Could you discuss any personal rituals or practices you engage in to maintain inspiration and creativity?

The thing that definitely sparks my creativity is the ability to celebrate an entire palette of feelings, without being linked to a specific genre. I also draw inspiration from diverse sources, often outside the club music scene. For example, I was so much into shoegaze or indie in my teens, as well as later into industrial and minimal synth from the 80s. All those genres capture feelings I want to depict in my DJ sets through contemporary sounds.

I guess maintaining is not the right word for a part-time artist. No one actually pushes me to be constantly creative, so I’m taking it as a big advantage because then it’s more achievable to be honest. In the end it's a very human thing to have these periods when you’re not creative or productive, for a variety of reasons. You can just accept it and use this time as a space for reflection or take a rest and just focus on something else. After all, if you're really connected with your nature and you’re honest with yourself, then you don’t have to consciously maintain your creativity, otherwise it's gonna be artificial.

In your opinion, what are the most significant contributions that Ukraine has made to the electronic music scene?

Over the past 10 years the Ukrainian rave scene has flourished and probably already proved itself as the most influential one in the former Eastern Bloc. However, that unfortunately applies only to the rave scene and not to the electronic music scene in general.

The new wave of underground raves among youth were a kind of a reaction to the political crisis and the beginning of the Russian invasion in 2014. It evolved into a cultural movement that also served as a reminder to the commercialized Western electronic scene of what rave culture is truly about: the struggle for unity and the desire to create a safer environment full of respect and mutuality.

How do you feel about being an expat in Poland? Was it challenging for you to settle down and integrate in the local scene?

To be honest, after moving to Warsaw, I connected with people who have never made me feel like just an expat. Many other Ukrainian migrant artists I know have also integrated into the local society, but often thanks to their own adaptability.

The Polish scene isn’t necessarily super welcoming – it often feels like migrants have to work twice as hard to gain recognition here. Most of the promoters here are very hesitant to book new talent if they don’t play four to the floor techno, especially if they come from the eastern border. I won’t surprise anyone by saying that Polish society has long viewed Ukrainian migrants primarily as a labor force rather than as creatives and artists. It’s a stereotype we still struggle to overcome today.

I guess that this has changed since the intense influx of the Belarussian youth and the beginning of the Russian invasion. Due to the political events most of them weren't mentally prepared for the integration, so they mixed in with the migrant community here and as a result, they remain isolated from the Polish society. Following the Russian invasion, this issue has only intensified, further separating the migrant scene from the Polish one. This has created a distinct audience for the migrant scene, composed mostly of individuals from beyond Poland’s eastern border.

On the other hand, the process of integration also partly rests on the shoulders of migrants. That’s why our art collective, SUMISH, focuses on connecting migrant and local art communities. We were privileged to leave our country by choice, seeking a better life rather than fleeing to save our lives. However, there is still much work to be done to achieve a truly adequate level of integration.

Earlier, we touched on the Western dominance in electronic music. What is your personal take on this phenomenon?

This unspoken issue sits at the roots of cultural and economic inequalities which are visible for example, on the lineups of international festivals. You can barely find one or two artists from the Eastern Bloc (which is almost a half of Europe!) and that has a direct impact on the visibility of the eastern scenes.

Moreover, all the agencies and promoters accumulated in western part seem to be totally indifferent to the Eastern European scene despite the fact that there are so many talented artists who just need a bit of attention.

In your opinion, what steps can be taken by event organizers, promoters, and industry stakeholders to address these inequalities?

This dominance is primarily evident through economic inequality and the rapid adoption of trends by Western promoters. On the Eastern scene these trends evolve differently, shaped by unique contexts and meanings — such as the rise of rave culture in Ukraine or Georgia.

Western promoters and agencies should pay closer attention to these parts of Europe to better understand the social context behind these scenes. Collaborating with young communities, artists, or emerging art collectives who share values of diversity and equality could reveal significant contributions to the European electronic scene.

Moreover this disparity often touches the fees of the artists. It’s less affordable for the club or a collective in Eastern Europe to book artists signed under the Western agencies or even without. Promoters and agencies should review their fee policies and adjust them when it comes to the bookings in less developed parts of Europe.

Are there specific regions or countries where non-Western club scenes are thriving despite Western dominance?

Tbilisi is a good example of how to be creative, united and diverse to counteract the Western dominance, and becoming interesting to the Western promoters and agencies. But we shouldn’t forget that Georgia is still a relatively poor country. People dance there differently because they don’t know what will happen tomorrow. So again, the context is different than in the West.

Which musicians deserve more attention in your opinion?

Would a pleasure to mention everyone who I’ve been following recently but afraid that list could be really too long so I’d limit myself only to some producers on Polish and Ukrainian scene: Archypness, Andriy K., dadan karambolo, Hanna Svirska, Kevin Murf, Maks Yos, Plastelina, TBH, Simi Fida, Stereometrix, shjva, Ssscreep, szkoda, Wydma, Yana Ilo, Zaumne.