Vladimir Andreevich Komarov (Russian: Владимир Андpeeвич Комаров; born 14 September 1976, Novosibirsk) is a Russian musician, singer, songwriter, sound producer, DJ, and journalist. He is the founder of Hot Zex and frontman of Punk TV.
Vladimir's interest in modern pop music was sparked at age six, when his mother brought back a tape recorder and some Beatles cassettes from a trip to Japan. In 1989, Vladimir left music school after completing his eighth year as a major in piano and a third year in Jazz and Pop faculty. On 1 September 1991, he started a school art-punk band named Shoe Repair, which morphed into a more serious project, Hot Zex, in the next couple of months. Following his graduation from World Culture Studies at the Novosibirsk State Pedagogic University History Department, Vladimir enrolled as a social philosophy postgraduate at the Novosibirsk State Architectural University Philosophy Department. He left in 2001 with a thesis on the Nature and Typology of Nationalism and continued as a journalist. In 2002, he completed a Management Training Program at Manchester University Business School. In the summer of 2006, Vladimir’s new project, Punk TV, signed with Moscow production company Soundhunters, and Vladimir moved to the capital to become a professional musician. Hot Zex and Punk TV made an impact on the Russian indie rock and indietronica scene, earning international acclaim. Vladimir has lived in New York since 2011. He is married with a daughter, Eva V.
Hot Zex is a Russian rock group formed in Novosibirsk in 1991. The lineup has changed several times with the only constant member – frontman, vocalist, guitarist and songwriter – Vladimir Komarov. Fun fact: Komarov was originally a drummer, but following a few failed attempts at recruiting a singer, he took on vocal duties in January 1995. The band’s exact birthday is unknown, but between 1 September and 26 December 1991 they recorded their first demo of 4 instrumentals on a primitive tape recorder. Thus, Hot Zex briefly existed in the Soviet era.
In the beginning, Hot Zex were strongly influenced by punk rockers like the Dead Kennedys and the Clash, later drifting towards American alternative rock like Sonic Youth and the noise experiments of My Bloody Valentine. Throughout the years Hot Zex has incorporated touches of post-punk, dream pop, Britpop, synthpop, krautrock, ambient and even dub with trademark shoegazing constant noise/guitar-synth wall of sound and noise pop tunes.
“Sugarbabes”, the band’s debut album, was recorded in January 1995, the line-up featuring Vladimir Komarov (vocals, guitar, drums, programming), Vladimir Shibanov (guitar, departed soon after the album), Alex Kelman (guitar), Anton Zenkov (bass). The album was recorded and mixed overnight on an 8-channel portastudio by Pavel Peretolchin. This is the band’s only record not produced by Komarov. The sound concept was maximum DIY. Musically, “Sugarbabes” is a snapshot of the band trying to shape their style in long-winded and complex noise improvisations — definitely a huge Sonic Youth influence there. One track is worthy of mention – the early version of a Hot Zex classic, “Waiting”.
Summer 1997 saw the release of “Velvety/Dual” comprising two EPs: “Velvety” (recorded and mixed in January 1996) and “Dual” (recorded and mixed in January 1997). None of the EPs had been released. The album was a total departure from live drums; it ventured into Madchester and shoegazing territory and was better recorded. Unlike its predecessor, all of the “Velvety/Dual” material was written by Komarov, who had become the main songwriting force of Hot Zex. Despite continuing loyalty to noise, the song “Planets” was deemed radio-friendly and contributed to the band’s popularity.
The late-1990s internet boom gave Hot Zex, a band from distant Siberia, access to a wider Russian and international audience. In October 2000, “She Could Make Things Perfect” was named Song of the Month on the German Bouncing Corporation label website. In May 2001, an international shoegazing compilation release “Seven Winters” features Hot Zex track “Skylab Sounds”. The song went to #9 in the annual chart of U.S. Voyage Beyond Radio — The 10 Best Indie Music From The Michael Antony Show 2002. In the same year, MTV Russia aired “Feel the Light” video.
The third Hot Zex album titled “7 Lovesongs and a Track about Daily Routine of an Airport” was released by Tokyo label Chelsea Girl Records in June 2003. By that time, the line-up had changed dramatically: Konstantin Nikonov became full-time drummer and Kelman was replaced by Mikhail Grinin. The album, recorded between July 1999 and March 2001, was met with warm reviews in the foreign press:
- We’ll excuse Hot Zex their somewhat naff name as they are Russian. However they do sing in English and they have produced a very British influenced album. There’s liberal pourings of the Stone Roses, House of Love, the Lilac Time and Primal Scream, with an occasional twist of Stereolab. It’s actually pretty good stuff too, - Mawders, Soundsxp.com, UK
- Super-excellent dreamy and shoegazey pop songs that are absolutely brilliant! Drum machine rhythms keep a steady beat while shimmering melodies, soaring chiming and grinding guitars overlap, breathy vocals carry through the background, atmospheres are created and faded in and out, keyboards swirl aboutthis is top notch stuff! - Clairecords.com, USA
- Hot Zex is an amazing group from Siberia that you may recall from ages and ages ago when we sold their debut cassette, followed by a fantastic CD that was released in Japan. They should put a big smile on the face of almost any Jesus and Mary Chain fan, - www.tonevendor.com, USA
- The direction of Hot Zex’s sound is visionary noisy guitar pop like whether escape from actual society is urged! If it compares, is it dreamy and the noisy touch with which My Bloody Valentine (Loveless) + Chapterhouse(Pearl) + Rocketship (1st) was united? - Place in the Sun e-zine, Japan
- Hot Zex are a band from Russia and if you’re horny for good music then the lust will be there too as Hot Zex are making excellent indiepopmusic! They know their stuff and they must be influenced by British artists like Momus, House Of Love, Spacemen 3 or My Bloody Valentine as this is the sort of C-86 indiepopsound enriched with some Stereolab-beats and I can only say that fans from Too Pure can only do one thing: contacting Russia as Hot Zex are what I am expecting from music — perfect indiebeats and with a daydreaming touch! Fantastic really! - Didier Becu, The Original Sin, Belgium
- In many ways, these songs are familiar to some of the Crunchy Frog label’s roster (from Denmark), notably Learning From Las Vegas, THAU, and The Mopeds. Fans of these and other similar bands will probably find Hot Zex’s tracks appealing. The music actually has a surprisingly serious tone to it. «She Could Make Things Perfect», for example, is a straightforward love song with songwriting that’s kind of like what Guided By Voices would have sounded like had Tom Pollard grown up on a steady diet of prog rock. «Planets (version II)», meanwhile, is a space rock song with a great melody. You’ll be hooked after one listen, - Matt Shimmer, INDIEVILLE.COM the nonmainstream music webzine, Canada
- That's Siberia to you and me: And prepare to be confounded again because this is not a selection of icy ambient isolationism, but actually 30 minutes of psychedelic indie rock. This album (their first proper - the 1995 debut SUGARBABIES was limited to a generous 20 copies!) contains eight tracks of melodic, occasionally keyboard-enhanced jangly space rock and on the guitar-tastic AROUND YOU, singer Volodya Komarov sounds like a dead ringer for Tim Wheeler. What's more, the drum machine intro of OUTSIDE gives way to so much wah-wahing and shuffling that you'd be forgiven for thinking The Charlatans had got themselves a one-way ticket on the Trans-Siberian Express and were paying their way home. But perhaps what is more surprising is how much this album grows on you. The aforementioned OUTSIDE ends in a haze of swooping effects and Stone Roses wig-out, while songs like SHE COULD MAKE THINGS PERFECT, 40 MILES and 30 MINUTES DELAY combine shimmering production with some effectively tight grooves. In all - a strong, solid collection of songs, with lots of moments to grab your attention. Investigation is highly recommended - Mark Bayross, PHASE9 ENTERTAINMENT, UK
Hot Zex rose to cult status in their homeland, while British Ef-zine named “7 lovesongs…” one of the best indie albums ever. In 2005, the band toured large European festivals Eurosonic (the Netherlands) and Popkomm (Germany).
- We caught Hot Zex this past winter, and were floored by their Sonic Youth-meets-My Bloody Valentine-by-way-of-the-Siberian-winter sounds. Since then, the band has been to Europe, and played its biggest Siberian shows ever. Could this be the starting point of shoegazer crossing over into the pop sphere? We don't know, but we'll be here with, uh, beers in hand. Psychedelic drugs might also be OK, if you're into that sort of thing, - Mark Ames, the eXile (Moscow-based alternative newspaper)
In Autumn 2006, Hot Zex commences the fourth album “Standby” as a trio (Grinin had left) at Moscow Gigant Record studio. The entire material had been written by Komarov shortly before the recording session and tried out during the Baltic States tour. The new live sound of the band had become more electronic and sample dominated, therefore all the 2002-2004 demos were ditched with the exception of electronic/acoustic ballad “Falling”, recorded by Komarov in December 2004 in Novosibirsk. Otherwise, the album showcased rock’n’roll drive plus lo-fi Boss DR-202 Dr. Groove sounds and vintage analogue synths recorded in an ‘upscale’ studio.
The mixing stage of the album was completed in early 2007. However, differences with the record company delayed the release until it finally happened in 2009, when the moment was lost. Zenkov made his exit from the group in Summer 2007. By that time, Komarov’s side-project Punk TV had already gained momentum, and Hot Zex was viewed as a less exciting Punk TV side-project by the public and the press. Despite this, many critics and fans rate “Standby” as the best album by Hot Zex. The band continued to play rare gigs in Moscow and Saint-Petersburg (with Alexander Bogdan on bass), the most recent of which dates back to 2010. Hot Zex never broke up officially. Komarov and Nikonov are rumored to have put the project on hiatus, with a collection of rare and unissued recordings in the pipeline.
Hot Zex Discography
- 1995 — Sugarbabies (CC, own release, Russia)
- 1997 — Velvety/Dual (CC, Hit Service, Russia)
- 2003 — 7 lovesongs and a track about daily routine of an airport (CD, Chelsea Girl Records, Japan)
- 2009 — Standby (Digital, Northern Star Records, Great Britain & AeroCCCP Recordings, USA)
- 2006 — Hot Zex «Cold Sunday Rain» / Dayplanener «Sunshine» (Split single, MPLS LTD, USA)
- 2009 — MPLS LTD V/A (East Side track 2: Hot Zex «Made of Dirt»)
- 2001 — Seven Winters (CD, G.A.C., Japan)
- 2004 — Pop Renaissance (CD, Excellent Records, Japan)
- 2007 — Avant 2007 (CD, Avant Recordings, Russia)
- 2007 — Alley PM V2.0 (CD, Alley P.M., Russia)
- 2008 — Future Sound of Russia (CD, AeroCCCP Recordings, USA)
- 2009 — Future Sound of Russia 2 (CD, AeroCCCP Recordings, USA)
Punk TV is a Russian electro-rock band, formed in Novosibirsk in 2004. The actual forming of the band could be traced back to December 2003, when Komarov heard the home demo of “Snowboy” instrumental by Alex Kelman (ex-Hot Zex) and offered to complete the song in a studio. He added vocals, guitar, bass and mixed the track almost overnight. A few months later, “Snowboy” was released on “Alley P.M. Vol 01” CD compilation and became a sudden hit. Punk TV received numerous invitations to festivals; the band was joined by Hot Zex drummer Konstantin Nikonov and played a successful debut in July 2004 at Sunvibes international fest. By 2005, Komarov had produced another three Punk TV tracks and forwarded them to Hermeet Chadha, assistant to John Peel and Steve Lamacq. Soon afterwards, BBC Radio 1 played “Snowboy” and “Zoomer Goodnight”. Several Russian labels offered Punk TV a debut album deal. The band chose Alley P.M., a small but friendly label that guaranteed Punk TV complete artistic freedom, and in June 2005 the eponymous debut was finished. A year later the record was re-released in the U.S. by AeroCCCP.
Surprisingly enough, Punk TV’s 90% instrumental debut, a blend of Lo-fi, krautrock and breakbeat, half of it recorded at home, got wonderful press on both sides of the Atlantic.
- “Punk TV’s debut album is an exciting trip down the stream of crafty and clever indie-rock that starts in the quiet haven of the Britpop “Day By Day”, storms through a dozen weird guitar/sampler adventures, climaxing in the electronic “Night By Night”. The album is largely vocal-free, and the centerpiece is titled “While Mickey Mouse Sleeps”. The watchwords for Punk TV are “drive”, “cool” and “fresh”” — Dmitry Weber, Rolling Stone Russia, December 2005.
- Excellent album from a trio of Siberians who mix driving, droning guitars with thick buzzing electronics. It has a touch of New Order and Ratatat to it, a bit of breakbeat and a dark Flaming Lips-like beauty that seems to be found only in places not on the musical map. Cool. — Tim Mohr, Playboy Magazine US, Dec 2006.
- Alex Kelman, Volodya Komarov and Kostya Nikonov are the Siberian trio behind Punk TV, carving out a niche for themselves with a set that is sure to extend their appeal well beyond native Russia. Opening with the atmospheric, propulsive «Day by Day», this disc would be perfect accompaniment for a spy movie, with its trick-start beginnings («Amsterdam»), tick tock rhythms coupled with floaty drones («Zoomer Goodnight») and plenty of disco guitars for those spies' nights off. They’ll probably even get the girl at the end. Romantic avant-garde indie new-wave poptronica? Yes, please. — Kristi Kates, Remix Magazine, Feb 2007.
- An electronics whiz, a bassist, and a drummer, all from Siberia, open up their debut album with a cute, curvy indie-pop tune about being on tour — but quickly they unveil a surprising array of dance beats, expert pacing, killer sonic kicks, and rich atmospherics. Invoking vintage European film soundtracks, American rock classics, and 90s U.K. pop, the album is exhilaratingly integrated, avoiding the usual gauche misalliances of rock, disco, and techno. — James Hunter, Spin Magazine, April 2007.
In the summer of 2005, Punk TV played Russia’s major festivals: Nokia Lab in Moscow (sharing the bill with Howie B) and Stereoleto in Saint-Petersburg (with Gus Gus and 2020 Soundsystem). “Snowboy” became the anthem of Russia’s #1 electronic fest KaZantip Republic. Punk TV was named “debut of the year” by the press in 2005.
In summer 2006, Punk TV signed with Moscow production company Soundhunters, moved to the capital and started recording the follow-up. The record was recorded in Autumn 2006 in Riga’s Sound Division Studio and mixed at Gigant Record in Moscow. At the end of the year, Punk TV received the Golden Gargoyle national prize for “Best Russian Electronic Act 2006”. The second album, “Music for the Broken Keys”, was released in March 2007.
While Punk TV’s debut saw Komarov immersed in guitar work and the search for the band’s unique sound, with a brief nod to singing, “Music for the Broken Keys” boosted his songwriting talent. 5 tracks out of 9 featured lyrics, with each song an instant Punk TV classic. Komarov’s songs broke with the old stereotypes and propelled Punk TV to new heights, out of reach for the Russian indie scene.
- Punk TV bang out «Vala Svala» and some might say that it’s a bit controversial what has been said about this band but it is positive so tough. These guys are like the Pet Shop Boys but with balls. They have made an electro track that sounds amazing and the vocals are just mesmerizing, they have gone for quality rather than what will sell 200k Singles. This is a proper kick ass tune. — Mark Moore, Contactmusic.com
- This is like Depeche Mode on acid with all its psychedelic sounds, soft Pet Shop Boys like vocals and lush keyboards. — Dj Astro, Unimeri.com
- “Two years ago, Punk TV debut arrived as a bolt out of the blue in the backwater of our music landscape. The album boasted a whole range of flavor-of-the-season new-rave tricks: Manchester guitars and synth psychodelia. On “Music For The Broken Keys” the Novisibirsk guys venture farther than on their debut, leaving ‘difficult second albums’ to one-hit losers. Clubby clouds of Punk TV sound remain the same, but with a hint of difference. More tracks with vocal (three), guitars against a backdrop of puffy lacy electronica. Juggling hollow clichés is pointless when talking about this record —the music of Punk TV is exempt from European press classification. The album sounds fresh and fun, sometimes slightly ahead of the latest trends — and you know this special feeling when you get it” — Dmitry Weber, Rolling Stone Russia, June 2007.
Fun fact: closing track “Good Morning 1985” was a last-minute addition. The original version was recorded by Komarov as a birthday present for Punk TV drummer Nikonov, a big fan of 1980s new wave. Komarov resisted the idea of re-recording “Good Morning 1985” to the last, calling it “a throwaway joke”.
In 2007, Punk TV played 56 gigs in Russia, England, Finland, Latvia, Lithuania and Ukraine. The band played Moscow’s largest B1 club, opening for The Rupture and Happy Mondays. In spring 2008, the band released “Sunderground” EP, a teaser for the third full-length Punk TV album “Loverdrive”.
Despite a successful career in Moscow, the band and their production company Soundhunters decided to part ways. Punk TV continued their heavy touring schedule, while recording and mixing their new album at Gigant Records. The LP was released by Fusion/Gala on 18 March 2009. Unlike its predecessors, “Loverdrive” was more guitar-heavy and relatively short — clocking in at less than 38 minutes. Three tracks had already been available on “Sunderground” EP, with slightly altered mixes for the album. This is largely due to the band bankrolling the album after their split with the production company, however, the quality of the record did not suffer. Tight finances did not affect the material, in fact, two new songs by Komarov – “Every Minute is OK” and “Voices” are probably among Punk TV’s finest. The record was lauded by critics and cemented the band’s #1 national indie rockers status.
- “After the band’s second “Music for the Broken Keys” album (2007), Chemical Brothers references can only be found in lazy write-ups by those who fail to see beyond the press release. The actual similarities are few: simply great electro rock, where guitars and synthesizers coexist happily instead of drowning each other out. Up next: leaving Novosibirsk for Moscow, a tour of Russia, major festivals, MTV and Radio Maximum air a song they co-wrote with Bi-2. Now a new album — and it’s on to the next level. “Loverdrive” is the same old Guitars vs. Synths friendly, the same rubber ball samples and laid-back guitar romantics. At the same time, Punk TV appear to have broken free and laid the heavy burden down. Where tracks used to crawl, heavy with samples and overdriven guitars, they now burst in all directions: synths gone up-register and into space, meaty back-to-gravity bass, distant weightless guitars. At times these elements mix so well that pleasure becomes almost physical. “Loverdrive” packs a surefire radio-friendly single “Comet” with vocals by Bi-2 and a near-perfect hit “Voices” that brings to mind the better days of Primal Scream — it would be a crime for radio programmers to ignore these songs. Besides, Punk TV deserve to lead the entire New Russian music corps. After all, it was vocalist Volodya Komarov who produced the new hipster darlings Manicure. The release and the future of “Loverdrive” becomes a moment of truth for the entire movement: it will either flourish or get a rude kick aside to small-time Moscow dives. Even so, Punk TV’s crowning achievement is an accomplished fact: they are no longer the “Russian Chemical Brothers", they are quite simply Punk TV — and that is good enough” — Georgy Birger, Time Out Moscow.
Following a 30-gig Loverdrive Tour that spanned Russia, Ukraine, Belarus and Kazakhstan, Komarov went back into the studio to almost single-handedly record a new Punk TV single “Solar”. The record was released by Fusion on 14 April 2010 in two formats and under different titles: 7" vinyl “S.S.” (b-side “Suburban Sounds”) and CD EP “Solar” (featuring remixes for “Solar” and b-side “Discounted Toy”). The entire material had been written by Komarov as early as Summer/Autumn 2009. The singer of legendary Irish post-punk band Power of Dreams, Craig Walker, co-wrote and sang lead on “Suburban Sounds”.
In February 2010, Punk TV opened for Ian Brown at Moscow’s B1, and in April, the band embarked on Solar Tour through Russia, Estonia, Latvia, Lithuania, Germany, Finland, Sweden and Kazakhstan. The tour wrapped up in end-September and the musicians decided to start a new album, tentatively slotted for release in March 2011. Unlike two previous LPs, when Punk TV went in with a ready, rehearsed and live-tested album, the new record, “Space Shadows”, was a studio affair built from scratch. Komarov almost went back to the production method of the first eponymous Punk TV album, despite all recording and mixing taking place at Gigant Records. The result was a jigsaw sound puzzle of styles and moods. The album featured EMF singer James Atkin on “Breathing Out” and the Lali Puna sound architect Christian Heiß, who remixed “SID” into a new track, “Seeds”. Drums on “Phantom”, “Parker's Beat” and “SID” were played by Komarov, since the band drummer was not always available for recording sessions.
- “Vladimir Komarov comments on the new release: "We started the new album with no clear concept — just putting some tracks together to form an album like a bunch of favorite holiday snapshots. It was really just like that: the demo of “Phantom” was recorded in Mexico, the sequence of “Breathing Out” fell into place on long treks down crazy Vietnam roads, and “Kopenhagen”, I think, kind of speaks for itself. When we stepped into this room at Christian Heiss’ Munich studio (Lali Puna, Notwist, Portmanteau) and saw all these magic hand-made boxes that did not just make sounds but actually sang, we immediately thought — it would be perfect if he could produce “SID”. Christian said yes, that’s how a new track “Seeds” came about. James (Aitken, of EMF) agreed to sign on our record straight away, which put us in a stupid position — we have the cult singer and no song for him to sing. We trawled our archives, fished out a fragment of a studio jam and sent it to him. I was just amazed by the way his vocal fit in. The rest was simple tweaking — and “Breathing Out” turned out to be one the album’s highlights" — Lookatme.ru
- ““Venom” is another single off the fourth album of the band from Novosibirsk. Unlike “Phantom” and “Take Control”, both great for a heroic Hollywood drama soundtrack, “Venom” is quality electro-rock, an approximation of MGMT, but sans irony (which could be a good thing)” — Boris Dahl, Rolling Stone Russia, April 2011
- In the meantime, interest continues to grow in the Western press, due in part to the fact that Punk TV’s trademark Mancunian style is often expressed in instrumental forms. A guest appearance by Atkin on the new album also helps to overcome the language barrier. The general air of celebration is palpable: tambourines are shaken and smiles will widen. British and American webzines have thus far received the band with enthusiasm: «This is the perfect accompaniment for a spy movie, with trick-start beginnings, tick-tock rhythms, and floaty drones… plus plenty of disco guitars for those spies' nights off.» Or, elsewhere: «Cute, curvy indie-pop… with a surprising array of dance beats, expert pacing, killer sonic kicks, and rich atmospherics. — David MacFadyen, Farfrommoscow.com
“Space Shadows” was released 25 March 2011 by Punk TV and supported by a three-month Russian tour, after which the band took some time off. In Summer 2012, Komarov started work on a remixed version of “Loverdrive", acting as executive producer. “Loverdub” was released as a free Bandcamp download on 1 October 2012. Komarov was also one of the authors, re-recording “Jetlag Sunday” under the alias Millrock.
Discography Punk TV
- 2005 — Punk TV (CD, Alley P.M., Russia)
- 2006 — Punk TV (CD, AeroCCCP Recordings, USA)
- 2007 — Music for the Broken Keys (CD, Soundhanters LTD, Russia)
- 2007 — Music for the Broken Keys Deluxe Edition (2CD, Souz, Russia)
- 2009 — Loverdrive (CD, Fusion/Gala Records, Russia)
- 2011 — Space Shadows (CD, IceCream Disco, Russia)
- 2012 — Loverdub — ремиксовая версия альбома Loverdrive (Digital, Punk TV)
Singles & EP
- 2006 — Snowboy Remixes (Digital, AeroCCCP Recordings, USA)
- 2008 — Sundeground EP (CD, Punk TV, Russia)
- 2009 — Every Minute is OK (CD, Fusion, Russia)
- 2010 — Solar EP (CD, Fusion, Russia)
- 2010 — S.S. (7", Fusion, Russia)
- 2011 — Phantom Remixes (Digital, Punk TV)
In Autumn 2007, Vladimir recorded vocal on “Bely List” for Bi-2 side project Nechetny Voin 2. In 2008, he played live with Bi-2 at Nashestvie festival and a series of TV shows. The Bi-2 gig at Moscow Modern Play Theatre, 3 March 2008, was released on DVD in 2011.
In 2008, Vladimir collaborated with Oleg Kostrov on his Supersonic Future album “The best of the worst”. He recorded the bulk of the guitar tracks throughout the album and sang on “Dead Boys”.
In 2008, Vladimir recorded synth parts for “Anyday Anytime” by Moscow indie band Lost Weekend. The song was included on Lost Weekend’s “Lights and Fears” album released by Fusion/Gala in 2010.
In April 2012, the cinema release of Yusup Bakshiev’s “Rendezvous”, with most of the original soundtrack written by Vladimir. He also made a small on-screen appearance as the soundman for a school girl-group The Poisoned Peaches.
Vladimir took part in the recording of Novosibirsk band FPRF’s album, due for release on Hopneck Sound.
In Spring 2012, Vladimir founded WOW!, an electro-garage duo with Dmitry Wild in New York. In September 2012 they released an online single “Have Fun” and continue work on their debut EP at Stratosphere Sound, NY.
In July 2013, Vladimir and Moscow's Revoltmeter joined forces in a trans-Atlantic collaboration and released "Death Electric" EP. 4 tracks release was met with warm reviews on the both shores. aInfluential Interview Russia Magazine named title song as a "track of the week" while LA based website FFM used words "A fresh breath of Manhattan air..." to describe the atmosphere of the song.
Vladimir frequently plays DJ sets. In 2007-2011 he was resident DJ at Moscow club Krizis Zhanra.
Komarov’s debut as other artists’ sound producer took place at Riga’s Sound Division Studio in Autumn 2006 when he produced 4 songs by Moscow indie band Dairy High. “Evil Lullaby” was released in 2007 as a 7” vinyl split single with “Honeypod In My Head” by New Zealand band The Cakekithchen. A year later, “Evil Lullaby” and the other three tracks from the same record session (“The Crooked Mile (Without a Song)”, “Flickering Light”, “Most Expensive Crash”) were released on Dairy High’s eponymous album. The remaining 6 album tracks were done by legendary Welsh producer Greg Haver. Apart from sound production, Komarov also played grand piano, melodica, provided backing vocals and arranged the acoustic ballad “Running Aground”.
In late 2007, Komarov started the recording and mixing of the debut album by Moscow post-punk band Manicure. The record, released in Spring 2009 by Fusion/Gala, was a major hit in Russia and was noted abroad. Rolling Stone Russia called the album "a full-fledged contender for Best National Debut of the Year", Afisha dubbed it "perfect English-language post-punk". "Another Girl" was used in an ad by a famous alcohol brand and featured in the original film soundtrack to Antikiller D.K. Apart from sound production, Komarov also programmed rhythm machines and bass synthesizers on “I Wanna Be Free” and “The One”, played guitar on “Magic is Shit”.
Komarov has remixed tracks by Ian Brown, Ash, SPC ECO, Asbo Kid, Craig Walker, Kontakte, Electric Mainline, The Nova Saints, Bondage Fairies, Brittle Stars, Bi-2, Mars Needs Lovers feat. Ilya Lagutenko, Illuminated Faces, Aerofall, A Headphones, Blast.
Komarov worked as a journalist from Autumn 2001 to Summer 2005 at Kontinent Sibir, a Siberian business weekly. In September–December 2002 he was an intern at Financial Times, London. From 2011, he contributes to Russian editions of Rolling Stone and GQ, Soundengineer, Stereo&Video, Look At Me website.