Yak 40 chats new album, Travelogue
Yak 40’s debut album, Travelogue, is a sonic exploration that mirrors his extensive journeys through Asia, crafted with a distinctly organic and ambient techno touch. Yak 40 – the alias of Egor Antoshchenko – has spent years traversing countries like Thailand, Nepal, Vietnam, and South Korea, with each location leaving its own subtle mark on the album’s sound. These shifting backdrops and immersive encounters, from the beaches of Goa to the heights of Annapurna, bring a unique warmth and depth to his music.
A minimalist approach was essential: equipped only with a laptop, headphones, and portable speakers, Yak 40 composed Travelogue in various unconventional spaces – including cramped hotel rooms and remote mountain cabins. Drawing on influences like Aphex Twin and Four Tet, he blends atmospheric textures and rhythmic details with Eastern percussive undertones. The album is more than a collection of tracks; it’s an auditory journey, layered with reflections on no-self and unity, resonating with Buddhist philosophies encountered along the way. As Yak 40 notes, Trravelogue isn’t just about the sounds or scenes but an evolving story of travel and discovery.
Travelogue draws heavily on your travels across Asia. Can you share some of the most memorable moments or encounters that directly influenced the sound or mood of the album?
I guess this album was influenced by every place I’ve been – the Himalayas, Goa, Koh Chang Island and Bangkok in Thailand, Hanoi and Nha Trang in Vietnam, Seoul… Of course, there are lots of memorable moments: like swimming under hammering tropical rain in Thailand or meditating near the Peace Stupa in Pokhara. I spent New Year in a cold cabin near Annapurna Base Camp, the endpoint of the trek, which is 4,130 meters high. "The Track" was inspired by Goa, with its endless beaches and swirling ocean. Anatta refers to the Buddhist concept of no-self, the eternal and unchanging essence within us. It’s inspired by the temples in Lumbini, the birthplace of Buddha in Nepal, as well as other beautiful temples I was lucky to visit in Vietnam and Seoul.
As someone who has lived in multiple countries, how do the culture and atmosphere of each place shape your music? Are there specific sounds or instruments you discovered during your travels that made their way into Travelogue?
Well, I’ve always been a huge fan of Asian percussion. We haven’t visited Bali, but I love gamelan music, whether traditional or in Western music inspired by this tradition – like some pieces by Steve Reich, for instance. I suppose the cultures and atmospheres of the places I visited inspired my music indirectly. For example, I discovered some fantastic electronic artists from South Korea, like Salamanda – they’re making lovely, leftfield ambient with that Eastern vibe.
With such a transient lifestyle, how do you maintain a creative routine? Do you find certain environments more conducive to writing and producing music?
The album was created with limited gear, and I found that all I need is a table, a laptop, a pair of headphones, and small portable speakers. I remember editing a track in the smallest hotel room I’ve ever stayed in – it was in Seoul, and the room could hardly fit a bed. I also had two synths, though one broke in the middle of the session. I’m truly inspired by how technology liberates musicians these days. I couldn’t have dreamed about making an album on the road back when I was a teenager.
Have particular landscapes or natural environments, like the mountains in Nepal or the beaches of Thailand, left an imprint on your music? How do those visuals translate into sound for you?
What I value most in music is that good music works in any environment, so it doesn’t matter much. Of course, the Himalayan landscapes left an imprint on tracks like Mahalaxmi Unltd – but for the listener, it will be a completely different story.
Can you describe a pivotal experience during your travels that shifted your perspective on music or life in general? How does that experience manifest in your current work?
What amazed me during this trip is how you start to see the invisible web that connects people from different cultures and backgrounds. These connections are subtle, beyond explanation. For example, I can’t quite explain why I feel at home in Nepal. It’s a completely different culture, and I probably understand 1% of what’s happening there. Where does this feeling come from? I wish I knew. This feeling teaches you not to divide “us” and “them” and to look beyond national and cultural barriers.
How do you stay connected to local music scenes while moving between countries? Have any collaborations or unexpected musical discoveries emerged from your time in places like India or Vietnam?
Unfortunately, we didn’t have much time to dive into local scenes. But there were some discoveries, like the band Cadenza Collective from Nepal, blending local tunes with Afrobeat. Or the singer Bakemono Gurung – you can hear her in Anish Kumar’s song "Everything Blooms Around Her".
Living in such varied locations, do you find that your music has evolved in response to the challenges and freedoms of a nomadic lifestyle? How do these experiences shape your identity as an artist?
No, the music evolves as it wants, out of nowhere. This trip taught me to travel light – not just in terms of bags, but in life generally. Try not to cling to gear, things, or locations. I felt much younger living like this for two years. Still, you start to value essential comforts like a good bed or a decent cup of coffee.
Travelogue is your debut album, but you’ve released music before. How does this album differ from your previous works, and how do your travels tie the narrative together?
I recorded an EP, Made in Nepal, while living in Pokhara in 2022-2023. I like to think Travelogue is a more mature work; beyond creating music, I was constantly learning. Still, the EP has that adventurous vibe for me, too. There are ambient pieces you can meditate to and tracks like Vpered Hariprasad, the weirdest and funniest piece of music I’ve ever made. So, Travelogue is, in many ways, a sequel to Made in Nepal.
The album has been described as a sonic journey. Can you talk us through the album’s progression? How do you use sound to reflect the feeling of movement or displacement in your tracks?
It starts with an intro I made quickly on Koh Chang Island in Thailand – a quiet and beautiful place. The evening before, my wife and I watched Uncle Boonmee Who Can Recall His Past Lives, the only Thai movie to win at Cannes, which is meditative and mysterious. This piece is followed by more dancefloor-oriented tracks like Swirls or Vox En Go. Then we return to calmer, immersive pieces like Mahalaxmi Unltd. When working on music, I try not to overthink. Once I felt the album was ready, I experimented with track combinations, and this one worked best for me.
You’ve mentioned influences like Aphex Twin and Four Tet. How do you incorporate these inspirations into your sound while blending in the organic textures and rhythms from the places you've lived?
I love these artists because their music is always adventurous, with wild stylistic turns. Some of their works are deep, almost spiritual – like Aphex Twin’s *Stone In Focus* or *Blue Calx*. You can hear the influence of Indian music in some of Four Tet’s tracks. Again, like in my case, it’s not just about using traditional instruments like tablas or sitar. This influence is subtle, but it’s there.
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