Would you like to see how architecture, light, and music merge to create a unique artistic performance? Then you definitely need to get acquainted with Broken Composers!

Broken Composers is an experimental audiovisual project that breaks all boundaries! They are not afraid to go beyond the limits and try new things to create something truly unique.

In their latest work, Solid Revolver, they have combined architecture, light, costumes, performance, and music into one captivating multimedia show. The audience finds themselves at the center of this spectacle, where their perception of reality is challenged. Broken Composers invite you to experience abstract sounds while standing inside a 20-meter cylinder filled with a rotating cloud of light.

Broken Composers are true artists who push the boundaries of every art form. Their works often touch on themes of statehood, exile, negativity, and gray areas. Watch the Broken Composers’ video to see for yourself how they create magic!

Meet the heroes of our interview, The Broken Composers – Vitali Yu and Kirill Rave.

V. Hi guys! What’s it like to be architects, musicians, lighting engineers, and a bit of magicians all at once?

This is wonderful! We no longer feel the need to describe ourselves with the complex term “multidisciplinary artist.” Versatility is not something special; it’s the default foundation for any contemporary artist.

V. Your works explore extremes and gray areas. What message do you want to convey to your audience?

The message is this – most message are an attempt to fuck you up. Only ruthless eternal space is right,  the chaos of volcanoes and hurricanes doesn’t have a brand manager and marketing department. If you fucking marvel and admire something, then that’s it, the truth and divine essence.

V. Please tell us about the creation process of Solid Revolver. What stages were the most challenging and interesting?

Vitali: Difficulties always arise, and that’s where the real thrill lies. It’s all about them. First, we brainstorm, searching for what kind of chaos we can whip up within the given framework, wondering what will blow our minds this time. Sometimes an idea from one brain echoes into another, and sometimes through a game of “Broken Telephone,” it transforms into something entirely different. Usually, it turns into something gigantic, unimaginably expensive, and complex. Then we ground the project in context, and it’s exciting when an installation grows from A3 format to a building or even a skyscraper right before our eyes.

Kirill: Despite my eleven years of architectural practice, I’m never ready for it; it’s always a surprise and a shock. Simultaneously, we write music, and Vitalik looks at the resulting forms and translates them into sounds. Thus, architecture and music grow in parallel, intertwining with each other. Then we create graphics, light content, and special effects like smoke and CO2 cannons. At each stage, we check if the result blows our minds or not and tweak it until it does.

V. What does “maintaining your uniqueness and freedom of movement” mean to you in the context of Solid Revolver?

Vitali: We always find it fascinating to observe what people will do inside the installation. It’s very similar to scientific research. We don’t give the audience any instructions; we just let them into a sparkling, unfamiliar space with unusual music, and everyone chooses what to do inside. Movement trajectories can tell us a lot about a person, and we immediately pick up on it: some dance, some sit down and close their eyes, showing relaxation or tension, and some start dancing even if the music is not meant for it. And there are always a couple of eccentrics who behave inappropriately, running around, climbing on structures, and singing songs—usually, that’s Kirill and me.

V. What does the rotating cloud of light symbolize in Solid Revolver?

Electric whirlwind, vortex of shards, tornado of smoke and sound.

V. In which countries have you performed with Solid Revolver, and what experiences have you gained from interacting with different cultures?

The installation has only been to St. Petersburg, while we performed the music at an event in Bali, Indonesia, where a couple more of our installations are being constructed. Once we make it to Africa and the Arctic, we’ll definitely share how shocked the polar bears were!

V. How do you work as a duo, distribute responsibilities, and find balance in the creative process?

Kirill: Initially, Vitali was responsible for all the audio effects, and I handled the visuals. Then we started getting involved in each other’s work, and it became much more interesting. There are always arguments, but the final word still follows the old scheme!

V. Have you ever thought about adding scents to your performances? For example, what would the rotating cloud of light smell like?

Vitali: If you think stage smoke has no smell, you’re mistaken! Especially if it’s heated by a laser. In fact, we’ve been working with scents constantly, ever since our first performance in 2017. Back then, we sprayed some fancy  perfume that declared notes of wet concrete and petroleum. Next time, it will be the smell of freshly cut grass, because the installation will be in a public park in the city.

V. Tell us, how do you decide which instrument to make by hand: is it inspiration or the desire to create a sound no one has heard before and not get lost in a garage full of parts?

Kirill: We don’t have a garage, but I love rummaging through hardware stores and flea markets in different countries. If I find an interesting sound structure, I’ll definitely take it with me. As for the square balalaika made from guitar strings, a piece of pipe, a wooden wine box, and a microphone—well, I’ve already told you everything! It’s not hard to guess that these are a few real-life stories that came together like puzzle pieces to create sound. I can’t tell you anything more specific because it’s always both stupidly simple and complex at the same time!

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