In this interview, we will meet a young Mongolian artist who shares his story about how he managed to achieve popularity in his homeland and step onto the international stage, as well as talk about the process of writing his songs.
About ten years ago, a small presentation of his six-track album "Famous Men" took place at Hi-Fi Records. One of the songs, "The Bride and the Bachelor," was later used in the popular Netflix series "Outer Banks," while another composition, "Crimson," was featured in the film "The Case File." These tracks may have stuck in the minds of many viewers thanks to their subtle yet expressive accompaniment to visual content on various platforms.
“As a viewer, I always felt that the music of Dölgoon Bayasgalan (Magnolian) significantly enriches the emotional moments in the film 'The Saleswoman' (2021) directed by Sengedorj Janchivdorj. The music not only accompanies the picture but enhances its impact,” notes journalist Khuslen Dürenjargal.
Last summer, several of his compositions were featured in the game "Death Stranding 2: On the Beach," developed by Hideo Kojima, who many consider a living legend of video games. When asked about such success, he modestly replied, “It’s important that the song is good.” This statement reflects his approach to creativity well.
It is also worth noting that Dölgoon Bayasgalan and his friend Khongor Ganbat founded the "Fat Cat Jazz Club" — a cozy establishment that has become a true home for musicians, where live performances, warmth, and communication intertwine. We invite you to read the interview with this indie-folk performer and songwriter — Dölgoon (Magnolian).
— Indie-folk has a unique rhythm; it combines the dynamics of urban life with the tranquility of rural spaces — a kind of intermediate emotional state.
— From the very beginning, I decided that I would stick to this genre. Instead of choosing from many styles, I simply shared what was on my mind. I have always been fascinated by folk music. I didn’t want to write songs that required exclusively powerful or technically complex vocals. My inspiration came from bands like Fleet Foxes and artist Bon Iver, and I always thought I wanted to create music in a similar vein.
— You performed at Playtime for the first time in 2015, right? And is it true that 29 out of 30 audience members were your acquaintances?
— Yes, that’s true. At that time, there weren’t many stages for live music at Playtime. I remember going on stage at 3 PM and seeing that there were only a few people in the hall, and all of them were familiar to me. I was just starting to write songs and performed alone with a guitar, wanting to stand out as a solo artist.
— And now you have a completely different audience, don’t you?
— Absolutely (laughs). Last year, the hall was full. I found my audience and gained dedicated listeners.
— Since then, you’ve formed your own band, right?
— In the early days of the band, the lineup changed frequently, but now we have a stable team. I work with Jamukh Naranzaatsral on drums, Davaadorj Chagnaadorj and Oyoonbold Bayandalay on guitar, and Bayartsengel Bekhbat on violin. The new ideas we discuss in the band really influence our recent works. Sometimes my wife Enkhjin Batjargal performs with us at major concerts as a backing vocalist. Initially, I thought I would only write music and look for a performer, but in the end, I decided, “I’d better sing it myself.”
— You started learning to play the guitar at 12. When did you start writing and performing your songs?
— In the beginning, when I just started playing the guitar, I invited girls from my class to listen, but I never finished my songs. I would write something for 30-40 seconds and then give up. I started writing full songs around the age of 16. By the age of 10, I was playing in a band, and we even recorded our songs in the studio. After that, I enrolled in university in the faculty of fine arts, where I gained a lot of knowledge. However, I never thought I could make a living from it. My parents always gave me the freedom to choose, and a lot happened before I released my debut album "Famous Men."
— The cover of your album looks very interesting.
— Yes. I was absolutely sure that I didn’t want my portrait on the cover. One day, while browsing through old photos, I came across an image that I showed to my wife. She said, “This is wonderful.” Finding that photograph was a real stroke of luck. It depicts a moment from Naadam, but there is no young man on a horse. Three men are adjusting an antenna to watch the wrestling competition (bökh barildaan).
— You mentioned that your first guitar means a lot to you. What did you mean?
— The guitar that my parents bought is still with me. It’s not special, but it has almost sacred significance for me. I once broke it, but then I repaired it.
— What have you been reading lately?
— I read the book "When We Stop Understanding the World" by Chilean author Benjamín Labatut, which explores the obsession of 20th-century scientists with their work and the connection of their discoveries with the world wars. I also enjoyed Ernest Hemingway's short story "The Old Man and the Sea." Sometimes when I write lyrics, I encounter a lack of inspiration. And then, by picking up a random book, I stumble upon thoughts that can inspire me. Writing should be free; if you try too hard, it leads to self-criticism.
— The beginning of your song "All the Different People" from the film "They Sing Up On The Hill" (2019) resembles the composition "She’s Got You High" from "500 Days of Summer."
— Yes, that’s true.
— Have there been cases when a song turned out to be completely different from what you initially envisioned?
— Yes, there have been such cases. Which song would you like to know about?
— For example, Civil War.
— Interestingly, people rarely ask about this song. I wrote part of it, but then lost inspiration and didn’t know how to finish it. It felt like a car stuck in the mud — you push, but it doesn’t budge. Eventually, I did finish it. The song "Caroline" also has an interesting story. One time, I couldn’t get into my apartment and spent the whole night on the landing. When I got to the roof, the sun had already risen, and it was at that moment that the idea for the chorus came to me. The feeling of creating something new is just incredible — it’s like a discovery.
— Could you tell me more about that feeling? I’ve heard that some of your listeners take pride in being able to share your music with their friends abroad.
— Creating music is a process that cannot be controlled, like fishing. You have to cast your line into the sea; sometimes you catch something, and sometimes you don’t. I think about this because I read "The Old Man and the Sea." When you manage to catch something truly significant, it feels like a gift from the ocean. Therefore, luck is important for creativity, not just talent and skill. For example, "Indigo" was written very quickly, and I could hardly believe it. I was so excited that I couldn’t sleep. Music is a way to convey emotions: “I want to share this feeling with you. We are on the same wavelength.”
— How do 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 practice, the easier it gets, but for me, it’s the opposite — it has become harder.
— Maybe creativity never submits to control?
— Perhaps. My main goal is to avoid repetition. Of course, I could write songs in the same spirit as before, but that would mean imitating myself, and I find that uninteresting. I have already written most of the songs for my new album, and they seem to me the best of all I have ever done. Excessive self-criticism while writing is undesirable, and listeners can feel that. It’s clear that there is a difference between what is created under pressure and what happens naturally.
source: MiddleAsianNews
