Ukrainian Field Notes XXV

photo @k__o__t__s__a__r

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

Music is indeed the mouthpiece of the people, which can and should be used, through which you can skillfully express your disagreement or gratitude and support. Playing music by Ukrainian producers (and there is an infinite amount of worthy material out there) is my way of supporting them and the entire scene. Not playing music by russians is my protest. These are the smallest examples.

But this support is not out of mourning, everything happens as naturally as possible. We really have a lot of unique producers, and now, thanks to active labels, there’s a new wave of releases where every track is a hit, and some people make self-releases without waiting for invitations. I don’t know how much money I’ve spent on buying albums featuring Ukrainian producers, I don’t have a single podcast where I wouldn’t use their tracks, and of course I play them at parties. Because they’re really cool, not because I “have to do it”.

Recently, I tried to write music using samples with Ukrainian instruments, and only one instrument suited my style, everything else sounded weird to me, or I had to change it beyond recognition. But I used a sample of a Ukrainian boy rapping on stage at a festival in 1995. Before, I would have definitely passed it by, but now I really appreciate our cultural heritage more, and if I can use it and get high from it myself, I take it.

Criminal Practice

You run the Strela booking agency. What has the international music scene response been towards Ukrainian artists, in terms of clubs and festivals, over the past year and what are the logistics of working with male artists still based in Ukraine in terms of travel restrictions?

I would like to explain that I was always the only one actively working on Strela, sometimes I had assistants who managed the tasks, but it was not a company or a large agency, it was more of an enthusiastic project. So after I fled from Ukraine, Strela was on a hiatus for a long time, which was in line with my condition.

Serge Jazzmate

I refused to take booking fees for our artists in Ukraine, and therefore stopped managing local gigs. I objectively feel that if I had been doing this professionally, everyone would have been playing everywhere long ago, because it’s almost the same as doing PR – you push something, find connections, break through, sell, and be in the spotlight. And I’ve already said that I was experiencing burntout. But then we talked to the residents and they were sympathetic to the proposal to reformat the agency into an artist management. That is, they can rely on me for all matters except for the guarantee of a successful event search. But in the future, I plan to do showcases, I know that when I raise myself in the European scene, I will bring everyone I can with me.

victor.b

I also started giving free lectures for all artists, about communication and tools for their own creative growth. I talk about why it is impossible to sit still and expect success to fall into your lap. This is how I keep doing something under the brand’s name.

But the main problem is precisely because of logistics. I’ve even managed to get someone on tour, but it was usually a bit hellish. If an artist isn’t yet commanding huge fees, then traveling 26 hours one way to Berlin to collect 200-400 euros for one gig, this is not something not everyone is ready to do. It was different when one used to be able to get on a plane for 40 euros and spend 3 hours in Berlin and return home the next day.

Eazy @pensive.boy

Now consider that I’m alone, it’s not my main task (my assistants didn’t do it either), the artists are from Ukraine and haven’t become mega-in-demand yet (although they’re almost all hyped in Ukraine), the conditions involve an expensive transfer, plus there’s no guarantee that they’ll let you out – so it’s not easy, but I’m waiting for opportunities and interest because I know that people will come to my roster. There are really very unique artists in Ukraine. I could talk about each of them for hours.

The conditions for getting a permit to leave have also become more complicated, but I see that many people are able to go for a gig. The main thing is also what you write in your application to the Ministry of Culture.

Travis with Sibil

What about international deejays going to play in Ukraine?

I find it a very brave and bold decision to make. And artists might do it because of different reasons: to support friends who are stuck there, to play for free and donate, out of curiosity and a desire to see what the situation is really like from the inside, to get a shot of adrenaline, or even out of boredom and if they’re not getting enough dopamine from their touring routine. Or they might be doing it to just get some hype while this hasn’t yet become mainstream. Each and any one of these reasons might be what is motivating them.

I am just saying this because I heard some assumptions about whether this or that artist is going with a true desire to empathize and for altruistic, and not selfish, reasons. Well, no one ever can keep being unemphatic after staying in Ukraine even for one day. And making the decision to travel for 20+ hours one way to a country in the midst of war to play one set not even for a full fee, (and most likely also to donate a large part of it) — would still be a good enough reason even if they were doing it for the hype. So respect and kudos to them.

You are also a deejay yourself performing under the moniker Travis. Has the full-scale invasion had an impact on your professional career?

Moving to Berlin has definitely influenced my career.

Everything has become easier for me here, and I immediately became a resident of the System Error label. We met in Kyiv when they were organizing a party in Keller and I was helping with PR. And in Berlin they heard me and liked my style. Now I am one of three residents and party organizers. It’s more than just a party, we have big plans. Not to mention the fact that the label has about 10 sub-labels. That is, releases come out almost every week. For many producers, this label was the first place where they were released, there is no genre affiliation, no restrictions, and you can hear completely different music on one dance floor. And, at the same time, we are a registered company, we constantly attend seminars and events for our own professional development as scene players. I have never seen anything like this in Kyiv. Even when I was working in PR or bookings, I was always drawn to European projects, because we still lack infrastructure, funding, legal framework, and basic experience and knowledge. And I will be happy to help bring all this to Ukraine in the future.

photo Igor Tsarukov

You were part of the Closer Kyiv team. With many deejays and electronic artists having relocated, how do you see the electronic music scene in Kyiv developing under present circumstances?

The scene has been completely renewed. To be honest, until 2022, I thought there was no end to the same lineups. And now half of the residents and regular artists are abroad, and a new generation has taken their place. In Closer, to start playing steadily at club parties, you need to have been an active DJ for about 5 years and also try to be as close to the club’s party as possible. Now I see new names in the lineups all the time, and a lot more promo groups have access to Fridays at Closer. Everyone has relented a bit and realized that they need support from a new audience. At k41, I see new names all the time, and they are also very supportive of artists who do military collections, so you can often find the initiators of the collections in the lineups.

Recently, at the Strichka festival, singer Alina Pash sang the Ukrainian anthem, which before would have been nonsense at an electronic festival. There was almost no unity in the electronic scene, only little by little something was emerging, in small steps, every man for himself. This situation has united many people, I see many unexpected collaborations, everyone has become more open, everyone has the same goal: the development of culture and victory over the enemy. For the latter, almost all parties are aimed at raising money for charity, not self-gain.

photo @marinazbotelho

I’ve already said that over the past year we’ve had a surge in releases. I think this is connected with the national consciousness and the beginning of the respect for culture, the desire to spread it, including abroad, because if an artist cannot leave, their music has long been there thanks to these releases.

For me personally, a big pleasant surprise was the emergence and active presence of the bass and breaks scene. Because this is what I lacked in my circle of events in Ukraine, I collected breaks records but didn’t even know where to play them. Sometimes I play tracks by modern breaks producers to experienced European producers and their jaws drop. But there are also festivals such as Брудний пес  and promo groups like BRUKXT based on labels that release such music, and it’s even reached Berlin, where Ukrainians have also started creating events series that bring Ukrainian record label alumni.

At the same time, let’s not forget about the curfew, they manage to do and develop all this within a limited timeframe ending at 00:00.

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

Troy

Nothing triggers me.

Sometimes I ask our sound guy from Closer to send me recordings of the sets that are currently playing there to understand the sound. All the new releases, especially those with Ukrainian vocals, amuse me more, we’ve always been able to make fun of the situation. There’s a lot of irony.

Something more serious:

• Zhupan chornyi by RUSIIICK
• Воїн by Koloah, Туча

Also, this is probably one of the most profound works for me. They’re poems about the war accompanied by electronic arrangements: warнякання by Антон Слєпаков / Андрiй Соколов.

Peshka

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

Peshka has a track called TRИVOGA where he recorded and used the sound of a siren. And he’s from Mariupol and he survived the horrors, his family is partially still there. I think that if he used that sound, he knew exactly what he was doing.

I once had a conversation with Borys (Closer’s resident) about this, and he is not ready to hear it yet, he thinks it’s better to change the sound as much as possible so as not to trigger. And I also respect this because everyone has different perceptions. On the other hand, this sound is a part of life now, it’s something that makes someone want to include it in the track and this person has a certain goal and idea, a message to share. Therefore, this issue is still a delicate one. I personally try to avoid it, so as not to hurt anyone. But I once included a track in a podcast in which I didn’t notice the siren sound because I didn’t hear it as often as others. And someone even discussed it. I wish no one would take it personally.

photo @pollinnxx

In the introduction to Sky Above Kharkiv, Serhii Zhadan writes, “War sharply changes ways of seeing, changes feelings. Above all it immediately changes the weight of a great many things, things that seemed necessary and obvious just a day ago.” Even though you are now based in Berlin, has the full-scale invasion made you reassess your priorities in any way?

Lives were turned upside down and radically changed for all those who stayed and all those who left.

At first, there were a lot of negative emotions towards each other: those who stayed hated and shamed those who left. Those who had left were offended and angry about it and also started hating the provocateurs. We stupidly ignored the fact that both of us were fucked up and no one could control their emotions and expressions. The atmosphere was very tense for about a year. We almost lost each other.

Ukrainians have always been united for victory, but if you are dead inside, you will definitely not be able to be useful for the common goal. Therefore, you and your soul must come first. If you feel happy here, in your place with your family and friends, stay, if you are stuck and do not see your own development under such conditions (as it was with me), move, if you want to go to the front line, you go. Therefore, everyone has their own path to happiness, which will result in enormous energy and work for victory from within or without.

It’s not really relevant to the question, but I wouldn’t say I’ve changed much, I left all my things in Kyiv and gave them to charity, but I wasn’t attached to them before.

There is definitely a sense of empathy for refugees, not only from Ukraine. I didn’t understand it before.

photo @k__o__t__s__a__r

How does one get used to the constant separation from close people?

At first, I was separated from my grandmother for almost a year by covid, and now this.

I can’t visit her often, I go to Ukraine once every six months. I can’t get used to it and come to terms with it, I’m worried about her. And she doesn’t want to move because her blood pressure rises at the thought. I also see my mother once every six months at most. I still have my favorite friends in Ukraine. You can try to re-adjust yourself and think that you are the one who went on a trip around the world for several years and would not see anyone anyway. Because I hope it will end soon.

After almost a year and half since the full-scale invasion, what would you say the West still gets wrong about Ukraine?

I think that only those who have come and seen things with their own eyes understand correctly, but there are exceptions even without visiting the country.

And I understand perfectly well that it is very difficult to realize what the situation is until you are fully involved. It’s just like in 2014, Kyivans didn’t understand exactly what was happening in Donetsk, and in 2023, Lviv didn’t empathize with Kyiv. What can we say about citizens of other countries who are just bored with all this and whine about price increases? But respect to those who understand and support. And respect to such journalists like you.

@k__o__t__s__a__r

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

Since I started doing what I love – music – I hardly ever feel burnout.

I can always switch from deejaying to production because it takes place in a more cozy atmosphere. I just realized that it’s difficult for me to play a lot at night or travel with gigs now, because then I miss my productive days, and I want to devote as much time as possible to writing music and creating live shows.

I burn out from routine duties, bureaucracy, taxes, reports, invoices. So I decided that I would devote one or two days a month to this, when I do paperwork.

I also got burned out from communicating with people with an energy that doesn’t suit me, after which you come back exhausted. From people who are constantly whining, gossiping about others, always on the negative side. I cleared all this and it made it easier to live.

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

JULY 18, 2023 – GERMANY

Lobanov K.

JULY 18, 2023 – ODESA

photo by Natalia Marushchak

Phite Noise

Actually, my story is quite ordinary. I’m just a regular guy who was born in a small town called Uman in Cherkasy Oblast. It’s hard to talk about a musical experience when you live and breathe music. There are hardly any days in my life without music. I started creating music in my teenage years. I tried my hand at rapping, and then I got a guitar and started writing my own songs. I even had some experience singing in a church choir. As for electronic music, it all began a few years ago when my friend invited me to a party called “Povitrya” (Air). That’s when I discovered the magic of techno. That same year, I attended another party called “Svora” (The Herd), which made a significant impact on my sound. It featured underground, heavy techno that penetrated deep into your bones. That’s when I started learning music production software and the principles of creating techno. Over time, my skills improved, and I began to envision the concept I wanted to showcase. I didn’t just want to make music for parties; I wanted to create art.

Now, let me tell you about Phite Noise and what it’s all about. In the 20th century, large cities became engulfed in factories, roads, and heavy industry. Rapid industrialization made a significant contribution to human development, but it didn’t neglect culture. A whole new cultural movement emerged, known as industrial, and one of its striking representatives is industrial techno, where factory sounds became a primary motif. In the modern world, the impact of heavy industry is less palpable. Digital technologies have taken the stage, and the world has entered a post-industrial period where the digitization of everything is balanced with a desire to preserve nature. This is the moment I strive to capture in my art. Phite Noise represents the delicate balance between nature and the digital world. It’s post-industrial techno art.

Has the full-scale invasion changed your setup and playlist and the way you think about music and sound in general?

As for the playlist, I have completely abandoned music created by Russian artists, no matter how much I used to like them. However, when it comes to sound, it’s more interesting. My perception of sound has changed, just like many of my compatriots. For example, if you pass by a movie theater and hear a bass reverberation, subconsciously you might think of an explosion and your heart will start beating faster. Sometimes, the sound of a refrigerator reminds me of a siren. Not to mention thunder and lightning… I understand that it’s a problem. But I’m afraid it will haunt me for many years to come.

photo by Natalia Marushchak

What can you tell us about your latest ep Inflammation and its production process? Also, I’m particularly curious about the album cover, which depicts a sutured wound. Where did you get it from?

If we talk about “Inflammation,” it’s a story about pathogens and the immune system. In it, I pondered the scenario of computer viruses starting to infect humans and how that would be, or when human viruses mutate to the point of infecting computers. An interesting fact about its creation is that I was finalizing work on the EP during winter, in cafes and restaurants. This was because Russia was carrying out terrorist attacks on Ukrainian power plants, and the whole of Ukraine was experiencing a constant shortage of electricity, with days without power. In reality, I spent quite some time choosing the cover. I wanted it to depict a real inflammation, or even better, a cut wound. I asked my veterinarian friend to take a few pictures for me from his work, and I browsed through numerous medical websites. The most suitable image I found was on a regular stock site that offered royalty-free photos. I incorporated the actual photo into a frame against a backdrop of noise, and I adjusted its colors to be cooler and more serene to convey the idea of it being an everyday occurrence. I was surprised that Instagram blurs it out.

How would you say the club scene in Odesa and Ukraine has changed since the full-scale invasion with the introduction of the curfew and the displacement of many and how do you see it developing under present circumstances?

Unfortunately, the electronic music scene in Ukraine is going through challenging times. Not only are there no night parties at all, but also international artists are not very eager to come for daytime events. In Odessa, there are practically no events happening, while in Kyiv, it’s slightly better, but still not as vibrant as before. Many talented Ukrainian artists have also left and are now playing sets in Berlin. However, there are positive aspects as well. For example, there is increased attention from foreign journalists and labels towards the Ukrainian scene. Additionally, due to the inability to invite international stars, Ukrainian clubs are promoting lesser-known Ukrainian artists, for which they are sincerely grateful.

photo by Natalia Marushchak

What impact has the full-scale invasion had both on your personal and professional life?

If we talk about my professional life, the impact has been significant. My main source of income is not related to music, and during the beginning of the war, my actual earnings dropped to zero. I was simply living off the savings I had for vacations and some purchases. It took about six months for my earnings to slowly start recovering, but compared to pre-war times, I now earn three times less when converted to currency. Nevertheless, I’m not complaining because there are people who have suffered much more than I have. On the positive side, being without work allowed me to focus more on music and even enhance my skills. It was during this period that the final concept of Phite Noise was formed, and the first releases were written.
In my personal life, I am extremely grateful to my girlfriend Natali, who kept me sane amidst everything that was happening around us.

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

At the moment, I am in Odesa, but at the very beginning of the war, I went to Uman to be with my parents. I went there to support them during this difficult time and also because Odesa seemed too dangerous due to its proximity to the sea and its symbolic significance for Russian propaganda.

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

I will say no. In Ukrainian culture, such a term as “bayraktarshchyna” arose. This is when they use the topic of war (consciously or unconsciously) for their own popularization. Such an art looks worthless, and will be forgotten immediately after victory. Unfortunately, this has happened too much in the last year and a half, and if at the beginning of the war, it still seemed normal, now it causes nothing but cringe. Maybe I missed something really interesting among this garbage

Sofiyivka Park

How do you feel about the inclusion of “war sounds”, like air raid sirens, in recent releases by Ukrainian artists and do you find them triggering?

I hear this every day. I wonder if it evokes any response in people who only hear it in music.

After almost a year and half since the full-scale invasion, what would you say the West still gets wrong about Ukraine?

They are mistaken in thinking that Ukraine is already receiving a lot of assistance. We are trapped in the jaws of a massive fascist shark with nuclear weapons, and in such a case, “enough” is never enough. Some countries also make a mistake in believing that the war can be resolved “peacefully” and leaving some territories to russia. russia only understands the language of force. Every concession only fuels its appetite. Right now, Ukraine is shedding blood for the entire world, so that the machine of terror and fascism does not roll any further. It’s strange that some nations are not willing to give up everything they have and even more to prevent the war from reaching their territories.

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

NEW RELEASES

Adaa Zagorodnya ~ Bolero

Adaa Zagorodnya’s previous album, Польові Записи з Лютого (Field Recordings from February) was selected as one of the 11 releases to make sense of the full-scale invasion by DTF magazine. It did what it said on the tin in a unshowy way, weaving a fragmented tapistry of everyday sounds into a foreboding soundscape. Bolero is a more heterogenous affair, mixing beats with loops and drones. An album with a sunny disposition and a positive attitude that doesn’t take itself too seriously.

Etudes ~ Ana Foutel & Olexiy Mikryukov

Olexiy Mikryukov, aka King Imagine, teams up once again with Ana Foutel on prepared piano to create a beguling album put together from a set of etudes recorded between Fall and Spring of 2023.

Спадок ~ Various Artists