Cxemcast 025 – Zolaa.

01. Ital - The Citadel
02. Lucy and Klock - Bliss
03. AL-90 - Stimulate08.11. (Unreleased)
04. D. Towärds - Untitled (Unreleased)
05. SZO - II
06. Youngg P - Masher Track (Unreleased)
07. Nissan Groove - Untitled Edit
08. Rogue Trades - We Lost Everything
09. Rhytmic Theory - Shores Of Caladan
10. Novacom - Tranche
11. D'marc Cantu - Hungry For People
12. Erofeev - Red Ruthenia
13. Computer Graphics - Megatraveller (Computer Graphics Bootleg)
14. Recid - Untitled (Unreleased)
15. Lone Dancer - Void Simulation (Unreleased)
16. Voin Oruwu - Untitled (Unreleased)
17. Internet Spy Machine – MMMDXSBOT



Tell us about your release: you said that what had been written long ago was published only recently?

Generally, these things always turn out not as they are supposed to. The first release was ready almost a year before its actual release. I was looking for a label, waiting for remixes to be finished – in the end, problems occurred everywhere. I was fed up with it and sent two tracks to Rob Dred Collective (while they were heading Free Track Thursday). I thought that it was better to merge these two tracks rather than they would lie on my soundcloud with a hundred of subscribers. However, in the end, Rob liked the material and offered to help with remixes and release the EP on his label. Hyperboloid (Hyperboloid Records) also came up quite accidentally: I have been periodically sending my demos to Lesha Pixelord and one day he offered to write a song for a compilation of 20 tracks from post-CIS producers (half came out on vinyl, half - on the tape). This release flew easier, but not without oddities. Afterwards I was ‘sent’ away from Kyiv lots of times. After the release, Lesha was interviewed about the compilation at Sindrom Bolelova (Rus.-‘Синдром Болелова’, radio broadcast at Moscow FM - ed.). So, at first, Zolaa. turned out to be a producer from Kazakhstan, then from Donetsk, and in another review - from Hungary. The latter is quite justified: I have long been familiar the works of Zolaa without dot (haha): zolaamusic.uw.hu/. However, this is just for fun. The main problem was that my views and perception of my work has been changing quite quickly and everything else has been changing very slowly. So, I dropped many of my projects and for the past year just followed how the belated releases of friends with my remixes were published. Now I've collected enough material and firmly decided what I want to write and play. I hope that you will hear it soon.

And what are your plans?

I’m afraid to talk about future plans now, because everything is constantly going the wrong way if you don’t keep it in secret. However, in the future I definitely plan to return to non-electronic music and record a one-man-band album at home. As they say, there is no former black-metal!

You're talking about a quick change of preferences. Can you give a retrospective of your artistic way? Don’t you think that such frequent changes can harm, on the contrary?

There were not so many preferences, but due to the fact that music had radically opposite nature, I had to mak the transfer from one style to another not so sharp and contrast. However, it turned out not as I wanted. The retrospective is not great: juke and similar stuff, bass, house and techno. Well, I can’t define any clear boundaries in the transition- everything gradually changed and transformed somehow and can’t say that I don’t use any techniques from ‘past music’ now.

Do you think that juke still has the potential to blow up the dancefloor again?

I don’t remember a time when it did. There was no mass hype for it in Ukraine, except for a few events at Xlib. Dj Rashad rather came in as music for the player and may get back the same way. Recently I talked about it with the guys from Bereza (rus. ‘береза’ - birch tree). There is plenty of room for experimentation in this genre and if music develops within a spiral, now it seems to be the right time for a new round. It's time to go back to basics, back to primitive! I might mature to regain 160 BPM once.

I see that a lot of tracks in the mix are from local producers. How important is it to preserve the locality of music?

The mix mostly consists of tracks from my close and not so close friends. I believe that collaboration and mutual support in music is cool, as well as local parties, which often have a special easily recognizable sound. In this regard, I give lots of credits to Oblast, a group of producers from Samara, whose works are worthy to check them out. By the way, it was founded by one notorious juke producer. There are many similar examples in the neighboring country, like Gost Zvuk or John's Kingdom. In Kyiv (and in Ukraine in general), there are a lot of cool guys and it’s a shame that we can’t give a similar example as above. In fact, I have a lot of internet acquaintances: I know a few of them in person, like you all know: Youngg P, Recid, Voin Oruwu. One day I'll meet Miles Lone Dancer and Lesha Nissan Groove, I bet!

What can stimulate DJs and producers to unite? Which ideas or mood?

Difficult to say. I don’t think that idea or mood is the only thing. Some ideas have already slipped. I guess we should share and exchange more with each other. I say this, even though I am very shy to send something to my friends for evaluation.

Where are the local labels then?

Ukrainian labels... Everything is simple: establishing new ones is expensive and not profitable. Music doesn’t sell in digital format in Ukraine and vinyl or other physical media – so much the more. I'm talking about mass market, naturally.

What is happening with Kiev House label?

Kiev House is currently on a Kyiv-vacation! However, it is going to return pretty soon and will be willing to present a pleasant sound from a young and previously unknown Kyiv guy!

Don’t you think that Kiev House has cinched its vacation?

The main ‘kievhouser’ (Cape Cod – e.) had a lot to do. I have a new MeloRing now, you can call me to check it out. The vacation is justified!

One of the tracks is a new project of Dima Koloah. Can you reveal the essence of his new project?

The point is simple. Dima began to make music that pleases him, but not the one "should please a certain amount of people". He is a talent, I’m really looking forward to his public debut with a new project.

It turns out that he published music written for certain audience under the moniker Koloah, doesn’t it?

I mean that Koloah is a more commercially aimed project and Voin Oruwu is ‘for the soul’.

There are rumors about the new season at 56. What does this club mean for you?

It is home to me! Pleasant place, which is associated with many memories, despite the fact that I spent there only one season. I can compare it only with Xlib! I want to go back, behind the bars!



Interviewed by Bohdan Konakov.