The stage-name of Kishochki hides the identity of a young and very taciturn Russian performer Vladislav Chervonnyy. He is originally from Sterlitamak. That little-known location is reasonably close to Ufa - and therefore more than 700 miles inland from Moscow. Born of an eighteenth-century trading post, it would only start to grow during the industrialization of subsequent decades. Such was the period of Sterlitamak's true transformation - well into in the nineteenth century.
Once serfs were free to leave the estates on which they once toiled, local factories increased in both number and stature. The early twentieth century then brought the discovery of oil - and a new influx of manufacturing labor. As the pressures grew on a small city to play these big roles, the local environment suffered a great deal. By the end of the Soviet Union, in fact, Sterlitamak was one of its most polluted locations. In short, we find ourselves a long way from the glamorous streets of a capital city.
From this point onwards, since our author so often falls humbly quiet, it remains for others to agree or disagree with his forms of manifest restraint. "I soon as I heard the name of your project, Kishochki, I understood it would be something unusual... Thanks so much for this music. I reckon this is elite stuff. In fact, I've no desire to listen to anything else."
In an isolated locale, music helps to fashion considerable hope within a simultaneously drab and polluted "microcosmos." "My name is Vladislav Chervonnyy. I think that'll suffice. The main thing is the music." It's interesting to note, in a related vein, that our musician's favorite author is Hemingway; his favorite director is Stanley Kubrick. Those two men, side by side, speak of a relatively troubled expression of classic masculinity and/or the tricky search for heroism in a modern world.