Our masks have a pattern called “pun”. It is translated into Russian as “red pepper”. This pattern is the main element of Uzbek skullcaps. And the name Doppi Twins means “skullcap brothers”.

We are currently working on the album “Uzbekistan” — it will contain eight songs, each of which will show the spirit and musical characteristics of the regions of our country.

For example, in Karakalpakstan, we hear kobyz and gidzhak (string instruments — editor's note) and a Karkalpastan bakhshi singer (folklore performer — editor's note) sing. We invited Zhenisbek Piyazov, People's Artist of Uzbekistan, as a bakhshi, and his mother, who is from Karakalpakstan, plays the gijak.

Uzbek music is complicated, and I would like to make it more accessible. Therefore, we create electronic music with the addition of folk instruments, for example, tanbur (a stringed instrument similar to a lute — editor's note) and doira (a type of tambourine — editor's note).

We are interested in the traditional poppy genre [a Central Asian musical genre with extensive use of improvisation and the cyclical structure of works — editor's note] and we think a lot about how we can rethink it in modern times. Our spiritual teacher, Turgun Alimatov, is a very smart and eloquent person who slightly changed the Macom canon and made the genre popular. It is thanks to Turgun that people still listen and love poppies.

Turgun Alimatov passed on his knowledge to Toir Kuziev: the ease of writing new music and the correct arrangement of a classical poppy. And Toir and his Sato group have already shown the results of their work in many countries around the world.

From Toir, the tradition passed to tanburist Farkhod Mirzayev. Farhod has YouTube channel, where he shows off playing the tanbur and shares his secrets, is also our teacher in the poppy world.

Writing music brings us the most joy: we sit down together and look for what Macom song we're going to “ruin” now, what we'll do with it and in which direction we'll change the sound. In fact, this is not an easy job, due to the complexity of Macom himself.

At the beginning, it was a little scary that people would take our image negatively, because using masks is a very strange phenomenon for our mentality. But the audience liked it; we hardly met a hate.

Sometimes we think about the future: that the project and masks will remain, but the performers may change. Of course, if we can find decent guys to whom we will hand this matter over.

We don't show our faces, but we show ourselves in our music. Unfortunately, not everyone succeeds in this way.

We would like Uzbek musicians and singers to be more and more correctly engaged in creativity, and not just in commerce. Then our music will be much higher.