Jazz rock, originally brave and experimental music, is now a bit of a nostalgic retro-futurism. Despite the fact that it is unlikely that such music can herald the future and the new, it is able to appeal to our emotions. Emotions are always reflective, always belong to the past. This album appeals to our sentimentality; the present through dialogue with the past gives birth to the future.

Forget-me-not has actually been written for many years. It uses both recordings that are about ten years old (for example, the old duet with Irina Obrezkova on the guitar is used in the track Magpie), and completely new sketches, which are a month old. I like to write stuff, going back to some old sketches and stuff. It complicates the nuances and enrich the shades, since the composer's style inevitably evolves and changes. It is as if you are meeting with yourself, looking in the mirror, when you actualize the material recorded for a long time.

This album does not have any single meaning or program - as in the case of my solo piano or contemporary classical music, Forget-me-not so doesn't reveal images or tells stories, but studies and develops purely musical ideas and possibilities. However, such a formalist approach does not exclude the possibility that each listener will associate music with something of his own.

The album develops my old dream of ​​"mad blues" - a hypnotic, vintage, rich sound based on melody, sharp and variegated harmonies and meditative rhythms in the spirit of slow stoner rock. The main characters of this musical action: Hammond-clone Nord C2D, Fender guitars and bass, Rhodes electric piano emulators, tape simulations, piano. In a sense, this is a look at the origins of psychedelic rock and jazz (King Crimson, Sun Ra, Gentle Giant, early Deep Purple, electric Miles Davis, John McLaughlin). An inappropriate daydream about a past that didn't really exist.