Dölgoon Bayasgalan (Magnolian)
An interview with a young Mongolian singer who shares his story of how he became popular in his country, stepped onto the international stage, and the process of creating his songs.
About ten years ago, a small presentation of the album "Famous Men," consisting of six tracks, took place at Hi-Fi Records. One of its songs, "The Bride and the Bachelor," later featured in the Netflix series "Outer Banks," while another, "Crimson," was included in the film "The Case File." Many viewers may recall these melodies, as their music subtly yet memorably accompanied the visuals on various platforms.
"As a viewer, I felt that Dölgoon Bayasgalan's (Magnolian) music adds depth and atmosphere to the most beautiful scenes of the film 'The Saleswoman' (2021), created by director Sengedorge Janchivdorj. The soundtrack not only accompanied but also enhanced the emotional impact of the film," notes journalist Khuslen Dürenjargal.
Last summer, several of Dölgoon's songs were included in the game "Death Stranding 2: On the Beach," highly anticipated by many fans of Hideo Kojima, considered a legend in video games. When asked about such an achievement, he responded modestly: "The main thing is for the song to be good." This statement reflects his philosophy in creativity.
It is also worth noting that Dölgoon Bayasgalan, together with his friend Khongor Ganbat, founded the "Fat Cat Jazz Club," a cozy and stylish venue that has become a kind of home for musicians, where live performances, warmth, and a sense of community intertwine. We present to you an interview with this indie-folk singer and songwriter.
— Indie-folk has a unique rhythm. It creates a feeling of the city's movement and the tranquility of the countryside — a kind of intermediate emotional space.
— I initially decided that I would sing in this genre. Instead of choosing one style, I simply shared the music that was inside me. I have always been drawn to folk music. From the very beginning, I avoided writing songs that required a powerful or technically complex voice. I drew inspiration from Fleet Foxes, an indie-folk group from Seattle, and Bon Iver, and this probably had a significant impact on me.
— Your first performance at Playtime took place in 2015, right? And is it true that 29 out of 30 audience members were your friends or acquaintances?
— Yes, that's true. At that time, there weren't many stages for live music at Playtime. I remember going on stage around three in the afternoon. When I looked at the audience, I saw only a few familiar faces. Back then, I was a novice at songwriting and just stood alone with my guitar. I wanted to stand out as a solo performer.
— Today, the situation has probably changed drastically, hasn't it?
— Yes, everything is different now (laughs). When I performed last year, the venue was filled with people. I have gained my own audience.
— You formed a band, didn't you?
— At first, the band changed often, but now we have a stable lineup. I work with Jamukh Naranzaatsral on drums, Davaadorj Chagnaadorj and Oyunbold Bayandala on guitar, and Bayartsengel Bekhbat on violin. New ideas that emerged in discussions influenced our latest album. Sometimes my wife Enkhjin Batjargal performs with us as a backing vocalist at major concerts. I used to think I would find a singer for my songs, but after a long search, I decided, "Let me sing them myself."
— You started playing guitar at the age of 12. When did you begin composing and performing your own songs?
— At the time I was learning to play the guitar, I invited my classmates to listen (laughs). But I rarely finished my compositions. I started writing full-fledged songs around the age of 16. At 10, I was already in a band, and we recorded our tracks in the studio. Then I went to university, where I studied visual arts, and I never thought I could make a living from it. My parents always gave me the freedom to choose. A lot happened before I could release my first album "Famous Men."
— The cover of your album looks interesting.
Cover of the album "Famous Men"
— Yes, I was sure of one thing: I didn't want my portrait on the cover. One day, while browsing through old photos in a metal box at home, I stumbled upon this image. I showed it to my wife, and she immediately said, "This is amazing." Finding this photograph was a coincidence. It’s a very interesting image, isn't it? It depicts the countryside, but there’s no young man on a horse. The photo was taken during Naadam. If you look closely, you can see three men adjusting an antenna to watch the wrestling.
— You mentioned that your first guitar played an important role in your life. What do you mean?
— The guitar that my parents gave me is still with me. It's not special, but it has an almost "sacred" look, like a statue. I once broke it, but then I fixed it.
— What have you been reading lately?
— I read the book "When We Stop Understanding the World" by Chilean author Benjamín Labatut, which explores how 20th-century scientists were obsessed with their work and how their discoveries relate to both world wars. I should also mention Ernest Hemingway's short story "The Old Man and the Sea." When I write songs, sometimes I just don't know where to start. In those moments, picking up a random book and reading helps me find inspiration: "Here's another way to write." To write, you need to be free. If you try too hard, it creates tension, and you start to criticize your ideas.
— The beginning of the song "All the Different People" from the film "They Sing Up On The Hill" (2019) reminds me of "She’s Got You High" from "500 Days of Summer."
— Yes, that's true.
— Have there been instances when a song turned out completely different from what you initially envisioned?
— Yes, that happens. Which song do you want to talk about?
Dölgoon Bayasgalan (Magnolian)
— For example, about the song Civil War.
— Interestingly, people rarely ask about this song. I wrote half of it, but then I ran out of ideas — I didn't know how to finish it. It was like a car stuck in the mud. You push, but the wheels don't turn. Eventually, I managed to finish it. The song Caroline also has an interesting story. One day, I couldn't get home, probably because I returned late from a concert. Everyone was asleep, and I didn't have a key. I spent the whole night on the landing. Climbing the stairs, when I reached the roof, the sun was already rising. At that moment, the chorus came to my mind. Creating something new is an incredible feeling. I thought then: "I found it."
— Can you tell me more about that feeling? I've heard that some of your listeners proudly share your music with foreign friends.
— Creating music is a process that cannot be controlled. It's like fishing. You need to cast your line into the sea. Sometimes you catch a fish, and sometimes months go by, and there's nothing. Perhaps this is related to my reading of "The Old Man and the Sea." When you catch a big fish, it feels like a gift from the ocean. Therefore, creativity requires not only talent and skill but also luck. For example, the song "Indigo" was written very quickly, and I could hardly believe it myself. I was so excited that I couldn't sleep. Music is a way to convey feelings. You can say: "I want to share this feeling with you. We already have common hearts."
— How would you assess the changes in your songs over time?
— I believe my new songs are better than the old ones. But the writing process hasn't changed. Usually, the more you do something, the easier it becomes. But for me, it's not the case — on the contrary, it has become more difficult.
— Perhaps the creative process never becomes manageable?
— I can't say for sure. My main goal is not to repeat myself. I could continue writing similar songs, but that would mean I'm just imitating myself. I've already written most of the material for the new album, and I think it's the best I've ever done. Overthinking during the writing process is undesirable, and listeners can feel that. There is a clear difference between what is imposed and what happens naturally.
source: MiddleAsianNews
