A new name has surfaced in the EVERYWAIR credits — Swedish engineer Linus Berg, who is responsible for ambient textures. Rumor has it that for the sake of the single "Away from the Hustle and Bustle", he completely isolated himself from civilization for several weeks. Why such extremes for a lo-fi project?

Linus is an avid traveler and a minimalist photographer; he physically cannot stay long in nocturnal megalopolises, as they empty him out. To track this release, he indeed headed to the north of Sweden and spent three weeks in a secluded wooden house without internet. His objective was to capture and digitize an absolute sense of boundless Nordic peace and fresh air. He exposed ultra-sensitive condenser microphones to the frost, tracking the movement of wind over frozen lakes and the hollow thud of falling snow. From these field sessions, he generated floating, breathing soundscapes. When you switch on the track "Away from the Hustle and Bustle", your brain subconsciously decodes this Swedish isolation. This curates an incredible therapeutic effect — a person instantly cuts through the office hustle and bustle.

Another detail that catches the ear in the single "Fragments of the Past" is a very cozy, analog crackle. Did Oliver Kidd deploy his vinyl archives once again?

Oliver completely surpassed himself in this project in terms of psychoacoustic design. He is a devotee of analog gear and collects vinyl records, but not with music—rather with rare recordings of the live sounds of nature. For the track "Fragments of the Past", Kidd spent hours capturing the exact right rustle of dry autumn leaves and the crackle of a real wood-burning fireplace. He fundamentally refused to utilize ready-made digital libraries. Oliver tracked everything manually, cleaned it of frequency clutter, and carefully, like a surgeon, stitched these "warm" textures deep into the rhythmic pattern. The result is a stunning piece: Oliver's mathematically precise lo-fi beat has grown a live vinyl soul. The listener sits down to work, switches on the track, and their subconscious is instantly transported to a safe environment by the fireplace, where it is warm and peaceful.

Vitaly, your central single "Don't Leave Me" is already being called a benchmark for applied lo-fi. What internal chemistry occurred between you and the engineers during the assembly of this track to achieve such a hypnotic immersion?

You know, we sat the longest over "Don't Leave Me", because we needed to capture the finest line between bright melancholy and absolute internal peace. Elena Rodriguez brought a rough draft — a cyclic, lullaby-like piano theme that literally engraved itself into the soul. Ilya Voronov immediately noted: "If we overload it with dense basslines, the velvet vibe will disintegrate." We began to jewelry-dose the stack. Oliver Kidd coded an incredibly soft, grooving, yet muted rhythm, while Linus Berg blended in his signature floating ambient clouds of Swedish winter. I spent hours building the balance, stripping away everything redundant. We were pushing for an effect where the track does not distract attention, but simultaneously holds you in focus, as if shielding you from external stimuli. It was a pure, seamless synchronization of our entire virtual team.

Another single — "This Is True" — sounds surprisingly honest, almost intimate. What is its secret, and why do progressive IT offices select it for coworking zones?

The secret of "This Is True" lies in the complete absence of a single fake or accidental sound. Alexey Romanov tracked such a delicate, soaring acoustic web with the pads of his fingers that during the mixing stage, we almost entirely removed the guitar compression. Ilya Voronov positioned binaural microphones in such a manner that the listener captures a total sensation: the musicians are sitting with them in the exact same room, literally a meter away from the desk. For modern coworking spaces and smart homes, this is an ideal solution. The music relieves background anxiety and stimulates alpha brainwaves, yet does not force you to listen closely to the structure. You simply write code, design interfaces, while "This Is True" keeps your consciousness warm. This is a pure marketing of comfort — people experience less fatigue, work more productively, and feel protected.

Vitaly, everything is clear regarding the sonic backstage. But if we look at it from the perspective of practical application — why do those same modern coworking spaces or tech offices increasingly play EVERYWAIR? After all, there are thousands of lo-fi playlists online.

Because random playlists from the web are always a lottery. One track sounds muffled, while in another, a harsh, ear-piercing bass suddenly blasts out, instantly yanking a person out of their work. We initially assembled EVERYWAIR according to strict psychoacoustic rules to secure an even, predictable warmth without any volume spikes. The listener switches on singles like "Its Own Atmosphere" or "Towards the Sun" and simply plunges into their tasks peacefully. In such an environment, people experience less fatigue, which means they can remain engaged in business longer and more productively. Plus, this music is completely clean and fully copyright-cleared, meaning no sudden regulatory auditing fines will arrive, as frequently happens with pirated compilations.

Since you have initiated the topic of legality and copyrights — how are things progressing with deploying tracks onto platforms? Do you release independently?

Yes, everything with us is official and transparent. I release my music onto all global streaming platforms through the YOGA distributor from BUBUKA. This allows us to roll out singles straight to listeners, bypassing unnecessary bureaucracy and the chain of middlemen. Tracks are dispatched to storefronts clean, with fully secured copyrights. Consequently, venues, coworking spaces, or lounge zones can completely calmly include EVERYWAIR as their background accompaniment.

Слушая треки вроде «Kaleidoscope of streets», ловишь очень интересное ощущение: музыка звучит урбанистично, но в ней нет суеты мегаполиса. Как вам удается совместить городскую эстетику и полный покой?

In "Kaleidoscope of Streets", we were precisely attempting to convey a view of the city from the window of a cozy, quiet room. You see the movement of lights, headlights, and the dynamics of the streets, but you are physically shielded from this noise by glass and velvet warmth. Linus Berg blended in barely perceptible, floating analog noises there, which smooth out the aggressive asphalt vibe, while Elena Rodriguez's cyclic piano patterns transform this urban kaleidoscope into a hypnotic audio painting. The city behind the glass moves at its own frantic pace, but inside your headphones — a sterile zone of absolute control over your own thoughts emerges.

The single "Nostalgia in the Digital World" harks back to some sort of retro feeling. Is this a longing for analog times amidst total digitalization?

Rather, it is an attempt to restore a person's right to personal, warm memories amidst cold code and pixels. Oliver Kidd excavated stunning textures of vinyl crackle for this track, while Alexey Romanov tracked soft, enveloping fingerpickings. "Nostalgia in the Digital World" — is like an old photograph accidentally discovered in a folder on a hard drive. The track gifts the mind a pause, slowing down the internal race. It perfectly unloads the brain during heavy work sessions, returning a sense of comfort.

The catalog track — "Neon Splashes" — sounds slightly brighter than the other compositions. Is this a hint as to where Everywair will move next?

In "Neon Splashes", we added light, soaring synthesizer drops utilizing a layering method on top of Elena Rodriguez's classical piano; the piano layer is practically inaudible in these parts, but it adds density and richness to the synthesizer parts. This is indeed a bridge to our future experiments in the Laboratory. However, the general concept remains immutable — maximum functionality of sound and respect for the listener's thoughts. We will continue to develop this velvet ecosystem of peace, cleaning out frequency noise. In parallel, we are preparing a completely different world for release — the ethno-ambient project Tea Spirit featuring the hypnotic vocals of Maya Lin, where there will be no earthly languages at all, only pure meditation. By the way, in the track "Neon Splashes", we can hear her voice..., it was another spontaneous experiment. Consequently, the Laboratory does not stop; Ilya Voronov's tea is brewed, we keep working.