A Record of Mine in START's Series "Жиза"

Aug 1, 2022
2 min read

Updated: Aug 5

When a music supervisor is deciding who to trust with a placement, the useful question isn't "is this a good song" — it's "has this person's music already held up on screen, next to names the audience knows." So here's one that has.

A track I produced was licensed into "Жиза," a youth series on START — one of the largest subscription streaming platforms in the Russian-speaking market — and sits in its soundtrack alongside Mumiy Troll, Svidanie and Mujuice.iy Troll and Svidanie, is one of those moments that makes a release feel finished.

Placement at a Glance

Production: Konstantin Nevelskiy

Track: "Я иду искать" (FUTULVMV & Alina Granovskaya)

Series: "Жиза" — original youth series, START

Soundtrack company: alongside Mumiy Troll, Svidanie, Mujuice, NEMIGA

Credited: on-screen closing titles · IMDb

Music by: Konstantin Nevelskiy, Yuri Pekhtelev · Lyrics: Alina Granovskaya

Listen: Spotify · Apple Music · YouTube

What the placement is

"Я иду искать" is a record I wrote and produced (with Yuri Pekhtelev), released under my FUTULVMV project with vocalist Alina Granovskaya on my label, Loony House Major. It was licensed into "Жиза," where it plays as part of the series' soundtrack.

Two things matter here for anyone weighing a sync or a score.

First, the company it keeps. A soundtrack is curated — every track earns its slot. Ours sits next to Mumiy Troll, one of the most important names in Russian rock, and contemporary acts like Svidanie and Mujuice. That's the level the music was judged against and cleared at.

Second, it's credited and traceable. The music is named in the closing titles and the series is listed on IMDb. For a supervisor that matters: the paperwork is clean, the credit is real, and the placement is verifiable rather than a claim.

Scoring to picture, not just licensing

A placement like this shows a finished record can hold a scene. But most of my screen work is the other kind — music written to picture from the start. I've composed original scores for the short films "Туфли" ("Shoes") and "Идеальный сценарий" ("The Perfect Script"), where the music was built specifically for the film rather than licensed in after the fact.

That's the part that matters for a director or supervisor: whether I'm scoring from scratch or clearing a finished track, the job is the same — giving the picture what it needs, on tempo, on tone, on the emotional beat the edit is asking for.

For screen work I deliver the way post-production needs it: stems and alternate mixes to spec, cue-sheet documentation, and clearance handled cleanly — so a placement like this one is a straightforward yes for the people who have to sign off on it.