Cxemcast 027 – Roman K
01. The Timeriter - Lost In Lyrix
02. Kuba Sojka - Future Mind
03. Sync 24 & Morphology - Phase Crush
04. Matti Turunen - Substellar Object
05. Exaltics - My Language (ERP Remix)
06. A Sagittariun - Gravitation Push
07. Drexcia - Depressurization
08. Dj Stingray 313 - eRbB4
09. Keith Tucker - We Are Detroit
10. Orson Wells - Space Echo
11. Jark Prongo - Moving Thru Your System
12. Plant 43 - Ubicomp Malfunction
13. Kan3da - Soundtest
14. ERP - El Camino
15. Route 8 - It Doesn't Matter Anymore
I thought you were on the side of Chicago, but your mix and recent sets show kind of love for Detroit, aren’t they?
I try not to get stuck within the same direction, whether it's Chicago, Detroit or Berlin. I like to constantly expand my musical horizons. I’ve recently begun to divide the music in ‘like’ and ‘dislike’.
Does it happen that ‘dislike’ turns into ‘like’?
Yes, it is a cool feeling when you hear something for second or third time and think "How could I miss it?!". Some things get to you only with time or at ‘proper’ moment, but this is quite normal, in my opinion. It is impossible to know everything at once in music.
And on the contrary: is there music that you are ashamed of liking once?
It is rather music that no longer inspires, but there is no need to be ashamed of it. Otherwise, we would simply not come to what we have now.
What is it actually that we have come to?
Well, we are just at the beginning. Culture develops, there is a bunch of talented artists and local scene is growing. We are moving in the right direction. Development and movement are the key to success
In this case, tell us whom you can allocate from the local scene.
I'm afraid to offend someone or simply forget to mention. I try to respect the work of each artist. I have many friends and colleagues, whom I attain to. It’s hard to make a list.
Do you also write music?
I’m working on it... There is still very little that I can do and know in production. However, I am very interested to find out more.
When did you start playing?
In general, I can say that it was at school, in the 5th grade I played at my first disco. I strated playing with professional equipment in 2005. Prior to that, there were tapes, computers and mp3 players. It’s gonna be 10 years in summer, time flies... I have to organize something on this occasion, not to forget.
Many people know you as a vinyl collector. Which record was your first one?
It was a gift from the author after a party, where we played together, - The Timewriter - Soulstickers. It was back in 2007 at Opium Beach club, I guess. I started to buy records in 2008.
How many of them do you have in your collection now?
Around fifteen hundred, maybe a little more.
And which are the favorite ones?
My collection mostly consists of house music. Nevertheless, I collect nearly everything: from jazz, funk and soul music to disco, hip hop, electro and techno. Lately I got hooked on electro. Hence the mix was born. Incidentally, it is the reproduction of my set at the last Схема under the bridge. Probably, it is my first set of such a pace.
Electro has sounded in full force lately. How can such an interest of the audience can be explained?
In music history is cyclic. It's simple - techno fades into the background. New styles evolve or the long-forgotten old make a comeback. Not so long ago, it was all about electro-house or electro-clash. Now it sounds closer to Detroit. It will be the trend for the nearest future, I think.
So, will we hear the hardcore as well?
Hardcore is on the TV every day. (Laughs)
By the way, I would like to ask you whether such a collection of records was brought together with the means of musical dividends?
Of course not. Even despite the fact that all the earned money I put music back into music. In Ukraine, one needs to work hard to buy records. Among my friends, almost all the collectors earn from their business or work at the office to buy records.
It interferes if the work is immersed with music, isn’t it? Is it difficult to combine work and creativity?
It prevents and sometimes it is very difficult. For example, playing two nights in a row after a hard week at the office and then going back to work on Monday. Those who know this stuff – understand me. However, this is the price. I'm trying to play less now, so that to give more time and effort to music - for me this is a chance to break out of the office in the future.
You’re saying that in the future, making music, be it production or DJing, might make a living for you?
This is only possible while touring abroad.
However, who needs a DJ from Ukraine playing Detroit music, if there are Detroit DJs?
It is 100% true. For this reason, I want to learn how to write my own music.
Immediately the question arises - how do our life and everything that surrounds us sound like?
I get you. I try to be an optimist in this life. Lying down and dying from all the bad things that happen is not about me. Sometimes, of course, all you want is to drop everything and run away – I just turn on the headphones in such moments, music heals.
No, I don’t exactly mean that everything around is bad. On the contrary, we have a huge potential to come up with something new, because everything is taken out of where and how we live.
Well, of course. For example, I grew up by the sea. For me it is the best place for inspiration. However, I’ve spent half of my life in Kyiv and the city influenced me in its own way.
Tell us about your ‘sea’ life. You're often referred to as ‘Crimean’ because of this, aren’t you?
Yes, I was born in Yalta. My whole family still lives there... I come from a small village between Simeiz and Ponizovka - Katsiveli.
Listen, you're talking about the revitalization of Kyiv scene, but it seems to me that everything remained at the same level. We’ve had good parties before, there were interesting artists, communities (e.g. Addicted).
Addicted parties gathered about 200-300 people. We often played for half-empty dancefloor. Then Kyiv was sitting firmly on the Romanian needle. Techno and house, which we tried to play and bring, was not particularly popular. Today you need to try very hard to bring at least one artist from that list. Well, the party ‘for your own crowd’ evolved into raves, where everything just starts at 5 am.
Do you say “to try hard” first of all because of the crisis?
Not only. Fees and tour schedules of artists like Levon Vincent or Prosumer, for example, have soared since then with the speed of light... Convextion generally plays rarely today. We were damn lucky to bring him at the time. All thanks to Igor Glushko.
It turns out that bringing someone is possible before they become hype artists?
This is a fine line and a lot depends on the organizers. To which extent they feel confident in the market. Sometimes the invited artists are even unnecessary, in my opinion. With proper local lineup and right promotion of the event, the result can be much steeper than bringing foreign guests.
I have often met the thought that local artists shouldn’t play too often. What do you think about it?
You need to know when to stop. After all, the story is the same - I think everyone has to decide for themselves what purpose are they following, why they do and how much performances they need. Sometimes there is an urgent need to twist records on the weekend and sometimes I simply can’t force myself to leave home. If such moments occur – you need to pause. Otherwise, why bother to do it. Well, and if eyes are shining, then why reject yourself. Play and catch a buzz. It's simple.
Do you care which place you’re playing at?
Yes. I personally prefer small venues and dancefloors. When you're closer to the public. But sometimes you want to play something that you just can’t put in a bar. Схема, in this case, has perfect ‘size’ for me. While a couple of years ago, it was just a party for 150 people and now it is a rave for 1000.
By the way, how do you feel about raving? Personally, I have different thoughts about it, and you?
Well, to be honest, I've never played at a bigger party... The last time I really liked it. This is a very different experience and impressions. Again, for me it's an opportunity to get to know myself from another side and give the audience something new and unexpected, something that they won’t hear from me anywhere else.
I also wanted to discuss another issue about buying records - saw you once with two halves of a single vinyl - how safe is it to order records on distance? What risks do you face?
Yes, it happens sometimes, especially with untested sellers on discogs. You should always secure your shipment with insurance. While saving a couple of dollars, you can lose much more sometimes. One of the last stories is about the long awaited record of Marvin Dash, which I was looking for a couple of years already and have finally found one. The seller simply forgot to make an insurance and I had two records arrived instead of one, two halves of one record, to be precise. I'll find another one, but it was a shame, for sure.
Are there any options for buying vinyl in our country?
Yes, the vinyl records store has been recently opened in Closer. The guys are trying hard to regularly fill up the range, mostly with electronic music (Andrew, hello!). There is Vinyla shop with mainly contemporary hits and classics (Yura, high five!). Well, and there is also Discultura with a lot of different things.
Have you ever thought about opening a shop?
I’ve opened one, it is in my bedroom.
Which record are you never separating with?
This is always the most tricky question. Let me think. From the latter, the one that doesn’t leave my bag is Kai Alce - Take A Chance, remixed by Larry Heard. I think this is a future classic. Kick-ass record, both for home listening and for the dancefloor. I strongly recommend.
Interviewed by Bohdan Konakov.