Ukrainian Field Notes XXIII

Another episode, another milestone with 200+ interviews in almost 15 months since the full-scale invasion. For n. XXIII, we start off in the States speaking to Erlena Dlu about contemporary classical music, before heading to Dnipro, Ukraine, to discuss the aftermath of the occupation of Mariupol with native Peshka.

Back in Kyiv we take a soundwalk with Dima Levytsyi, go cycling with Silat Beksi and  and listen to Sergey Russolo‘s experiments with ethnic music as well as Khrystyna Khalimonova on banjo.

Moving west we discuss loss in Lviv with Planet Bit before traveling south to Kryvyh Rih with Arph arriving eventually in Donetsk to meet Xota.

Finally, we go out at sea with DeadSpacer, and on tour with Mykola Lebed, while Ezodis send us a postcard from Georgia and mesohorny sends us greetings from Canada.

To round things off we have the usual bunch of new releases by the likes of Hanna Svirska, Arthur Mine, Revshark, Luigi Lynch, and Volodymyr Gnatenko, as well as fresh EPs by Sunchase / Na Nich and XX.XX. Plus, we get a bountiful crop of sets and mixes by Koloah, Undo Despot, Na Nich, Vera Logdanidi, Udda, Vlad Fisun, Undo Despot, Bohdan, and Data Molfar, as well as a Sleep Radio special RÊVER LA GUERRE ⏤ dedicated to one year of war in Ukraine.

In the viewing room we get a handful of videoclips by Skofka, alyona alyona, Truffikss, and Океан Ельзи & KOLA bookended by two interviews with war reporters.

But to open proceedings, it’s a great pleasure for us to chat to Sunchase / Na Nich and Vera Logodnidi both about the first days of the full scale invasion, and their latest projects, in our monthly Ukrainian Field Notes podcast for Resonance FM. And, if Ukraine might not have won Eurovision this year, it still did take the Sound of the Year Award presented by Matthew Herbert in a ceremony at the British Library on May 11. You can hear the winning entry by Anton Stuk (“February 26 12.07 AM Chernihiv”) in our podcast as well as another shortlisted entry by Ihor Babeiev with “One Minute in Bakhmut.” [Another notable entry shortlisted in the category Most Unpleasant Sound, was Philipp Markovitch with a track from his album Silence of Sirens.]

As customary, our podcast is followed by our monthly Spotify playlist showcasing featured artists.

TRACKLIST

Misha Ziganoff (intro)
Sunchase – “Step Outside” (from Timeline)
Laima Adelaide – Y (Vera Logdanidi Re Interpretation)
Asyncronous – “Padma Kirtanam” (background)
Monoconda – “Route Select” (from Horizon)
Monoconda – “Horizon” (background)
Vera Logdanidi – “02 2402” (from Voices)
Sunchase – “Hello” (background)
Anton Stuck – “February 26 12.07 AM Chernihiv”
Vera Logdanidi – “Udda” (from Voices)
Na Nich – “Melt” (Background)
Ihor Babaiev – “One minute in Bakhmut”
Na Nich – “Melt” (background)
Vera Logdanidi – “Water Bubble Floating in Space”
Na Nich & Vero – “Morning” (background)
Na Nich – “Super Earth”
Mishka Ziganoff (outro)
Sunchase – “H” (from Timeline)

 

 

APRIL 24, 2023 – NEW YORK, USA

Erlena Dlu

I teach music history, write, and produce a podcast about contemporary classical music. I was born in Lviv, where I studied piano and sang in a children’s choir, and also lived in Kyiv, where I attended music concerts on weekly basis, starting from 2007.

In 2010, I moved to New York, where music life seemed more exciting, attended a graduate program in music history and theory and wrote a doctoral dissertation about religion and spirituality in the music of nonconformist composers in the late Soviet Union.

In 2012, I co-founded a blog, Extended Techniques, which includes a podcast, music reviews, and a monthly calendar of events of contemporary classical, avant-garde, and improvised music in New York. Since 2019, I’ve been a member of the advisory board of Ukrainian Contemporary Music Festival in New York.

You specialise in Twentieth- and Twenty-First-century music, with a focus on Eastern Europe and postcolonial studies. How would you position Ukraine in relation to its Eastern European neighbors in terms of its musical development and output?

I can definitely say that the integration of the Ukrainian music scene into the broader European community since independence has made a tremendous positive impact on the creativity of Ukrainian composers and the vibrancy of concert life in Ukraine.

For my doctoral dissertation, I researched music of nonconformist composers composed from 1964 to 1991 in Ukraine, Russia, and Estonia, and more recently also in Armenia, travelling to visit archives in these countries and interviewing composers and eyewitnesses of music events. During this period, a lot of important initiatives in musical life (and culture in general) in Ukraine were repressed, including both performances of music by local composers, and visits by foreign musicians.

The repressions in other republics I researched were less severe, mainly because of historical and geopolitical reasons. Moreover, the countries outside the USSR, such as Poland and Czech Republic, were quite active on new music scene in the second half of the 20^th century and a lot of experimental and avant-garde music was created there. In the 1960s, Ukrainian composers, such as Leonid Hrabovsky and Valentyn Silvestrov, corresponded with colleagues from Poland and learned about recent trends in post-war European avant-garde, but they were not allowed to present their experimental work influenced by these interactions at home.

Today, Ukrainian composers have a chance to travel, study abroad, and attended master classes led by foreign composers in Ukraine, and have no restrictions on their creative approach and performance of their music. They also collaborate a lot with composers from other Eastern European countries, especially Poland and Lithuania. The result is that the Ukrainian new music scene is thriving.

You moved to the States before the full-scale invasion. What’s it been like to witness the events in Ukraine from afar?

It is very painful to not be able to go back. I’ve been writing essays and presenting lectures about Ukrainian music this past year and keep thinking about my friends, and about composers I interviewed in summer 2021 – the last time I was in Kyiv. I am worried about their lives and admire their resilience – they continue making music while facing dangerous conditions, and this music is of high quality.

What impact has the full-scale invasion had on your life over the course of the past year, both from a personal and a professional point of view?

I’ve always considered myself a cosmopolitan person, without any specific national identity and Ukrainian music comprised only a part of my focus as a researcher and writer. This past year I’ve been writing mostly about music from Ukraine because I feel that this story has to be presented to international readers.

You’ve published the article “Kyiv’s New Music Scene Today: Composing and Listening in the Time of War” in the online journal Musicology Now. In it you describe the sonic impact that war has had on many composers. How would you say the changed sonic environment is influencing the kind of music that is being currently produced in Ukraine? 

From my observation, based on musical works from this past year I’ve been able to listen to, and knowing where their authors are located, merely the sounds of air raid sirens have less impact on musical style than the cruelty of the war. Composers who were significantly disturbed by the sounds have moved abroad, and those who have stayed in Ukraine somehow got used to air raids and miraculously compose music of high quality and concentration.

What definitely changed is the fact that many apolitical composers dedicate their music to the subject of war, whether composing unsettling works that reflect its cruelty, or music that projects light and hope. These musical responses show that what is happening in Ukraine is not about politics, it’s about life and death.

Can music have a healing role in wartime?

Music definitely has a healing role in wartime. Many musicians I’ve been following reported that at the beginning of the invasion they were shocked and couldn’t make sense of these events. Playing music helped them to recover and continue composing. Also, those who actively perform concerts in Ukraine, for example, Zoltan Almashi, mentioned that the audiences are more receptive to their music. This has changed since the beginning of the war.

Both composers and listeners now seem to ignore the disturbances of daily sounds of war and seek aesthetic experiences in order to heal from traumatic events they encounter on daily basis, such as loss of friends and relatives or destruction of their hometowns. Also, some composers mention that incorporating their emotions into creative work is the only way they can survive.

Are there any Ukrainian releases from the past year that you feel have helped you to make sense of current events?

Multimedia work “Lullaby for Mariupol” by Roman Grygoriv and Illia Razumeiko.
Bucha. Lacrymosa by Victoria Polyova.
“Gentle World” by Ihor Zavhorodnii.

Which book / film / album / song / traditional dish / podcast / blog / artwork / building / meme best captures Ukraine for you?

The poetry of Serhiy Zhadan and his forceful, inspiring charismatic personality. His poems from the past ten years have a unique ability to transport the reader to the places in Ukraine he describes, often the sites of war. I have a collection of his poems, Antenna, and read it when I am homesick. The best translations of Zhadan’s poetry into English are by John Hennessy and Ostap Kin.

 The music of Valentyn Silvestrov – Ukraine’s foremost composer of contemporary classical music. The rebelliousness of his avant-garde experiments in the 1960s capture the revolutionary spirit of Ukrainian people for me. More recently, his choral cycle Maidan-2014 reflects the spirit of the Revolution of Dignity, and the quietness of his music today somehow encapsulates the hope and prayers for better future, as well as the sadness and longing for homeland, experienced by emigree composers.

Who should I interview next and what should I be asking them?

Maria Oliynyk – a composer of contemporary classical music. She is currently a Fulbright scholar in New York, but she was in Ukraine when the war started, and her husband serves in the army. She composed an opera Terra Incognita in 2020, which was dedicated to the war in Donbas and feels sadly relevant today.

Sasha Andrusyk – a curator of contemporary music events in Kyiv, a co-founder of Ukho, a music organization which includes curatorial projects and a record label. Her experience of living in Kyiv this past year is very important. (I’ve interviewed her at the beginning of the war, but now she had much more to say, including the stories about organizing performances of Ukrainian musicians abroad.)

 

APRIL 25, 2023 – DNIPRO [Originally from MARIUPOL]

Peshka

Hello, my name is Mark Fevralsky, I am an electronic producer, DJ, and event planner. I was born in one of the most important centres of metallurgy and mechanical engineering of Ukraine — Mariupol. I lived there all my life until the events of February 24, 2022.

I got into music at an early age: while walking around the city centre, my mother and I came across a performance of street artists, who turned out to be from South America, and performed very unusual compositions. This resulted in two more assets added to my music collection, the tapes which I played to death in the first month of listening on a tape recorder, which became indispensable during the frequent power outages we experienced.

At the age of 16 I was also introduced to the guitar, electronic music and nightclubs. At the same time, I organised my first party with about 250 people attending, which was quite impressive for Mariupol.

Back then I was also fond of extreme cycling but, after an injury, I decided to give up both the guitar and cycling itself. That’s how my first full-scale project appeared – Delta X. It started off very well, but I was not ready for such popularity.

With the events of 2014 I somewhat moved away from music, and, against the backdrop of military events, I planned to create a more serious project with completely different material – Peshka. The name Peshka (eng. Pawn) is a kind of symbolism, as it comes from the game of chess. Those who have played it more than once know the true potential of this piece, its ability to completely change the game, especially towards the end.

The second parallel is drawn with our reality, where behind the concept of “pawn” lies an imaginary inability to significantly alter the course of events, as well as an extreme tendency to manipulate. A mixture of these arguments gave me a clear picture of the interpretation of the path of the “little” person, with their desire to achieve certain goals and heights, along with the way in which they may change the world for the better. In 2016, I started releasing music under this pseudonym.

In 2017, my first record was released on the Ukrainian label Crocus. After that came the British label Banoffee Pies, as well as the Swedish Lyssna, and the Romanian Susur. In 2018-2020 I released on the Italian labels Re.Face, Amam, Mama, together with the Ukrainian Memory Remains, and the American Visionquest. In 2021 it came to the British Alien Imprints and the German Druzhba.

In 2021, I became a resident of the Ukrainian booking agency Strela, founded by Alice Mullen. Also in the summer of 21, I launched a series of parties with ŲNFORM in my hometown of Mariupol.

Could you introduce the ŲNFORM community us?

Yes, with pleasure. This is a project that came up in the almost complete absence of nightlife and cultural life in Mariupol. I have always dreamed of developing a local scene and bringing artists to Mariupol, and not vice versa, us traveling hundreds of kilometres to other cities. The name comes from the word “formless”. The point is not to be tied to one musical direction. Our team includes my mates Alexander (Celan), and Yevgeny Shevchuk (Decorodi), whose brother defended our city in the Azov regiment, was in Azovstal, was wounded, survived, but is still in captivity.

Has the full-scale invasion changed your approach and motivation to music, and has it affected your playlist?

Not really. For the first three months, it was very difficult for me to complete any projects, but after I managed to find my parents, whom I’d lost contact with during the full-scale invasion, things more or less got back to normal. My musical taste remained the same.

Since February 24, you have released a number of tracks, including “Hyperacidcity (Mariupol)” and “TRIVOGA”, dedicated to your hometown. Many have told me about how difficult it was for them to even listen to music in the first few months after the full-scale war, let alone create new material. What was this process like for you? 

The emotions and ideas that I put into my non-club tracks are always in abundance. I’m converting my personal experience, thoughts etc., this has always been my approach. One thing is to come up with a minute loop filled with feelings, another thing is to bring it up to a complete composition (especially during the war). This is due to the fact that the very process of creation is enough for my soul to speak out. But I am a musician, an artist. I fell in love with music from early childhood, and at the age of 18 I chose to move only in this direction. I was guided by me rebellious nature and influenced by the arrival of my father from the front and his philosophy of life.

When I was still a youngster, I worked as an ordinary electrician at the Azovmash plant during the day and turned into a resident of the best club party in Mariupol at night known as ‘Ledo’. (I remember one funny situation. Once, we were cleaning the terrain assigned to our workshop, which is located in the Petrovsky park, where the legendary club Ledo is, close to Azovmash. That’s when the security staff of the club saw me, and I noticed the cognitive dissonance in their eyes, we laughed, and just said, “See you this evening?” – “See you this evening”)) I want to separately thank the founder of this community – Alexander Zhukov. He’s one of a kind.

I would like to add that I have dedicated tracks to my native city before, one of them is also called “Mariupol“, it was released on the Italian label Mama.

Just to clarify, apart from direct donations, do you currently receive income from Bandcamp if someone wants to buy your music?

There are certain difficulties, and I always need to use the PayPal accounts of my friends to withdraw bandcamp payments.

For those of us lucky enough not to have experienced the war, it’s hard to understand what you’ve been through in the past year. How did you cope? 



To be honest, I can’t complain about anything other than our government.

My parents, who stayed in Mariupol, experienced the worst. Every day, throughout the blockade they risked their lives. For me it was an incredibly stressful time. Every day we searched for our parents with every means at our disposal using all the latest technology. This meant the 24/7 monitoring of all the pages of the enemy’s communication who were in Mariupol at the time, as well as all the social networks of all our relatives, neighbours and acquaintances who stayed in the city and of those who had already left. We were constantly viewing satellite maps, especially in the “forest fires” mode. Thanks to this, we could see updated data with fires on the territory of Mariupol about once a week. We searched for our destroyed homes. I found images of Mariupol from the MAXAR satellite, where I saw that my house was gone. Then I saw a video of the fights, right on my street, where everything was in ruins. At the time, no one had seen my parents.

Eventually, when everything calmed down, I found some local people who went to my place and took a video of my Mum crying. Despite all this horror, it was the best day of my life. Because my Mum was alive. Dad, too. He was captured by the Donetsk People’s Republic during the blockade of the city, but survived miraculously. Now he is safe. That’s all I can say.

There is not enough space to tell in detail the story of their survival, especially when you realise that this is a real story. During the whole period of searching, my girlfriend, friends, and their parents were also with me. It was our common grief, the grief of all Mariupol residents. We were in Dnipro, the largest transit point. Fortunately, my friends were able to help and put up for the night acquaintances who’d fled Mariupol.

I want to emphasise that no hardships can compare to what our defenders are experiencing. People like me owe a huge debt of gratitude to them.

How has the war affected your personal relationships and the language you speak? 



The war has united but also divided us at the same time. A second, internal war broke out. But I probably don’t have the right to talk about this until we win the first one. It’s no secret that Mariupol is a russian-speaking city. At the same time, my mother deliberately had me schooled in Ukrainian. For 9 years I studied and knew Ukrainian better than russian, but it was difficult to put this into practice, same as English. I knew basic English well, but the lack of practice made everything worse.

Back in 2014, I already witnessed an attempt to seize Mariupol by separatists, but our defenders from Azov drove them out.
At the time I worked in a striptease bar, where observers from the OSCE (Organization for Security and Co-operation in Europе) were regulars. They were American and I acted as their interpreter when something was needed from the bar staff.

After the full-scale invasion, I was sure our defenders would push back the enemy once again, but the fate of Mariupol was predetermined, by whom and how, it’s up to you to decide.

In the notes to your latest single “Never Return” you write: “…all my adult life I live with the idea that my birth was preceded by the First Chechen War. My father’s family emigrated from Grozny to Mariupol, where he met my mother.” Is this a case of history repeating itself?

Yes, this is exactly the case. It is no wonder that the events in Mariupol are compared to what happened in Grozny.

What are the biggest misconceptions the West has about a full-scale invasion, and is there anything about the way the war has been covered that you find particularly problematic? 



The West had always turned a blind eye to the actions of russia, but the invasion of Ukraine changed everything. They did not believe that Ukraine would stand. They were wrong. Yes, there are such misconceptions, but I understand that the mechanism of war in the 21st century is much more complicated. This is not only a war on the battlefield, it is a war in all aspects of human life. I can’t pick something in particular.

As far as I understand, you are now in Dnipro, what is the current situation on the ground and how are you coping with the outages and shelling?

From time to time they bomb, unfortunately there are almost always casualties, but we are used to it, no matter how wild this sounds. I lived for weeks without electricity in Mariupol, because I lived in a residential area that didn’t matter much to the authorities. So I do have some experience of that. I can joke now that due to the outages, my girlfriend would remind me, “Did you save your project? The lights will go off any minute now.”

How do you relax?

I spend more time with my girlfriend, and friends, stuff like that.

DTF MAGAZINE recently compiled a list of 11 Ukrainian releases that make sense of the war experience. Which ones would you pick?

Oleksii Podat — “my mom sends me photos from relatively safe places“. This release is closest to me, both in content and in meaning

Which book / film / album / song / traditional dish / podcast / blog / work of art / building / meme better captures Ukraine for you? 

Song – all songs of the group Viranda
Album – Volodymyr Gnatenko – U
Building – my home in Mariupol

Who should I interview next and what should I ask them? 

Honestly, it’s hard to say, the main thing is that it is someone whose work is meaningful, and not just someone popular or trendy.

[Interview translated by Anstasia Batyr]

 

MAY 4, 2023 – KYIV

Dima Levytskyi – Miskyi Theatre



My name is Dima (also Dmytro) Levytskyi. I am a writer and theatre / performance maker based in Kyiv. A few years ago I started calling myself an audio artist. Probably, because I got the feeling that I could create audio walks and it has changed my life. In my school years I dreamed to be musician and now I call myself an audio artist, it’s close, right?

Most of my theatre projects are related to documentary theatre, I think this is because I am living in Ukraine (don’t ask). I founded Miskyi theatre in 2021. The word “miskyi” is actually transliteration from the Ukrainian word “міський” which means “urban”, or I would say “civic”.

At the moment the focus of my practice is Kyiv as the largest Ukrainian city experiencing/surviving the war. I am interested in how the war affects the functionality of the city: the operation of public transport, changes in the hours of nightclubs work (since there has been a curfew all night for more than a year), reconfiguration of small businesses (for instance, in winter, a lot of shops selling generators have opened).

The last project I did was called “Photos of Sichovykh Striltciv street”. It is actually an analog photo album which covers the consequences of the war in urban space with audio commentary by my voice. The war seems to leave a shadow on the street – on shop windows, old cars, people walking down this street. I tried to capture this shadow.

How would you describe the independent theatre scene in Kyiv?

I like what the theatre group Tinyova is doing. It’s a Kyiv-based theatre of light. 

Once this winter I was at their event where young 20-year-old artists presented their future projects that they would like to show to the world. Reminder: these projects are related to the theatre of light. And suddenly the lights on the stage were turned off – there was another blackout in the city due to russian shelling.

I also like what the Theatre of Playwrights and Vidlic Projects is doing here in Kyiv.

Theatre is a slow art. Usually the material of theatre lies in the past. And since the main specificity of our reality here is war and war is not over we shouldn’t expect big theatre productions right now.

The “Miskyi theatre was founded in Kyiv in 2021. With the hope that our cities will not become parking lots.” From the outset your remit was to engage with the city. This would’ve already been difficult during the pandemic, but February 24, 2022 must have made you reevaluate your approach. Could you give us an idea of what impact the full-scale invasion had on your activities and how you managed to continue to operate?

Yes, probably it’s not the best years to start your theatre. True. The first six months after 24th February were like a carousel (I also found the word ‘merry-go-round’): numbness, feverishly trying to ring bells among acquaintances across the world, donation to Ukrainian army, no plans, many losses and goodbyes.

We did not have access to the space we were renting for the theatre. The building was simply closed and no one could open it. After six months, we finally got the chance to pick up our things there. In 2022 we collected money to help Ukraine, offering as a lot an audio walk after the victory. You buy a ticket for a walk after the war. One of the walks is in Kharkiv, and I would especially like to spend it there.

In 2023, we actually found a new space – we rented a kiosk for Miskyi Theatre! This inspires me a lot! We consider the kiosk as a theatre and plan to show our projects there. The ticket is the price of a filter coffee. By the way, in 2023 we were finally able to plan at least a little.

“In November 2021, the Miskyi Theatre conducted a course on creating audio walks in the urban environment. Participants learned the basics of sound design, urban practices and creating routes in the districts of Kyiv.” How would you describe the sonic landscape in the city prior to February 24, 2022 and what was the response to such events?


Kyiv is a city where car owners feel in a privileged position. Add to this the chaotic development of urban space at the expense of capital with an unclear origin. This formed the sonic landscape.

If you are asking about the response to the training course, it was always very noticeable: we received many requests from completely different people to create their own audio walk. In general, that is why I fell in love with this medium, because it is the most democratic that I know and does not require special knowledge. You just need to be able to walk and share the route with others.

When asking about field recordings, some of the musicians I have spoken to over the course of the past year, have told me that they have no desire to keep a record of specific sounds like air raid sirens. What is your take on the documentation of the aural environment under present circumstances?

In one of the projects last year, I recorded the sound of night Kyiv during the curfew. And I remained dissatisfied. It seems that in my imagination it sounds more accurate than in reality. So, yeah I understand other artists who don’t archive it.

At the same time, it seems to me that there should be some rather specific institution that would record and systematise the sounds of the city. Perhaps this is not so necessary for art as for other fields.

Other than the curfew, which is still in place, what would you say are the most significant changes in the way people currently engage with the city?

Undoubtedly, the curfew affects the life of the city very much, especially in a city like Kyiv with its poor transport infrastructure. So people who want to meet in the evening have only a very narrow window of time to do so. It seems to me that people began to invite guests to their homes much less. At least as it was before. But if they invite, then this is an important gesture of trust. Take into account that this is a curfew, so the people who invite are aware that sometimes guests have to stay the night.

Also, I would mention queues. At the moment I am doing research. So it is interesting to me where new queues arise in the city. And what is their reason?

You have since released a number of audio walks on SoundCloud conducted after the full-scale invasion. How would you say the sonic landscape has changed over the course of the past year?

I noticed that there is less music in street cafes and less music coming from cars than in previous years. I think this is an ethical point, because the general landscape is not festive at all. In general, it feels like there has been less shouting (in the store, on the street, in queues).

To what extent is the linguistic element of Ukrainian identity crucial for you?


I think that the Ukrainian language is one of the decisive elements in the victory over russia. This is the most important thing now.

In the anthology Ukraine in Histories and Stories (2019), Volodymyr Rafeyenko, a writer from Donetsk who recently started using the Ukrainian language, writes, “War as the beginning of life. A sad paradox, but it contains a lot of truth that’s valid not only for me but also for many of those people who finally began to understand who they were and where they lived, in which country, and what it meant for them only after they had found themselves in the middle of a war.” Would you agree with this and do you feel the full-scale invasion made you question and clarify your identity?


It is very interesting that you mention Rafeyenko. Unfortunately, I haven’t read any of his books yet. But I follow his interviews and statements with interest.

Without a doubt, the full-scale invasion affected my identity. Like many of my peers, we were brought up among the russian library, pop music and all this narrative of the great russian culture. After the occupation of Crimea in 2014, I was not in russia and I had no doubt that Putin is a criminal, but 2022 pushed the questions of identity and relations in the past.

What would you say are the biggest misconceptions the West still holds about Ukraine and the full-scale invasion?

I don’t really know. For me the West is Poland and Polish people know Ukrainians very well and all about this war.

Maybe it’s just worth remembering that when communicating with people from Ukraine, you are most likely communicating with a person who had someone die from the war either this or last year.

In terms of music, you frequently collaborate with the musician Oleksii Podat who released the track “my mom sends me photos from relatively safe places” back in April 2022, which was included in a list of 11 Ukrainian releases that make sense of the war experience by DTF magazine. What musical / theatrical / literary works would you add to that list?

I love Oleksii and I love the way he names his tracks! We will be working with him this summer on a new educational course on audio walks. Also I would add Ivan Skoryna as a musician, she is very talented. You should listen here.

In Diary of an invasion, Andrii Kurkov writes, “I do not know what will happen tomorrow. To be honest, I find this lack of certainty about the future almost unbearable.” 

Are you able to think of the future?

2 months maximum:) Anytime I can get mobilised to the army. The whole procedure takes 2 months.

Which book / film / play / album / song / traditional dish / podcast / blog / artwork / building / meme best captures Ukraine for you?

I love the memes of Ali Ivanova. The best ones.

Who should I interview next and what should I be asking them?


In terms of the musical scene I would recommend Ivan Skoryna or Oleksii Podat. As a writer – Yevheniya Belorusets.

 

 

MAY 6, 2023 – AT SEA

DeadSpacer

Call sign: DeadSpacer.
Genre: Hard techno.
Occupation: Industrial engineering.
Reason: Freedom.
Goals: Survive.

Has the full-scale invasion changed your approach and motivation to music and has it had an impact on your setup and your playlist?

Most of the ideas for the tracks come from bright memories of my hometown and its industrial atmosphere. After the full-scale invasion I firmly decided that more people must hear my music.

All my gear is in Ukraine now. But being “gear-less” isn’t a big problem. In my previous albums I often use recordings of Mykolaiv’s forest or metal impacts of factories near my house, it gives them an incredible atmosphere and more sense. I miss it.

You recently released the album Welcome to my World on the label ОЧІ. The closing track is titled “Dopamine” and indeed the whole album could be said to have a “feel good” vibe. How does one keep positive under present circumstances?

I wrote the track “Dopamine” about half an hour after I had a phone call with the sexiest girl of the planet and had fallen in love) This was 2 years ago, when DeadSpacer was not even born. And ОЧІ is, for me, the best place for music about human feelings ).

It’s compulsory to take a little of a good vibe in present dark times and now it’s the right time to release it.

Unlike the album Welcome to my World my present music, which will be released soon, builds on dark, anti-utopian and dreamy leads seasoned with heavy, hard techno grooves.

How do you see the Ukrainian electronic music scene developing under present circumstances?

Hard times like these are also accompanied by a cultural explosion. I think we mustn’t stop creating and promoting our culture all over the world.

How has your life changed over the course of the past year, both from a personal and a professional point of view?

DeadSpacer – a product of mutation, his pathogens mutate due to external influences. Like any modern human-based robots, when getting emotional outburst all mechanism and construction parts start working autonomously fed only by pure hate. So, he has too much additional energy to help, support and create for his manufacturing country.

Where are you now and have you been displaced by war at any point?

Right now I’m doing what I do best. I am navigating a ship. My town is liberated from the presence of enemy soldiers and equipment, so my relatives have the opportunity to stay there.

Are there any Ukrainian releases from the past year that you feel have helped you to make sense of current events?

Now we see Ukraine’s culture boom, I like a lot of music released at present. Here some of my picks:

ОЧІ – RESIDENTS MIXTAPE #1
LIGHT WAY – THIS IS WAR
Huggen Luft – The bright side of Huggen Luft
Nadnova – Крила

How do you feel about the inclusion of “war sounds” in recent tracks by Ukrainian musicians?

Nothing can be outside of politics and circumstances, especially art. I like and am proud of how Ukrainian producers implement “war sounds” in their work.

In Diary of an Invasion, Andrii Kurkov writes, “I do not know what will happen tomorrow. To be honest, I find this lack of certainty about the future almost unbearable.” Are you able to think of the future?

Sure! Thinking about the future should start now. Under prevailing circumstances, our country has a great future.

Which book / film / album / song / traditional dish / podcast / blog / artwork / building / meme best captures Ukraine for you?

Fahrenheit 451  – Ray Bradbury
Lama – Світло і тінь (album)
Скрябін – “Лист до Друга”

Who should I interview next and what should I be asking them?

Evhenii Vasylenko
sawras
Matukhno
Light Way
Phite Noise

 

 

MAY 6, 2023 – GEORGIA

Cy Thompson – Eozdis

Eozdis are Ada Sever: vocals & lyrics  and Cy Thomson: producer, mixing, mastering.

Has the full-scale invasion changed your approach and motivation to music and has it had an impact on your setup and playlist?



Yes, we had to abandon the construction of our own studio and continue the format of writing material in a rented housing unprepared for working with music. The equipment remained the same and we even managed to acquire new devices.

You have revisited your album Eozdis from 2020 with Eozdis (re) released back in April 2023. What prompted such a move and how would you say your sound has evolved over the years?


In fact, we were never completely satisfied with the work done, so the idea to make the sound better came by itself. Over the years we have accumulated a lot of new techniques and knowledge in all areas of music production, but looking ahead I will say that I left them for future songs.

Where are you now and have you been displaced by the full-scale invasion of February 24, 2022?


Yes, we had to move to Georgia. Our life has remained the same as it was before, Georgia is a very hospitable country, so we feel at home and almost do not need anything.

Are there any Ukrainian releases from the past year that you feel have helped you to make sense of current events and, conversely, are there any specific tracks that you now find triggering because they might be associated with specific difficult times or events?

Unfortunately, we hardly listen to modern music, so we don’t keep our finger on the pulse and most of the releases pass us by.

How do you feel about the inclusion of “war sounds” in recent tracks by Ukrainian artists?

I think that my work will never touch on such meaningless topics as war. Blood is shed and I think that at this time it would be possible to help people with something more effective than words, posters, etc. Watching governments turn people against each other is simply unbearable. I would like to believe that someday the level of awareness of mankind will reach the point that people will be able to see the true motives of any wars.

Do you suffer from burnout and what do you do to unwind?

No, I always do everything under inspiration, which explains such a long absence of new releases haha.

And is there a specific genre of music or a particular artist / album that helps you “switch off” from daily reminders of the war?



Yes, I really like ambient like what sounded in the movie Lost in Translation, I think Squarepusher – “Tommib” or something like what sounded in the movie Phone Booth, Harry Gregson-Williams – “Trapped”. In general, I love film music.

What would you say are the biggest misconceptions the West still holds about Ukraine and the full-scale invasion?

As for misconceptions, it’s hard for me to say, I’m a little removed from politics, but still it seems to me that the West in its mass thinks very categorically, there is not only black and white in the world, right?

Roland Barthes said that the cultural work done by gods and epics is now being done by laundry detergent commercials and comic book characters. I fully agree with him.

Which book / film / album / song / traditional dish / podcast / blog / artwork / building / meme best captures Ukraine for you?

I think Ukraine is best described by the word “Hope”.

Who should I interview next and what should I be asking them?


Ha-ha-ha, it’s hard for me to say. Try talking to someone more interesting than us.

 

 

MAY 7, 2023 – KRYVYI RIH

Arph

My name is Pavlo and I’m 29 years old, from Kryvyi Rih city, Ukraine. My artist name is Arph. My acquaintance with music began at the age of seven whenI first heard The Prodigy’s album The Fat Of The Land. It was a starting point for me and from that moment I realised that Electronic music is the kind of music that I wanted to listen to 🙂

Then, in my school years, I listened to Kiss FM Radio from Kyiv and to a lot of shows. But then, with the development of the Internet, I began to learn about music in more detail and deeply. Mike Huckaby, Rick Wade, Theo Parrish, Larry Heard, RonTrent, Boo Williams, Charles Webster – all of those house producers were my influence at the start of my musical journey from the side of production and deejaying.

So far, I’ve released my music on labels such as What Now Becomes, Mood 24 Records, Limousine Dream, Konzentrisch Music and also I’m a small part of the Recorder.13 collective from Kyiv. This collective are the creators of podcasts series with a bunch of heavyweight names from the electronic scene, mostly house & techno. So, please check our Soundcloud page. Also, the collective is the event-organisers of the Recorder.13 parties where it introduces their listeners to European artists.

Has the full-scale invasion changed your approach and motivation to music and has it had an impact on your setup and your playlist?


For the first two or three months, I forgot about the existence of music in general, like many others. All Ukrainians were as united as possible in the face of the threat and were involved in many areas of protecting the country. So I tried to do my bit with donations and other help. In the fourth or fifth month, I began to spend time producing music again.

You have been quite productive over the past year, having released a number of tracks on bandcamp. Has music been a “Soulhealer” for you?


Yes, that’s how it is. And thanks for noticing this track 🙂 A lot of emotions, thoughts and feelings were accumulated that resulted in certain music.

How did your life change over the course of the past year, both from a personal and a professional point of view?


We all have changed as people, rethought our lives and we now try to be as useful as possible in everything. I’m not an exception. I try to spend more time with my wife and my family, the people who are around me.

Where are you now and have you been displaced by war at any point?


I am in Ukraine and have not moved beyond our borders.

Has the sonic environment changed for you over the course of the past year?



Yes. The sounds of rocket explosions, sound of air raids and sounds of internal alarms have now become part of the sonic environment.

Do you suffer from burnout and what do you do to unwind and is there a specific genre of music or a particular artist / album that helps you “switch off” from daily reminders of the war?


Yes, sometimes. My helpers in this situation are nature and some of Aphex Twin’s albums.

What would you say are the biggest misconceptions the West still holds aboutUkraine and the full-scale invasion?


That the war is very far from them.

To what extent is the linguistic element of Ukrainian identity crucial for you?


After February 24, this issue disappeared on its own – most of the people began to speak exclusively Ukrainian, and for them it is their native language.

Which book / film / album / song / traditional dish / podcast / blog/ artwork / building / meme best captures Ukraine for you?


Traditional dish: borsch. Artwork: Ivan Marchuk – Awakening. Podcast: Recorder.13.

 

 

MAY 8, 2023 – TORONTO, CANADA

mesohorny

My name is Anastasia, call me Nastya.

Before I start I’d like to give big shoutouts to the Ukrainian field notes team. The work you’re doing is amazing and extremely important in this crucial time. Thank you for supporting Ukrainian musicians and thanks for the opportunity to be featured in this series.

My music journey started in preschool, I took piano lessons for 7 years. Later on, I also learned to play guitar but found that my approach to learning was more intuitive and chaotic, which made it difficult to develop a consistent and creative practice.

I ended up eventually playing piano at home, writing melodies and GarageBand sketches. While I have not yet released any finished works on my own, I continue to explore and experiment with music through my collaboration with mob.

Has the full-scale invasion changed your approach and motivation to music and has it had an impact on your setup and your playlist?

I guess I became more motivated to discover and listen to Ukrainian artists. I always loved everything Ukrainian but since the full-scale invasion, I love it even more and I feel responsible to support it even more.

Another thing that changed is my perception of russian lyrics. I developed a sort of intolerance to that language and I’ll never be able to appreciate russian-made music ever again.

As you mentioned already, you released a number of tracks and EPs with mob. How do you go about collaborating?

Collaboration is literally everything to me as I find it really hard to go further than a sketch. Joseph and I are also life partners, so music is adding additional complexity, dreams, and goals to the relationship.

How do you see the Ukrainian electronic music scene developing under present circumstances?

Oh man, the Ukrainian electronic music scene is really taking off and it’s honestly amazing to see. What’s really exciting is that Ukrainians become more visible on the global scene. Even though it seems like after the full-scale invasion all Ukrainian music is about the war. All the difficult situations people are living through, emotions, and energy that people convert into art are powerful and the most genuine you can find. I’m glad that the world community is open to listening, watching, and understanding what’s going on in Ukraine. I’m proud of talented people getting the recognition they deserve and I believe that the Ukrainian scene is going to thrive even more.

What would you say are the biggest misconceptions the West still holds about Ukraine and the full-scale invasion?

Thank you for this question! I tend to believe that the biggest reason for the misconceptions in the West is created by russian propaganda. And it’s a problem when people can’t recognize it. Unfortunately, it’s an awful but powerful tool that shits in people’s minds. The worst narratives I’ve come across are whitewashing russians and the idea that “we need to understand both sides”.

Are there any Ukrainian releases from the past year that you feel have helped you to make sense of current events and, conversely, are there any specific tracks that you now find triggering because they might be associated with specific difficult times or events?

I’d like to mention the good ones only, so here is a tiny list of my favourites 🙂
Yuvi, Souzi – Мінливою Марою
Badwor7h, Chocollab – KYIVENERGO
Figurat – Persha
Koloah, ТУЧА – Воїн
Carpathiancult

How do you feel about the inclusion of “war sounds” in recent tracks by Ukrainian musicians?

I used to get triggered by the disturbance of the sound at first, but I overcame that quickly. It’s become part of Ukrainian reality.

In “Diary of an Invasion”, Andrii Kurkov writes, ”I do not know what will happen tomorrow. To be honest, I find this lack of certainty about the future almost unbearable.” Are you able to think of the future?

To be honest, not really. I don’t really know what the future holds either. I’m doing my best to set plans for the upcoming year and that’s my maximum. It’s tough to think about the future when everything feels unpredictable and volatile.

Do you suffer from burnout and what do you do to unwind, and is there a specific genre of music or a particular artist / album that helps you “switch off” from daily reminders of the war?

I do suffer from burnout pretty often but I don’t use any coping techniques. I let my suffering be until it passes away. Unfortunately, there is no “switch off” button or ultimate routine that would help me no matter the situation.

Which book / film / album / song / traditional dish / podcast / blog / artwork / building / meme best captures Ukraine for you?

I adore Ukrainian stories of the past and it’s hard to pick one, but since I have to choose it will be the one from the movie Shadows of Forgotten Ancestors (1965). I also highly recommend checking this streaming platform called Takflix which has a variety of old and new Ukrainian movies.

Who should I interview next and what should I be asking them?

Consider interviewing Yuvi, you can ask her about the creative processes and her stunning ethereal looks.

 

 

MAY 9, 2023 – KYIV

Silat Beksi

My name is Anatoly, and I go by the artist name Silat Beksi. I was born in 1985 in the small town of Ternopil, located in western Ukraine. After completing my education at the University of International Business and Management, I developed a passion for deejaying and music production in 2003, which has been my everything ever since.

From 2004 to 2010, I served as a resident at nearly all the clubs in my hometown and toured across Ukraine. In 2006, I released my first digital EP. In 2010, I relocated to Odessa, a charming city on the southern coast of Ukraine, overlooking the Black Sea. This city profoundly influenced me and completely transformed my outlook on life and music. In 2019 I moved to Kyiv.

Has the full-scale invasion changed your approach and motivation to music and has it had an impact on your setup and your playlist?

War is the worst thing a person can face in life. Any war. Anywhere. Including this war. Wars don’t just kill precious lives. War kills hopes and aspirations, freezes or destroys relationships and connections.

Throughout March 2022, I couldn’t even think about music. There was a terrible apathy towards everything that had previously brought joy and pleasure. At some point, I felt that I needed to release the accumulated feelings and experiences. It was through music that I was able to release all my pain and allow myself to move towards the light.

I’ve been working for a few weeks on my new ambient album dedicated to all Ukrainians who are going through all the current hardships. This project holds a special place in my heart.

Upon completing the album, my drive and determination only increased, and I continued to create solo tracks, remixes, and collaborative projects with fellow European musicians.

In the liner notes to your EP Holotype you describe the working process and “spartan” conditions you have had to contend with since February 24, 2022, discussing pros and cons. On the one hand the extensive damage to the infrastructure in Ukraine and the outages force one to be more focused on the process and quicker in its realization, but at the same time you write that, “creativity doesn’t tolerate haste, it requires deep immersion, lightness and freedom in action. ” Has this also led you to re-evaluate your working method and reassess your musical practice?

Humans are a remarkable species that have developed the ability to adapt to a wide range of conditions over the course of our evolution. This adaptation is perhaps our most impressive skill. While it hasn’t necessarily influenced my approach to work, it has taught me to better focus on tasks and prioritize the most critical aspects.

However, this adaptability has also had a downside – it can sometimes hinder our ability to fully immerse ourselves in the creative process and explore the depths of our own selves when producing music. Nonetheless, we all know that this is a temporary state, and there are always brighter days ahead.

How has your life changed over the course of the past year, both from a personal and a professional point of view?

During the first week of the war, my wife and I were lost and confused, unsure of what to do or where to go. However, we knew we had to stay in Kyiv.

On March 2, we began volunteering, collecting donations for those who had lost their homes, disabled individuals, and animal shelters. We monitored Telegram channels daily to see where help was needed and delivered groceries to the elderly by hand since public transport was not available. We then met someone who joined us and had a car, allowing us to expand our reach. We started purchasing and delivering food to remote animal shelters that were cut off from supplies.

There were particularly difficult days when we delivered animal feed or aid to more remote areas that closely bordered the advancing occupiers, leaving the animals and people there cut off from civilization. These were fairly dangerous trips, as the roads were difficult, often inaccessible, and lay through detours and checkpoints. And before my eyes were images of the daily reports of the russians indiscriminately firing on civilian evacuation or assisted vehicles.

This became our new reality, and we fully immersed ourselves in it. It helped us break free from the constant cycle of terrible news and allowed us to actively assist those in need.

In order to progress as a musician and support my family, I had to find new ways to apply my musical skills. This required personal growth and mental conditioning, and the challenges we faced ultimately made us stronger.

However, I also experienced burnout on multiple occasions in my creative work. Dealing with this burnout taught me valuable lessons on how to cope with it and recognize the warning signs in the future.

What are the biggest misconceptions the West still holds about the full-scale invasion and is there anything about the way the war has been covered that you find especially problematic?

As a result of bureaucratic failures, tragic events such as those in Bucha, Irpen, and Mariupol could have been prevented with more proactive actions taken by the international community.

Russia is a terrorist country, as history shows it was ruled by thieves and murderers, tyrants and dictators. And it is impossible to agree with terrorists, it is impossible to trust them… the only way is their isolation from the entire civilized world.

In Diary of an Invasion, Andrii Kurkov writes, “I do not know what will happen tomorrow. To be honest, I find this lack of certainty about the future almost unbearable.” Are you able to think of the future at all?



It is understandable that when living in difficult and uncertain circumstances, it can be challenging to focus on long-term goals and plans. The immediate needs of survival and well-being take precedence, and each day can feel like a battle.

It’s essential to recognize and acknowledge the struggles that people living in challenging situations face every day. It takes great strength and resilience to endure such conditions, and it’s important to celebrate and be grateful for the small victories and joys in life.

While the thought of a better future can provide hope and motivation, it’s equally important to find ways to improve the present and make the most of each day. Whether it’s through creative expression, connecting with loved ones, or engaging in activities that bring joy and meaning, finding ways to thrive amidst adversity is a testament to the human spirit.

Susan Sontag in Regarding the Pain of Others writes, “We can’t imagine how dreadful, how terrifying war is; and how normal it becomes. Can’t understand, can’t imagine.” How does one preserve their mental health, and do you ever feel you’ve become accustomed to it?

Living in challenging conditions can be a traumatic experience that can lead to a range of emotional responses, including fear, anxiety, and despair. It’s understandable that individuals may develop coping mechanisms and adapt to their circumstances, but it’s essential to recognize that this doesn’t mean the situation is acceptable or that individuals should stop fighting for a better life.

It’s important to acknowledge the pain and worry that come with living in challenging conditions and to seek support when needed. At the same time, it’s essential to celebrate the resilience and strength that individuals demonstrate in facing adversity and to recognize that they have the capacity to overcome challenges.

While it’s true that individuals may stumble and fall in despair, it’s important to remember that setbacks are a natural part of the journey towards recovery and healing. It takes great courage to keep moving forward, and each step towards progress should be celebrated and acknowledged.

You mentioned burnout earlier, what do you do to unwind?

The first time I felt like I was starting to burnout was in the summer of 2022. It’s an unpleasant and frightening condition that needs to be acknowledged, studied, and dealt with properly. My most successful solution was to buy a bicycle. Since then, every morning I ride my two-wheeled companion around Kiev or its outskirts. It’s a meditative experience that clears my mind and fills my lungs with therapeutic oxygen. Riding 20 to 50 km every morning has become a successful therapy for me to overcome burnout.

Which book / film / album / song / traditional dish / podcast / blog / artwork / building / meme best captures Ukraine for you?

Book: 1984 by George Orwell.
Film: documentary film Mustache Funk (Original name: “Вусатий фанк”)
Song: Nazarii Yaremchuk – “Smile you” (Назарій Яремчук – Посміхнися ти)
Traditional dish: Borsch
artwork / building: (see image)

Who should I interview next and what should I be asking them?

Rustam Babaev (Рустам Бабаев). Musician, producer, DJ, vinyl collector. It would be worthwhile to talk to him about music and the emergence of the club movement in Ukraine. In general, he is a very interesting person, with a sincere heart and an open mind.

 

 

MAY 10, 2023 – LVIV

Rostyslav Garbar – Planet Bit

My name is Rostyslav Garbar. I am 33 years old. Was born in Lviv, Ukraine. Bass guitarist.

I grew up in a family where interesting music was always playing in the background. Mostly it was old-school stuff, but not only that. The first audio cassettes I bought myself in first grade were Sade and Queen, which may indicate the diversity of music that I listened to. As a teenager, Led Zeppelin had a big influence on me.

In 2010-2020, I played bass in the band firejam (grunge). We released two albums. However, the desire to play more psychedelic music led me to people with whom we created Sex Blender (psychedelic rock, kraut rock) in 2017. We released two studio albums on vinyl on British Drone Rock Records, as well as two live albums that will also be released on vinyl soon. In 2018-2019, we went on four European tours.

In 2020, I created Planet Bit (doom, kraut rock, drone) and was later joined on drums by Atanas (Sex Blender). We recorded and recently released two albums together. One of them is going to be released on vinyl in two editions by the American label Echodelick Records, and by one an Ukrainian label.

Has the full-scale invasion changed your approach and motivation to music and has it had an impact on your setup and your playlist?

In the first days of the invasion, I said goodbye to music altogether. And I thought that I would never return to it again. I had zero motivation. During that time, I didn’t even want to play music, especially the one I used to play before, and even more so, I stopped listening to music altogether. It was 3.5 months of complete musical silence. But I understood that I had unfinished projects for two albums of Planet Bit. Even though our music did not resonate with me during that period, I felt restless, because I just wanted to finish what I had started. And only after the release of the album Krautasmagoria, I fully restored my musical health and gradually returned to form.

When did you actually begin working on Krautasmagoria?

Work on the album began several months before the full-scale invasion, but it was interrupted because of it. Only after a long pause from music, and after having stored up enough energy, I started to work on finalizing the project. At first, despite a great reluctance to do anything at all, I forced myself to open the project and at least take a look at it. I knew that I wouldn’t forgive myself if I stopped halfway through, after a lot of work that had already been done. It was very difficult to write bass parts that were quite cheerful and also contradicted my mood at the time.

But motivation appeared, I wanted to release at least one album in 2022, which was the most difficult year, but also a year that would characterize the unbreakable nature of Ukrainian culture despite everything.

How did your life change over the course of the past year, both from a personal and a professional point of view?

I lost a lot, and a lot is still hanging in the balance. But my biggest loss was the death of my uncle, who was my friend and my role model in life. After that, I re-evaluated a lot of things. But compared to some people who lost almost everything, I still feel fine. War makes people more mature. I feel that I have become more mature, and this is undoubtedly a precious experience that strengthens me.

Where are you now and have you been displaced by war at any point?

I’m in Lviv. I have always lived in Lviv. In the early days of the invasion, I was concerned about taking my family to my grandmother’s house in Skole. Skole is a small town in the Carpathians, about 100 km from Lviv. After a few days, I returned to Lviv and helped where needed, but closer to the end of March, I went back to Skole, where I stayed for 1.5 months before returning back to Lviv.

What would you say are the biggest misconceptions the West still holds about Ukraine and the full-scale invasion?

Abroad, the term “Ukrainian conflict” is often used instead of the term “russian-Ukrainian war”. Furthermore, the Cold Third World War has already begun, and using such a term is at the very least incorrect. Some people whom I know from abroad still think that we started the war and that Ukrainian nazis from Western Ukraine are destroying cities. This is despite the fact that they once visited Lviv and saw with their own eyes that there are no nazis. If I ever tried to explain something to them, now I just ignore such people. It’s sad that they still don’t understand anything. But it’s all because of russian propaganda, which constantly tried to discredit us in the eyes of the West.

In Ukraine, we have the opportunity to examine every tree in the forest, while in the West they see our forests as a mountain range. They don’t understand all the nuances, and it’s normal for misconceptions to be there. But I’m grateful that the West is helping us. If it hadn’t, we wouldn’t even be able to think about a positive scenario.

To what extent is the linguistic element of Ukrainian identity crucial for you?

Language is an important element of any culture and identity, and this is especially true for Ukraine. Ukrainian language has been a key factor in shaping Ukrainian national identity, which has been in the process of formation for centuries. The Ukrainian language has been a symbol of resistance against various forms of external domination, including the russian empire and the soviet union.

Ukrainian language is the official language of Ukraine and is used in education, government, and the media. Ukrainian literature is rich and diverse, and it reflects the history and culture of Ukraine.

For me, it is extremely strange that even after the full-scale invasion, some russian-speaking Ukrainian people still defend the interests of this language, especially when I hear parents talking to their young children in russian, thus russifying them and passing on this language to the new generation of Ukrainians. This is happening while the russian troops are burning Ukrainian books, destroying our culture, and wanting to erase us as a nation from the face of the earth.

Are there any Ukrainian releases from the past year that you feel have helped you to make sense of current events and, conversely, are there any specific tracks that you now find triggering because they might be associated with specific difficult times or events?

The album Heavier Than Usual by the band Pree Tone from Kyiv impressed me the most. I really appreciate that they were able to convey all the emotions we experienced during this year in their music. It’s a very mature release.

I was also impressed by the album Пліч-о-Пліч by the band Відсіч from Odesa. Although I’m not such a big fan of hardcore, this album gave me goosebumps and I discovered a lot of new things. Everything sounds very sincere.

How do you feel about the inclusion of “war sounds” in recent tracks by Ukrainian artists?

Actually, I don’t understand that vibe. To me, it’s just a trivial hype. But even I included the sound of a military airplane at the end of my composition “Overtürer Dürer”. )) However, not everyone will even hear that the sound of the plane is present there, but for me, it carries a certain symbolism and unexpectedly interrupts the composition, just as the invasion abruptly disrupted our previous life and my work on the album.

Do you suffer from burnout and what do you do to unwind and is there a specific genre of music or a particular artist / album that helps you “switch off” from daily reminders of the war?

Honestly, no. At the beginning of the full-scale invasion, there was still a fear of the unknown and death, and the sense of time felt very strange, as if every day was as long as a month. My brain refused to accept the new reality and was in maximum resistance mode. Even though I had prepared myself for the long haul, I did not rule out an optimistic course of events as well. But now I have accepted everything and re-adjusted myself to a different state of mind. Plus, I live far from the front lines, and I am well aware of how people are living in other parts of Ukraine. So I have nothing to complain about. I appreciate every day more than ever before. I try to do as much music as possible. I’m just doing what I can. And I understand very well what price is being paid for this on the front lines. When I have some unstable periods, I listen to Om and I give my body extra physical exercise.

Which book / film / album / song / traditional dish / podcast / blog / artwork / building / meme best captures Ukraine for you?

Film – Mustache Funk.
Album – Прийди Янголе (Come, Angel) by Ihor Tsymbrovsky.
Buildings of Ivan Levynskyi.
Blog – Futalo «Soul Travel»

Who should I interview next and what should I be asking them?

Pree Tone.
Nonsun.
Відсіч.
Bomg.

 

 

MAY 11, 2023 – ON TOUR

Mykola Lebed

My name is Mykola Lebed, since the age of 7 I’ve been studying, playing and creating music. My parents got me interested in music and asked me if I wanted to start learning the piano. It was very easy-going for me to study and I spent hours playing, never feeling any boredom. When I was a teen I started to lose interest in the piano and I was offered to try the saxophone. So I started to spend 7 days a week in music school, learning simultaneously 2 instruments despite the fact that, as a teen, I also wanted to play football and computer games and just hang out ).

When I was studying at music college, I also started working in a jazz orchestra and playing in nu-metal, post-hc and post-metal bands in my hometown Rivne, becoming more and more integrated in the local and Ukrainian DIY scene – started to play shows around Ukraine and do weekend tours with the band Selma.

In 2007-2014 DIY scene in Ukraine was very advanced and diverse, with a lot of people actively doing shows, festivals, food-not-bombs and other social activities. In 2013 I moved to Kyiv and started to play with the band H.Soror, with whom we did a few Ukrainian and European tours, and also participated in Ukrainian Improvisers Orchestra. At some point I got a feeling that I wanted to play music that was a bit different, and not be dependent on my bandmates and the scene, and started to play solo – first under the name Ghost Cities and since 2022 under my own name.

Has the full-scale invasion changed your approach and motivation to music and has it had an impact on your setup and your playlist?


I’ve started to do all of what I wasn’t doing previously since I realised there is no other time than now. It didn’t change my setup on stage, and also the full-scale invasion did not impact my musical taste. I just realised I wanted to do more for myself and the people whose music I like, make some impact on the community.

You released three albums since February 24, 2022. Inevitably they all deal with the war in some way. Is it possible for you to divorce your musical practice from current events, and is that something you would even consider?


I almost can’t see my music apart from what is happening around – my music is an answer and a reflection to reality. Almost 90% of my performances are improvisational so each time it’s different due to the place I perform, my mood, how people react to the performance and everything related.

The albums were mostly recorded live, only 1 album is a studio work I made during the residency at the Keller Drei Gallery in Hanover, Germany, last autumn. Right now I could consider my music as divorced from the war only when I’m being a session musician for somebody who needs my services. In all other times I can’t divorce myself from Ukraine, at least in terms of impact and background to my mindset and art.

Your latest album, Kharkiv Songs, came out in April 2023. It is an audio-visual installation that consists of audio collage and posters with personal texts-reflections on war and existence. After more than a year since the full-scale invasion, we have started to see a number of similar projects being realised, I am thinking of Vera Logdanidi’s Voices, for instance.

How does one deal with preserving, organising and presenting personal material when there are so many testimonies available in real time on social media and telegram channels in a way that reflects the war experience for those of us who have not had to contend with it first-hand?


Yes, there are many projects and works about the war, and Ukrainian artists need to do them and expose war through personal vision and experience, and I guess there is now no other way for us currently – as I said the war impacted and changed everything for everybody. That said, it’s already become common in the world to think about Ukrainian art and events as a sad stories with a harsh reality right in your face, and usually you wouldn’t enjoy such things on a Friday night, and after a year it is becoming more and more repulsive for the world audience, so we need to find a balance in exposing ourselves and keeping the audience with us.

How has your life changed over the course of the past year, both from a personal and a professional point of view?

The war changed everything, totally. Personal life, surrounding, relations, meanings, attitudes and just everything. After a few months of total frustration I thought that if I could die any second – I should do what I want, and it was a major kick in the ass.

I went on an Ukrainian tour, organising it and managing it all by myself on the go – it was in the summer of 2022 and I guess I was first to go on tour in Ukraine during the war; I started doing shows on Gasoline Radio; I got fired from the job I had for 2 years and decided to be a full-time artist for as long as I can; I started to think more about today and what I really want to do and how to spend my time, becoming kind of a nomad, and becoming more sincere with people and myself.

Where are you now and have you been displaced by war at any point?



Since last autumn I’ve been in Europe, participating in art-residences and touring, actually right now I’m on tour in Poland and Germany. The war itself did not displace me, since I was living far from the frontline.

What would you say are the biggest misconceptions the West still holds about Ukraine and the full-scale invasion?

Thinking of Ukraine as some kind of banana republic that is not advanced enough to be on the same level with other EU countries, and that we should do everything just to stop the war and bring peace because people in Europe, Latin America and Africa are struggling to pay for gas and food. Pretty similar to russian narratives. And also that russians are good, only Putin is bad, and their culture is great as fuck.

Are there any Ukrainian releases from the past year that you feel have helped you to make sense of current events and, conversely, are there any specific tracks that you now find triggering because they might be associated with specific difficult times or events?

No, not really. I can’t tie up Ukrainian releases from last year with making sense of current events just ’cause I see no sense in current events.

As for triggering music – Ukrainian, preferably pop music, which is full of war-related conceptual nonsense, converting war to some funny songs full of cliché words and meanings.

You contributed a number of mixes to Gasoline Radio. How do you see the Ukrainian electronic and experimental scene developing under current circumstances?

It seems like almost all the scenes in Ukraine just blasted with a lot of passion to create, play, and release music. After 2014, when russia started a war in Donbass and annexed Crimea, a new wave of Ukrainian music started. In 2022 this wave had a huge push. 

People started to pay much more attention to the local scene, supporting and cheering musicians to create more, and stopped searching for idols outside the country.

I can’t say that I like a lot of what the electronic scene produces currently, the experimental scene is still small and underground, but I definitely enjoy the freedom of expression the different scenes have. Everybody can do what they want and the audience is passionately interested.

On Sun April 23, the UK launched an emergency phone alert public warning system, with at least one of the networks failing to connect. All Ukrainians are now well used to constant Air Raid Sirens and warning apps going off. What are the psychological effects of being in a constant state of hypervigilance?



Becoming aggressive, anxious and rough. I’ve experienced rocket hits on the city only once, and when I hear fireworks, or something similar to war sounds – unconscious impulses fill my body. Air Raid Sirens are still triggering me deeply, even if I don’t hear them as much as people in Ukraine. I don’t know if this will change someday, and I can’t even imagine what people on the frontline are dealing with.

How do you feel about the inclusion of “war sounds” in recent tracks by Ukrainian musicians?


Everyone could do what he wants, I’m just not enjoying war sounds in the tracks. Also I don’t know who would.

Do you suffer from burnout and what do you do to unwind and is there a specific genre of music or a particular artist / album that helps you “switch off” from daily reminders of the war?

When things are hard for me I listen to Midori Takada – Through the Looking Glass, Terry Riley – Shri Camel, Ali Akbar Khan & Klaus Wiese – The Alchemy of Happiness, Toshimi Mikami – Organic Music #1: Chi Dance and dj-sets of Closer club residents. They always work for me.

Which book / film / album / song / traditional dish / podcast / blog / artwork / building / meme best captures Ukraine for you?

Ukrainian traditional singing and music.

Who should I interview next and what should I be asking them?



Pree Tone, Raw Grip, Regina Collage, ногируки, Wheatness, Vlad Zarichnyuk, Wootabi, Appeks.

 

 

MAY 12, 2023 – KYIV

Khrystyna Khalimonova

Hello, I am a singer-songwriter, I do what I do in Kyiv, Ukraine. I always try to express my feelings with words in my speech, so I won’t add anything about myself now. There is life, there are people, and there are names. Somewhere there is me, and I cannot help but write songs. I live in a country in the midst of a full-scale war, so my answers are written at a depressing time in the life of every Ukrainian and every inhabitant of our planet who wants to understand and feel what is good and evil, and what is happening to all of us now.

Has the full-scale invasion changed your approach and motivation to music and has it had an impact on your setup and your playlist?

The full-scale invasion was a major catalyst in my decision to wake up as an artist. Depressing realities pushed me to self-immersion, having to be constantly ready to leave at any moment, no one knows where to or for how long, demanded my concentration as a musician on the ukulele, a small and mobile instrument ideal in case of displacement, that enabled me to find my rhythm. When I play songs on it – I am in my own world, consciously escaping from reality into the inner world, from which I bring my songs.

How much of your album Прокидатися Навесні was produced before the full-scale invasion of February 24, 2022 and how much of it was written as a direct response to it?

Since the war in Ukraine started in 2014, and the threat of war has been hanging over our country for quite some time, each of the songs is a direct response to the war, or preparation for the war, or a break from the war. Because I live and breathe this air of this information space.

The lyrics to your album are in Ukrainian. To what extent is the linguistic element of Ukrainian identity crucial for you?

The songs are written in Ukrainian, I write them in Ukrainian, so I am needed here. But music is a universal language, it is written and listened to by the soul.

Where are you now and have you been displaced by the full-scale invasion of February 24, 2022?

I continue to live and create in Kyiv. russian troops failed to reach Kyiv.

How did your life change over the course of the past year, both from a personal and a professional point of view?

It seems to me that in the last year I finally gathered the exact sound that ideologically haunted me from childhood. I was able to let go of this album, I guess I felt that it was necessary.

My view on death has changed a lot, before I didn’t think of it as a being, let alone a metaphysical one, but we have been close for so long because of the war that we became friends, in my “Lullaby for Death” our relationship with it is manifested.

How would you say the sonic environment where you live has changed over the course of the past year, if at all?

The silence between the sirens grew louder.

Do you suffer from burnout and what do you do to unwind? And is there a specific genre of music or a particular artist / album that helps you “switch off” from daily reminders of the war?

Exhaustion is a great body condition after a job, I love being exhausted.

One of my rules says: in any unclear situation – write a song.

Doing something on a regular basis helps a lot in preventing low moods.

In terms of music on a regular basis my playlist is mainly Thom Yorke and James Blake.

I listen, communicate, breathe.

What would you say are the biggest misconceptions the West still holds about Ukraine and the full-scale invasion?

Firstly, that this is an agricultural country. Unfortunately, we are an oligarchic country and therefore agriculture is our last pride, which the capitalists are occupying and monopolising.

Secondly, that it is not a war of one country against another, it is a war against war as such. russia has long been the source of outbreaks of war around the world.

Who should I interview next and what should I be asking them?

There is one Ukrainian band – Blooms Corda. Danylo Halyko is the front man. Perhaps Danya will tell you more about Ukrainian contemporary music, maybe you’ll get from him what you didn’t get from me.

 

 

MAY 13, 2023 – DONETSK

Xota

My name is Alexander, also known under the pseudonym XOTA. I am 28 years old, and have lived in Donetsk all my life. I started to be interested in music in 2014, at that time Ukraine was not calm at all, the government changed and the fighting began between the regional army and rebels of the DPR [Donetsk People’s Republic] and LNR [Luhansk People’s Republic] republics.

Has the full-scale invasion changed your approach and motivation to music and has it had an impact on your setup and your playlist?

As such, the invasion did not affect my music career and life, because I managed to get used to the shelling. Music is the only thing I get money for, and my family and I are alive thanks to it.

You have been quite prolific over the past year, has music helped you deal with present circumstances?

In the last year I managed to write more than 50 musical compositions in different genres. Most of them I have sold to other artists and musicians. I am saving up to leave the Donetsk region, it is the most dangerous place in Ukraine. Those who had a lot of money were able to go to Europe thanks to a bribe. In general, I am on my way to solve these circumstances.

How did your life change over the course of the past year, both from a personal and a professional point of view?

I have become more determined, but at the same time it is more difficult to fight depression. I try to read the press as little as possible and not to immerse myself in all this negativity. But strangely enough, everything is getting better in terms of my music work.

Where are you now and have you been displaced by war at any point?

As I have already said, I live in Donetsk. Besides financial problems, I have no documents (passport). Also constant mobilisation makes it difficult to move around on the street. Thank God I have a wife, as she can go to the store for groceries.

What would you say are the biggest misconceptions the West still holds about Ukraine and the full-scale invasion?


I cannot know for sure what Western authorities think about this war. In the CIS countries (Belarus, Russia, Ukraine) the authorities are very corrupt, any penny given to any party to the conflict provokes civilian casualties. Listen to me, we need to stop helping both Russia and Ukraine. We ordinary people can take care of ourselves, we don’t need our presidents, the heads of two countries simply humiliate their own people, and do so quite successfully.

To what extent is the linguistic element of Ukrainian identity crucial for you?

I can say that there is no such global disagreement about the language in the country. Most likely the media is exaggerating the language problem in order to provoke a civil war. There is a proverb “divide and conquer”.

Are there any Ukrainian releases from the past year that you feel have helped you to make sense of current events and, conversely, are there any specific tracks that you now find triggering because they might be associated with specific difficult times or events?


I try not to listen to Ukrainian music because of the propaganda for war.

How do you feel about the inclusion of “war sounds” like air raid sirens in recent tracks by Ukrainian artists?

I have an extremely negative attitude towards the use of sounds of war in music. First of all, it deprives the work of any value because of the hype on such sounds. A lot of innocent children died and artists want to hype the war in order to get into theme playlists on Spotify and make money from it. Sounds awful!

Do you suffer from burnout and what do you do to unwind?

I’ll be honest, burnout and depression are a big part of my life. The only thing that helps me deal with it is a sober mind and my love for my son and wife. After all, they are both healthy and still alive.

Which book / film / album / song / traditional dish / podcast / blog / artwork / building / meme best captures Ukraine for you?

Ukraine is like the movie Titanic, like Sin City or any other movie with a consistently bad ending. Why is it like that? I’ll tell you why. All throughout history these territories have been divided by different countries. There has always been war on this earth. There is and always will be war.

Who should I interview next and what should I be asking them?

Do an interview with someone with a more positive and optimistic outlook on life. Ask them how we can survive the next Armageddon and whether it will be the end of our existence.

 

 

MAY 16, 2023 – KYIV

Sergey Russolo

I’m a Ukrainian musician and DJ. I’ve been producing and performing music for a long time. I work mostly with techno and experimental music. I get inspiration from my surroundings and fusion jazz as well as the ethnic musical traditions from different countries.

Depending on the party I either play live or dj set.

Before the war I had a music studio in a historic part of Kyiv. It was a place not only for recording music but also for educational activities, teaching, as well as meeting musicians and chatting.

Has the full-scale invasion changed your approach and the way you think about music and sound and has it had an impact on your playlist?

I noticed several things. First, I started to hate alarms and air raid sirens. Second, I started to explore the Ukrainian musical legacy.

Your most recent album Об’єднанні голоси (United Voices) signals a shift in your production as it draws from Ukrainian folk and ethno music. What can you tell us about the making of this album and has the full-scale invasion made you discover your musical heritage?

When russia invaded I understood that they wanted to steal our national identity, they tried to do this many times before, but I fully felt it after February 24. Also, I felt huge empathy for all Ukrainians and my country in general.

That’s why I started to explore our ethno music. I collected my favourite tracks, made loops and got inspiration.

After that, I started to add loops to my beats to create a very special mood. Eventually, I produced this album.

How did your life change over the course of the past year, both from a personal and a professional point of view?

For me war changed everything. Firstly, I moved from one district to another looking for a safer place for my family. Secondly, I put on hold all my plans for the future because the situation in general is completely unpredictable. Finally, I closed my studio because of the war and personal issues.

Are there any Ukrainian releases from the past year that you feel have helped you to make sense of current events and, conversely, are there any specific tracks that you now find triggering because they might be associated with specific difficult times or events?

It has been a very hard year and I am happy that people have found the strength to move forward and create great music. I just want to recommend new releases from Corridor Audio, Mystictrax and Vlad Suppish.

How do you feel about the inclusion of “war sounds” in recent tracks by Ukrainian artists?

When one is exposed to something over a long period of time it becomes part of the discourse.

Do you suffer from burnout and what do you do to unwind? And is there a specific genre of music or a particular artist / album that helps you “switch off” from daily reminders of the war?

I try to keep a busy daily schedule, I study a lot, make music, and try to manage the news flow. It helps me.

At present I like to listen to Jazz Fusion and people like Sabu Martinez, Art Ensemble of Chicago. Their music makes me happier.

What would you say are the biggest misconceptions the West still holds about Ukraine and the full-scale invasion?

The problem is that imperialist russia always looks for new opportunities to conquer territories. Should Ukraine fall, they would go further west to Europe with new wars, and new propaganda. All people should understand it. After the invasion of Donbas and after russia stole Crimea, our country understands this very well.

Which book / film / play / album / song / traditional dish / podcast / blog / artwork / building / meme best captures Ukraine for you?

This stamp )

Who should I interview next and what should I be asking them?

Sorry, but all those I’d like to recommend you have already interviewed 🙂

 

 

NEW RELEASES

Yangola ~ Hanna Svirska

“Standard Deviation is thrilled to present Hanna’s latest work, YANGOLA. The central themes of the EP are celebration of spring and faith in the revival. This motive is explored through the mysticism of Ukrainian myths, but also finds a more literal meaning in the circumstances and setting in which the EP was produced.”

 

Termites ~ Sunchase

The standout EP out of a number of new releases by Sunchase that include stellar singles such as “Forbidden Fruit” and “Going To Meet You” reworked from old sketches and ideas.

 

Black Soil ~ Na Nich

“Another deep techno ride on Delsin’s Cameron series by Rhythm Büro co-founder Na Nich. The Ukrainian DJ and producer delivers four excellent vibrant, dreamy techno trips. From the punchy ‘Inlamint’ to the unstoppable flow of ‘Subway’. A darker twist appears on the mesmerizing ‘Black Soil’ finishing it off with a downtempo eyes closed delight ‘Argonaut’.”

 

Impro Sessions vol#1: Sequences for a 4-voice Synthesiser ~ Arthur Mine

Always worth taking a retro-futurist trip in the company of Arthur Mine, this being a 45 minute long ride spanning a varied musical landscape from ambient to “tribal” with added beats. A welcome addition to an intriguing discography full of surprises.

 

Integrity ~ Revshark

“The great inspiration for the ‘Integrity’ album by Revshark was the native city of Kremenchuk and its people. The track ‘Fortress’ has a direct reference to the history of the creation of the city, and the sound of the album reflects both the relentless movement and the meditative calm of the industrial riverside town. Therefore, in some sense, this album can be considered biographical.”

 

il ~ Volodymyr Gnatenko

A measured and meditative album starting in ambient mode only to pick up speed while remaining resolutely in lower gear and all the better for it. The 16 minute long closing track goes for serenity rather than ecstasy. An uplifting album with an introspective heart.

 

Welcome Back EP ~ Luigi Lynch

“I thought for a long time about what to write in the description of the lp, but I thought: “fuck it”.
Luigi Lynch project is back in action after finishing the first act.”

 

XVII-III ~ XX.XX

A mini ep by the Zhytomyr based group XX.XX featuring Олександр Куц (Oleksandr Kuts), the vocalist of the prog-rock group VOVK on the opening track. With lyrics about the anxiety generated by war, sheltering in corridors and all the things one packs in a suitcase when fleeing.

 

 

PODCASTS AND MIXES

 

VIEWING ROOM

(Gianmarco Del Re)