How important is the band’s name in giving out the right kind of vibe?
-Band was called Soom because we thought that we’d play right kind of funeral/drony psychedelic with dirgy sludge and some sorrowful Ukrainian folk elements. So it was born – SOOM (from Ukrainian “сум” what mean “sorrow/grief/mourning”).
Now we’re still playing all of that but mixing it with noise rock, industrial, neurofunk and different brainfucking moments. So now we could say that it means grief of stoned dudes, who came to our show for slow headbanging and good vibes but having troubles with mindfucks and badtrips.
What was it that made you want to do the band?
-It was a first strong riff of my life – Smoke on the Water. When I was 10 I heard it and accepted the destiny of strong riff-player. After different experiments with styles from ska-punk to hobo-sludge-stoner and drugs I’ve stopped my choice on the right way of freak-out doom metal and began to preach this madness.
What is your definition of the music you play?
-Surrealistic chronicle of the true life of unusual Ukrainian junkies.
How do you arrange the tracks? Is there a method to how you arrange the songs on a record?
-Right-in-face! We’re recording it alive with all the bugs and junk to keep the moment of creation. All mystical sounds or freakiness is our psychedelized voices or sounds of something (steel kettle lid for example).
Where do you find your inspiration to create?
-Outside the window.
How important is the graphic side of the band? How much thought goes into art work etc.?
-We have had bad experience with the designers. They don’t understand us, we don’t understand them. If the artwork could be painted from our brains, it would be like art-split of Dali and Pink Floyd, greatness like that. But nowadays designers are the guys who feel the music but not the right vibe. Or we, musicians, don’t understand the vision they have.
One vision is an art-split. Different visions mean shit under the shoes.
Our next release’s cover will be art-split, because the guys who’ll make it feel our Ukrainian vibe in thousand miles in Russia, Blyadina crew, Ufa, and one of them made the SOOM’s t-shirts’ design.
But now only the tape-version of “Ніч на полонині” (“Night on the Meadow”) is the art-split. I don’t like so much another design of it. It’s cool too but not confirming the strength of the album, it’s too hipster.
Great thanks to the Robustfellow – they were this nail which helped us to sale 52 discs with hipster design and strong inside in great wooden boxes. This part of design and creativity is more important in our situation than pictures.
Do you find that there is a greater freedom in working with digital than working with physical?
-Digital is for free, Physical is for fetish. No freedom, only love to the music.
Are there any limitations to digital? Can you do everything you like?
-Digital is the cheapest way. It’s free and cool and offers a lot of possibilities. All of our stuff is digital recordings and digital mixing. Maybe if we had a lot of money we could do more for tape-releases, but I think that it’s time of future, and the future is digital.
Is there a scene to speak of for a band like yours? Where do you fit in?
-Scene to speak is everywhere, in all little towns and great cities. People make it. If people want to hear, they will listen to it even in a village. We are not feeling like a part of the Ukrainian scene, we’re cosmopolites and we fit in everywhere, where people need the fresh and heavy feelings.
What does the future hold?
-A new album about old themes with new sound and brainfucks. Maybe if the future is benevolent, we will speak loudly somewhere in Eastern Europe, both Americas, Africa and Asia, because we need to say and hear the feedback, if you know what I mean.