fpm is our last name, fokin, polubabkin and malemanov, this is originally trio, so there are more ofa large lineup, we were joined by friends, our wonderful musicians, colleagues, no, we never played them , this was intended and was initially , it was always a studio format, lyosha and i had musical ideas, we are also playing with some lyosha in another project. which we could not implement in other projects, because your wonderful vocalist had not yet joined you, so my wife and i, accordingly, put together a team together with lyosha, then thanks to the responsiveness of amazing brilliant musicians like german tigay, like galaga, like eric kholmatov and the incredible saxophonist makar kashitsin. do you have a lot of material in your repertoire? you write it yourself, mostly studio material, it’s on platforms, no, no, of course. we borrow, of course, you stand on the shoulders of giants, but you do your own thing, well, you can say so when they borrow, i hear, mostly guitar buyers in guitar stores borrow, so there is always a sign: do not play with mokon zavora and never play in sta

fpm is our last name, fokin, polubabkin and malemanov, this was originally a trio, so there are moreas a trio, but just to play these songs, we needed a large lineup, we were joined by friends, our wonderful musicians, colleagues , no, we didn't play them never, this was always intended and was originally a studio format, lyosha and i had musical ideas, we are playing in another project with which lyosha? polubabkin, which we could not implement in other projects, because your wonderful vocalist had not yet joined you, so zhenya and i put together a team together with lyosha, then, thanks to the responsiveness of amazing brilliant musicians, like german tigai, like galaga, like eric kholmatov and the incredible saxophonist makar koshitsin, how much material do you have in your repertoire? you write it yourself, mostly studio material, it’s on platforms, no, it’s mostly borrowed by guitar buyers in guitar stores, so there’s always a sign up: don’t play smokon and never play stern, so you don’t play it, no, you know that , what to play, but speak this language, but say something of you

fpm is our last name, fokin, polubabkin and malemanov, this was originally a trio, but there were moreur wonderful musicians, colleagues played these songs, no, we never played them. this was always intended and was initially a studio format, lesha and i had musical ideas, we are playing in another project with some lesha polubabkin, which we could not implement in other projects, because your beautiful the vocalist hasn’t joined you yet, so zhenya and i put together a band together with lyosha, then thanks to the responsiveness of amazing musicians of genius, like german tigay, like galaga, like eric kholmatov and the incredible sexophonist makar kashitsin, how many do you have? in the repertoire of material, you yourself write, mostly studio material, it lies on the platforms, no, no, of course, but we borrow, of course, you stand on the shoulders of giants, but you do your own, well, you can say so when they borrow, i hear in mostly borrowed by guitar buyers in guitar stores, so there is always a sign, don't play smokona and never play of even, so you don't play it, no, you know wha

african, which is very difficult, from the drummer’s side, of course, the hardest thing is, poor malemanovhow does he cope with this complex rhythm, yes, but of course, first of all you should ask, what kind of language is this, is it swahili , fantastic, where are you from, a little girl from russia, you learned swahili, well, let’s start with the fact that i actually know literally a few phrases of the matchmaker, but i lived there for a year and a half, olla, where in zanzibar, olla-la, and so, that means you were talking about... it was the case, that’s what i thought, yeah, and the best form of learning a foreign language, the french say, is on a pillow, here you go, so what? did you like this language and this culture in general? in general, swahili is a very common language in east africa, i ’m going to go to courses to finally learn it, this text was written by my friend, the wonderful guitarist richard from zanzibar, he just translated the swahili text, i’m very grateful to him for... that eat me the opportunity to perform a matchmaker’s song, well , since you are a gifted vocalis

petersburg express, and there i met zhenya malemanov, here he is sitting, you know this brilliant drummerauldron, where polyrhythms float, rhythmic fragments, fung, in general fusion is like this, this is the rhythm, zhenya says, i did something else, i say, show me, here it is showed: well, the music is so brilliant and , most importantly, completely useless, no one needs it, it is doomed to failure, because it is not for idiots, it is too calligraphic, i realized, this is just for the anthropology podcast, and today this brilliant team will present to you, dear friends, such a musical fabric made especially for you, well , fantastic, but what kind of people are these, we will talk after they give you a business card, i will only say that this is a cartel, really so i got to heaven, i see the way the people get treated, it's problematic, they're ready to save the failing, it's systematic, but when i fell that my eyes melted the selfish, i constantly profit the all the helpest, never to my team green make the team green like the celtics the wonder to make the al the show and tell us throw