What first drew you to music, and when did you realize it would become your life’s path?

Music has always been my first language — before words, there were sounds, vibrations, and emotions. As a child in Kazakhstan, I would spend hours at the piano discovering how a single note could open an entire universe. I realized very early that music wasn’t just something I loved — it was the essence through which I understand life.

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You trained both in classical piano and composition in Kazakhstan and later studied electronic music in Rome. How did these worlds shape your unique musical voice?

My classical education at the Kurmangazy National Conservatory in Kazakhstan provided a strong foundation in piano technique and composition, embracing both traditional and contemporary music, orchestral and choral conducting, and shaping my view of music as a complex, multifaceted language. Later, studying electronic music at the Conservatorio di Santa Cecilia in Rome allowed me to blend the acoustic piano with digital technology, transforming my sound through synthesis and electronic processing. This fusion of classical roots and electronic experimentation defined my unique musical voice, bridging tradition and innovation across my personal journey.

Many describe your music as crossing boundaries — from classical to electronic to experimental. Do you see yourself as belonging to any one genre?

I don’t identify with a single genre; my creative home lies at the intersection where musical languages meet and transform. It’s precisely this dialogue between roots and innovation that defines my artistic voice: my expression is born from the encounter between the depth of classical tradition and the infinite possibilities of electronic synthesis.

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If I were to describe my musical aesthetic, it would be as an electroacoustic ecosystem—where the piano is the source, electronic synthesis expands its breath, and my classical roots engage with experimental practices, the steppe’s folk elements, and immersive, multimedia formats. In all my work, I seek harmony between natural and technological worlds, because only through their interplay can I truly express the richness of my life experience and the wealth of my inner world.

Your albums like *Piano’s Abyss*, *Resonance Night*, and *CosmoTengri* have very distinct atmospheres. How does your creative process change from one project to another?

In my creative journey, I often follow a vision or concept: to craft sonic spaces that serve as refuges for an overwhelmed mind—a place where everything miraculously becomes simple and profound. These spaces harmonize tradition and technology, allowing listeners to traverse immersive environments filled with drones, resonances, and melodic traces, experiencing an inner, sometimes cinematic journey that leaves them rejuvenated and

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balanced. My music typically originates from a clear concept, image, dream, or deep inquiry—a need to share something meaningful and wonderful with others. The music “emerges” naturally; I hear it in my mind, and my heart responds, sparking the birth of each project. This intuitive, sometimes illogical process is one I’ve learned to trust completely, except when working on commissioned pieces. I no longer question why I feel drawn to one sonic world or another—I simply embark on the journey and “live the questions,” using whatever means and tools are necessary. In this sense, cross-genre contamination is not a mere aesthetic choice but the very core of my work.

Astroconcert, your collaboration with astronomer Stefano Giovanardi, beautifully unites science and music. How did this idea come about, and what does it mean for you personally?

Astroconcert originated in 2008 from my desire to create a concert dedicated to the cosmos, featuring spatialized sound designed specifically for the dome of the Rome Planetarium. This led to the first Astroconcert, “Stellar Vibrations,” and the beginning of my collaboration with Stefano Giovanardi, an astronomer at the Planetarium and Astronomical Museum of Rome. The project was born from the aspiration to bridge two seemingly distant worlds—science and music—into a multimedia experience that conveys the beauty and wonder of the universe through sound, narration, and visuals. We have already produced about twenty shows, and the latest one is Templum Luminis.

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For me, Astroconcert is much more than an artistic project; it is a profound journey of exploration and connection between human essence and the cosmos. Through my collaboration with Stefano, music serves as a bridge between rationality and emotion, scientific knowledge and sensory experience, enabling me to create sonic landscapes that evoke the mystery of stars and the infinite vastness of space, translating into sound what often remains invisible to the human eye. This collaboration enriches me deeply both as an artist and as a human being, inspiring me to look beyond conventional boundaries, experiment with new expressive languages, and share with audiences the intrinsic poetry of science and the universe.

You’ve also built a reputation as a film and theater composer, even winning awards for works like *Herodotus*. How does composing for visuals differ from creating your own albums?

When composing for film or theater, I listen to the emotion behind the images — music becomes a bridge between what is seen and what is felt. In my solo projects, I create the whole world from sound itself. Both processes feed each other: narrative teaches me structure, while my personal works bring freedom to storytelling.

Collaboration seems important to your career — from working with inventors like Mario Bertoncini to bands like Belladonna. What do collaborations bring to your music that solo work cannot?

Collaborations are an essential source of enrichment for me: working with artists like Mario Bertoncini, an inventor and pioneer of experimental music, or with bands such as Belladonna, has allowed me to step beyond my personal boundaries and broaden my musical vision.

Engaging in dialogue with other creatives—whether musicians, composers, performers, dancers, or scientists—opens a space for exchange and cross-pollination that generates new ideas and sonic directions impossible to reach alone. Each collaboration brings its own challenges and moments of confrontation that stimulate growth and the search for innovative solutions in sound, form, and technique. In short, collaboration is an opportunity for openness, discovery, and mutual enrichment that makes my music ever more versatile, vibrant, and evolving.

Since 2019, you’ve dedicated yourself to sound healing and even created the “Progressive Sound Immersion” method. What inspired this shift, and how do you see music as a tool for healing?

After years of performing, I felt the need to go deeper — to explore how frequencies interact with emotions and the body. The Progressive Sound Immersion method was born from scientific research and meditative experience. I see music as medicine made of light and vibration — capable of transforming inner states and awakening consciousness.

Many of your works are influenced by nature, astronomy, and spirituality. How do these elements find their way into your compositions?

I see nature and the cosmos as living symphonies. The movement of planets, the whisper of the wind, the rhythm of breath — all are forms of music. Spirituality, for me, means connection: when I compose, I’m simply translating those invisible harmonies into audible form.

My most recent release, Harmony Awakening, continues this journey of exploring the interplay between natural forces and inner balance. The compositions were inspired by the delicate yet powerful rhythms of nature and the cosmos, aiming to evoke a sense of calm and transcendence.

Your label, Twin Paradox Records, has become a home for your experimental electronic work. Why was it important for you to create your own platform?

I wanted a space where artistic freedom was absolute — where sound could evolve without commercial boundaries. Twin Paradox Records is like a laboratory of consciousness, a place to explore new sonic dimensions and to give voice to projects that defy definition.

Looking back at your journey from Kazakhstan to Italy to Switzerland, what do you feel has been the most transformative moment in your career so far?

Each city transformed me in different ways — Kazakhstan gave me roots, Italy gave me wings, and Switzerland gave me space to expand. But the most transformative moment was realizing that music is not a destination — it’s a continuous awakening.

Official Website: https://angelinayershova.com/

Bandcamp: https://twinparadoxrecords.bandcamp.com/album/harmony-awakening

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