Cxemcast 011 – Texcut

The first question, as always, an introductive one: how long have you been playing? Tell us your ‘how I became a DJ’ story.

June 7, 2008, four days after my birthday, I ordered my first record. It was dubstep and, at that time, one of the most popular mainstream producers called Rusko with hit LP Babylon: Volume 1. I played my first sets back in 2006, but never considered it to be a serious matter, until I bought my first record - then everything started playing in different colors. Probably, it is fair to say that I became a DJ on that day.

Did you accumulate many records over 7 years?

Now I have around 700, but buying turnover has always been different - it mostly depends on enthusiasm and how often you play. When dubstep was popular, not in its current form, the records were purchased constantly in large batches.

Which record is your favorite?

I will always be fond of this one - Digital Mystikz - Haunted / Anti War Dub (Discogs.com/Digital-Mystikz-Hau...r-Dub/master/182769) - for me, it is a measure of quality music but, at the same time, simple one.

You’ve said that your starting point was the purchase ща records. Do you grade DJ’s professionalism according to medias he/she uses to play or how?

Not at all. When I started to collect records, the tracks, which I bought, were not sold in digital, there was no Boiler Room. Internet was slow and, probably, I still witnessed times, when the classical notion of a DJ was made up with two decks, mixer, pack of records, headphones and needles. It is difficult to abandon good traditions and old habits. However, it seems that it doesn’t matter what you use for playing, the main thing is the result. Itmake no difference if its Ableton or Traktor; my favorite DJs and musicians haven’t been carrying around bags with records and I don’t respect them less because of that.

By the way, you mentioned Boiler Room. When is it going to come to Kyiv?

I’m not really preoccupied with this question, it is better to go there to Germany or Poland.

For example, it takes place in Kraków or Wrocław, but not in Kyiv. Does it mean that we don’t have own quality scene, good musicians?

There is a scene. I would rather say that there is its germs for, probably, any style. I make such conclusions by the fact of our mentality: our young (and not so much) musicians / DJs get a little constructive criticism and reviews about their performances and it really hinders their development. Similarly, there are no experimental crowds, who would just push each other further on. We’ve got only couple of bright personalities. For example, Stanislav Tolkachev has always been and will remain the coolest one for me.

It turns out that the root of evil is the lack of music criticism, is it?

It turns out that it is. We lack Gorokhov’s criticism for everyone, in my opinion. But seriously, the problem lies deeper. I would opened a public for discourse and invite there a lot of different guys, like Igor Glushko, with their critical views. Would put on a fan - maybe we could finally realize something then.

What about the audience? Do they need a local scene when almost every weekend we have foreign artists playing, sometimes even the ‘star’ ones?

Well, if they closed the border, we would go to students’ nights at Forsage.

Depressing perspective. And do you write music?

I always play some synthesizers and often not by myself alone. Although, it hasn’t work out as something worthy yet. I can give a link to my old project, where we recorded a bunch of various instruments, erected all in one channel and got a full trash in the end. However, it was funny. Sounded something like this: Ugursuz-rok-ulduz - Poshta. I wouldn’t call it proper music, but the process itself was incredibly steep.

Among all the DJs, who I interviewed, there was not a single producer. How do you see the ‘DJ mission’ in the development scene?

A simple example: I have a friend, Dima, who is a great producer - he is very productive and popular, in general. However, I often manage to surprise him, let’s say, make him discover some styles and artists. Speaking of Dima, we had recently played a test live in Odessa and it was sternly. Maybe this is DJ mission?

All hopes are put on the audience that would wonder, get enlightened and applaud?

Golden words.

Your podcast turned out quite eclectic - on the verge of techno and ambient. Did I get it right?

Not really, it rather lays on the edges of experimental music interspersed with ethnic and a techno ending. I tried to pick something that characterizes me for it. Though it may sound selfish, but so does every DJ as it seems to me. That’s why this mix changes from being a hurricane to calm.

What is experimental music for you?

It is overturned frames, meowing kitten with maximum delay at the beginning of the track, sounds of a huge modular in the end. The best example of experimental music for me is Kaboom Karavan (youtube.com/watch?v=F0kkXey_QCc).

It turns out that techno for you is a rethinking of such music in dance?

No. I love bass - deep, strong, complex – I have this passion left from my dubstep period. Some techno artists also can do it properly. That's why I started a ‘relationship’ with techno: such artists as Material Object, Rrose and Atom give me goosebumps again and again as it was 6 years ago with dubstep.

What happened with your love to dubstep? Do you think it took a wrong way of development when lost pure British accent?

Everything is simple - right people stopped writing it. They are now quite busy with other things.

With techno?

Yes and no. For example, Mala plays live with Cuban drummers and Loefah plays tech house tracks – it’s different for each of them, but almost everyone is occupied with something.

What are you going to play at Схема this Friday?

Deep techno, no hits, just deep techno with f*king amazing bass lines and long musical ornaments.

 

 

Interviewed by Bohdan Konakov