«The Golden Hour» — start with oneself, and others will join
Jūlija Zakirova presents her debut album with sunny music and fancy ethnic motifs
In January 2024, the long-awaited presentation of Jūlija Zakirova’s debut album took place at the «Blues House» club. The album has been eagerly awaited because Jūlija herself has been actively involved in the Latvian jazz music scene for a very long time. But every good thing comes at the right time, and now Jūlija has a solo album full of sunny compositions. The album’s producer is Andris Buiķis, who also plays drums on the album, as well as bass, guitar, and piano. Among other contributors to the album are Pēteris Liepiņš (bass), Deniss Djakons (bass), Jānis Pastars (guitar), Viktors Ritovs (piano), Miķelis Dzenuška (vibraphone), Raimonds Melderis (violin, viola), Gatis Gorkuša (trumpet), Oskars Ozoliņš (trumpet), Māris Jēkabsons (tenor saxophone), Kristaps Lubovs (baritone saxophone), and Laura Rozenberga (trombone). The sound recordings were done by Andris Buiķis, Kristaps Krievkalns, Edgars Jass, and Pauls Dāvis Megi. Sound processing by Gatis Zaķis and Kaspars Putriņš. Cover image and logo design by Jana Dudeniča. The album consists of 10 compositions and is available on all streaming platforms. To discuss the idea and creation process of the album, I met with the artist herself — Jūlija Zakirova.
Congratulations on the release of your new album!
Thank you! It was long-awaited!
By the way, yes, I started to remember all your musical collaborations and realized that I have been waiting for your debut album for five years now!
We worked on the album itself for about two years, although if you’re talking about song lyrics written, for example, by Sasha [Aleksandra Line], then yes, that was quite some time ago. But I started working on the album two years ago. It is my first album, a debut. Some compositions have been waiting for their turn for a very long time — for years!
And finally, the debut album titled «Golden Hour» is here! Why that name specifically?
I am very inspired by the music that played in the late 80s and early 90s. We wrote music together with Andris [Buiķis], and what we created made us remember childhood, so initially, I wanted to name the album «Golden Times.». My classmate, a designer, drew the cover image; I told her — let’s make sunset colors where everything shines! I knew from the very beginning that the cover would feature a sunset — the golden hour, a concept often used by photographers when talking about the part of the day when the sunset paints everything in the most beautiful colors. There were a couple of times when I really enjoyed that golden hour in nature — I felt some kind of «zen!» That’s why I thought that it was the state of mind I wanted to wish for myself and everyone else. So we stuck with «Golden Hour.»
The synergy of childhood memories and visual impressions.
Yes, that symbiosis. Perhaps in that music, you can’t really separate the visual image from the inner feelings… everything is connected.
The program you performed at the presentation concert sounded very lively, sunny, and uplifting, although there were a couple of lyrical compositions as well.
Yes, you have to show life! All the songs I wrote were written at the moment of realization — learn to shine on your own, don’t wait for anything from the world around you. Start with yourself! Enlighten yourself, others will join! This was my basic idea. Judging by the smiling faces and singing along, I think I managed to convey this message.
Is that your life philosophy — everything starts from within you?
It’s not like you are born with one idea and live your whole life with it. As a person evolves, time and circumstances make you change, and the same goes for me — in the last three years, I have noticed a tendency in myself to change, to adapt.
You also had a composition in the Tatar language; could you tell me more about that?
Initially, Madars Kalniņš wrote a ballad that was not intended with lyrics. Since Madars and I used to have a band where we played Tatar ethnic music, he probably had some influences from those times, so Tatar motifs were audible in that ballad. I realized that it needed lyrics specifically in the Tatar language. Then I called my uncle, who lives in Tatarstan and asked for help. I don’t think that lyrics are always necessary for songs; I don’t even write them myself. But not every listener thinks like me, so we decided that we still needed lyrics. Gulfiya Shakirova from Tatarstan received the task (I’m very good at explaining what exactly I want to hear in song lyrics!) and wrote a beautiful poem. Of course, we also worked separately on pronunciation because the Tatar language is not my native language — I can say things like «I love you» or «come eat,» things I heard from my grandmother. We worked on pronunciation for a long time and had many calls with Tatars to help because that language has many nuances; it’s a very interesting language! The song turned out to be about a huge and all-encompassing love.
How is it for you to sing in a language you don’t speak?
I am actually learning the language while learning song lyrics. I understand what I sing about, then I use those words when communicating with family. It would be incorrect to say that I don’t understand Tatar at all — it’s not my native language, but I understand some things. And such songs help work on language skills. Tatar is quite a complex language; it has many different dialects, so even my dad didn’t know all the words, although he could help with pronunciation.
And you decided to release the album not only on CD but also on vinyl?
Yes, although initially, I wanted to include cassettes too! I am not really an innovative person. You can listen to CDs in the car. All my friends have places to play CDs, but neither I nor my friends have anywhere to play cassettes. So I decided — even though cassettes are a modern thing, I better not release the album on them. If there is demand, then cassettes can also be released later, but for now, vinyl is popular, and a CD is something that is available to almost everyone.
Did you handle the release and everything related to it yourself?
Yes, but there were also people who helped. For example, Mareks Ameriks consulted on vinyl matters, and Santa Šillere shared information about disc printing. But yes, mostly, I did it all myself. I asked around — we have good people who willingly share their knowledge.
Didn’t you find it exhausting to deal with all the bureaucracy involved in releasing an album?
Of course, I did. But having a child taught me that there is nothing that makes me give up. I need it — I do it. When someone shows up to do things for me, it will be good, but for now, I will do it myself. It was very tiring. I was annoyed and frustrated, but there was no other option. Not everything worked the first time; for example, I registered on the LAIPA website from the countryside, but the internet was very slow there, and the page didn’t load for half an hour…
The album features compositions by Madars Kalniņš, Pavel Murashov, and Kristaps Vanadziņš, as well as your songs.
Yes, three of them. I created song sketches, like skeletons, and then I went to Andris with them. Sometimes, he did the arrangements himself, but there were also times when we worked together to avoid situations where he did something, and I didn’t like it, and it had to be redone. He was also the album’s producer.
Are you satisfied with the result?
Overall, yes. At some point, while we were still working on the album, I got tired. Then I realized that I just had to find another way to listen to this album, so I went into nature. I probably haven’t fully grasped the reality that it’s all over. Someone asked me — how did you like the album presentation concert? And I don’t even remember how it was!