of the MTR line on Sunday to practise with my band in a rehearsal room housed, as is common here, in a large industrial tower block. Due to reading Burning Chrome at an impressionable age, I viewed what we found there as something Gibsonian, but our guitarist compared it to an episode from the Grand Theft Auto games -- travelling to a fairly bleak location, where behind the allotted door,  one or more larger than life people go about their business.

This place is owned by a family of Russians whose main business is running a recording studio and events company -- apparently the events business run by the daughter is the profitable part of the business, but she is kind enough to subsidise her parents and in particular her father's love of very loud music. There is an eight-person, marble-topped dining table in the corridor outside the studio. I'm not sure who it belongs to.

The studio rooms are a lot like the way I always imagined the back rooms at TV stations to be in the early 90s -  to get from one room to the next you have to squeeze past colossal amplifier stacks, electrical equipment, and all sorts of machines with lots of dials on them. The recording room houses banks of keyboards and a mixing desk with so many parallel tracks - each with its own array of switches, dials and indicators - that it's hard to imagine one person could operate it alone.

The father of the family is a long-haired man in his 50s, with an extensive musical history and the life stories to go with it. "For 15 years I play rock'n'roll, all across Soviet Union. No matter you are playing for 50,000 people, 200 people, always they give you the same ... thirteen rubles. Maybe eight dollars... Then Gorbachev makes Perestroika, opening up, and I say bye-bye, go to California."

Our guitarist texted me the next day. "This man is a legend and will be essential to our myth-making."