Originally from Odesa, in what ways does your Ukrainian heritage influence your creative process and the selection of music?

The most significant thing that still hiddenly influences my creativity is the environment where I was growing up as a kid, on the seashore of the Black Sea. All those seascapes, merging into endless weedy steppes, instilled some kind of longing and melancholia that inspires me and often reflects in my selection of music.

From the melancholic echoes of the Black Sea shaping his artistry to the hurdles of finding a place in Polish society, Gravity’s 

 offers a profound take on the cultural and economic divides within electronic music. In the next episode of 

, he reflects on life in Poland, the unique evolution of Eastern rave culture, the pervasive dominance of the West, and the steps needed to nurture greater diversity and equality in the industry.

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.

Beyond the Booth with bijū: The Struggle for Unity

What does the concept of a club mean to you?

A club is characterised by its relationship with the community and the possibility for its people to feel safe and connected to the place over time. My favourite club is a place where people know what they come for, while having enough space to discover and get surprised. Honesty might be the most important pillar to facilitate all this.

What defines a good club in your perspective, and how should you feel inside it?

For me a good club doesn’t need much in terms of materialistic things. A good sound system is key, and a smoke machine to get lost on the dancefloor. I am not someone who gets very excited about big lights/lasers or visuals. Enough space to dwell, to chill and I am personally a big fan of compact dancefloors. No need for big warehouses.

One of Garage Noord's core employees and DJ known as cccore discusses his vision of a good club and more for our Beyond the Booth interview series.

What strategies do you implement in Garage Noord, where you work and also DJ, to cultivate a sense of community, inclusivity, and safety within your spaces?

As I said earlier, this sense of community very much comes from reliability and a certain trust that grows over time. People know who we are, they know the people that work in the club and know our ideology and standpoints. Our inclusive team, diverse line-ups and the
all-round decisions that we make surely represent our community, who in return feel associated with us.

As Garage Noord we have been trying to be a safe space for everyone from the start, adapting to the changing nightlife scene and the needs and behaviours of our community. We have had many training sessions on this topic with all of our staff and security. And lastly, we cannot function without our well-trained, passionate and equipped club managers who are doing a lot to make everyone feel safe and comfortable.

Besides being detail-focused on the atmosphere of a space, you also have the ability to create a magical vibe on the dancefloor. What pre-set rituals or practices do you engage in to mentally and emotionally prepare yourself for a performance?

I think I have no stage presence and I don’t think I’m the most fun person to be around while playing. I’m always very focused and as I said earlier I like to disappear as a dancer and it’s the same for me in the booth. I always get a bit awkward at the end of my set rather than embracing the applause. I like to enjoy the last track I play in front of the booth rather than inside.

My preparations always include listening to a lot of music – sometimes too much and I overstimulate myself with cool new stuff, but I’ve learned to control myself a bit. Then I’ll make some sort of a structure within Rekordbox, prepping certain moments where I can change the atmosphere, and I already check at home if these transitions work. I also check my USBs, probably 10 times, if everything is on there, which is really OCD and very frustrating, but part of the process.

What is the must-have in the DJ booth when you play? And what is the best DJ booth that you ever played in? Why?

A joint and a bottle of water is what I’ll have with me at every show. I love a booth where you feel invisible, there’s a sense of connection with the first row but for the rest, it becomes a blur. I like to be anonymous in a booth and focus on what I’m doing. Garage Noord definitely has this for me, the Ankali booth is great as well.

What factors guide your set curation? Do you prioritize maintaining a seamless energy flow, or are you intrigued by the idea of creatively disrupting it?

I like cruising and maintaining a sense of groove within a certain tempo range. I like playing a long set but not necessarily increasing the tempo througout, just playing with what energy a track portrays. You can play so much with energy without adjusting the tempo.

Of course the occasional change / dip / intermezzo is cool, but creating a very stable base and building on top of that is what I very much like to do. Playing with this you can create stories, and high peaks get much better reception when there are low moments before. Interrupting is definitely something that can create tension and when done well, or well perceived, you feel that even during those interruptions you can still hold the attention of the crowd. That’s a great feeling, when you know people are into it.

How important is versatility for you behind the decks? Do you think it's absolutely essential, or do you have a different take on it?

Versatility is very important but in a subtle way, I wouldn’t call myself an eclectic DJ. I am a very eclectic listener and part of my listening selection definitely gets incorporated in my sets.

Coming from a highly competitive music scene, what unique aspects do you observe specifically in the Netherlands, both negative or positive?

There’s a lot going on in Amsterdam but I view it as quite a healthy situation, I feel like clubs communicate together. There are programs that focus on social safety within clubs and clubs that have a similar crowd and sonic identity check in on each other. Maybe I am being too optimistic but I do feel that to some degree, it is like that.

What do you miss in the Netherlands that you discovered somewhere else, and vice versa?

I miss timelessness during the night. Maybe Dutch people are too responsible and always think about tomorrow, which I do as well. But going into a club, forgetting your sense of time and having the feeling that a party is endless is such a reassuring and nice feeling. You can dwell and talk, chill and shouldn’t feel rushed, or scared about missing acts because you know it's there and you can jump back into it whenever you want.


Let’s spread some love: which musicians deserve more attention in your opinion?

Zohar is a big inspiration, someone who can do it all well, very wide music interest, insanely technical DJ and very unique producer and an all-around good person. Wouldn’t say we have similar DJ styles but I often connect well with people who view music in a similar way and I have that with her.

Beyond the Booth with cccore: A Space Out of Time

What memories come to mind when you think about your early days in the Berlin music scene?

When I first moved to Berlin it was all very exciting to me. I was discovering what seemed like a neverending offer of music and parties to go to, as well as weekend-long club nights, and daytime club parties. I think I must have visited most of the Berlin clubs in my first 3 months. I also remember going to some of the very first Boiler Rooms in Berlin and asking to work at the door as a way to attend the events, which I did for quite a while and was a fun way to get more into the scene.

In our latest Beyond the Booth interview the French-born, Berlin-based DJ and Refuge Worldwide resident 

, shares her journey through Berlin’s music scene and the political roots of club culture. From early days working the door at Boiler Rooms to residencies at Therapy Dog and Refuge, in her sets, she creates deep, emotive journeys that blend melancholy with hope, joy, and resilience, all while rooted in a deep sense of community and connection.

How has your background in France influenced your musical style and identity as a DJ and producer today?

It was very different there, there wasn’t much happening in terms of electronic music where I grew up. But it was also a lot more diy with a lot of off-location parties in random places, warehouses or nature, which was also quite fun.

Can you share a memorable moment from your monthly residency at Refuge Worldwide, Therapy Dog or Kwia?

I don’t know if I have one specific moment in mind, but I love that Therapy Dog has allowed me to meet so many cool and talented artists and invite friends to share the decks with. I honestly have found memories of all of the shows and events, and I enjoyed getting more into my guests’ styles in order to play with them.

How do you navigate the balance between the fluid, melancholic aspects of music and the energy needed for a live set?

I tend to approach my sets as some kind of a story or journey, and I find it important to go through all kinds of emotions and moods. I’m naturally a more melancholic kind of person I guess, so I draw a lot of inspiration from there, but other kinds of emotions like hope, joy, energy, resistance, are equally important. I like to try and convey most of them in a set.

What was the inspiration behind your track released on Early Reflex, and what does it mean to you personally?

It was the very first track that I released and it was a lot of experimentation to be honest. I was already making music for a little while before that, but never managed to properly finish tracks to a point where I felt they could be released. When I got the opportunity to be on an Early Reflex compilation – a label that I was and still am a huge fan of – I knew I had to push myself to try and finish something that I could contribute.

I wanted the track to be more on the introspective side and I wanted it to have some little surprises, FX and ear candies. Since then, I have released more music and feel like my style is evolving, little by little.

What are some personal rituals or practices you follow before a set to prepare yourself mentally and emotionally?

I don’t really have personal rituals before a set, though I like to arrive quite some time in advance to get a sense of the vibe of the party and the people, and to listen to the set before me. It helps me get in the mood, especially if I don’t know the venue or party well. Other than this, I have had to accept that I’m gonna be stressed and sometimes even feel sick haha. But I guess I have gotten a tiny bit better at it.

How do you deal with performance anxiety and the pressure of a live audience?

I know I’m gonna be anxious before a gig, so I really want to try and prepare well – for different scenarios, so that it eases a little bit of the stress of the unknown. As I was saying before, arriving early and just trying to hide in the crowd and dance a bit also helps. Once I start playing, usually when the first few tracks go well, stress and anxiety kinda disappear and it’s more focused and fun.

What role does club culture play in the political landscape, and why is it important to you?

Club culture has always been political. It’s a movement that was born from and belongs to Black people, queer people and people who have been excluded from mainstream society. I think it’s important to always try and remember this as you spend more time within club culture, or if you want to develop a career in dance music. Music is not gonna change the world we live in, but trying as best as you can to fight systems of oppression, and dismantle the current system we live in should be important not only to artists, but to everyone working in this industry (and to everyone else to be honest). This is something I think about very often and try to implement as much as I can in my daily life, and my career.

Let’s spread some love: Which musicians deserve more attention in your opinion?

Honestly there’s so many talented musicians out there that deserve more recognition. But in terms of upcoming producers, I am currently a big fan of the work of Soa420, Small Crab, 5RVZ, Priest5s, Abibi, Maude Vôs and Katiusha among many others.

Beyond the Booth with ophélie: The Activism Embedded in Club Culture

What’s your musical background and how far do you feel you are from it at the moment? Tell us about your journey.

Not too far actually… I’ve come back to playing guitar and bass – that initially got me into music some fifteen years ago. I'd eventually traded that for a mouse, a screen and a timeline which, in the long run, ended up taking much of the joy and meaning from making music away. So I've been getting back to it, recalibrating, learning, practising. Less screen time and clicking around.

 shares his journey of reclaiming his sound. Recently, Phil has returned to guitar and bass, to balance out time spent in front of a screen. His journey has been about finding freedom in self-expression, letting music unfold naturally rather than racing to release. 

What are the most rewarding and challenging things about being an independent artist? How do you think these challenges can be overcome?

Hard to tell, I don't know otherwise and I also don't really think about myself within these terms. It's not that I’ve made a conscious decision to become an independent artist, like weighing the pros and cons or whatever. I just like to do things on my own terms and have them unfold somewhat naturally. And that certainly poses many challenges – but also quite a bit of freedom to do pretty much whatever and whenever you want.

Are you working on any particular piece of music at the moment? Tell us all about your latest music releases. For example, "A Tree For Crying Times," or the Horncore release.

I'm always making music. There were times when I was very very keen on having all of that music see the light of day, often as soon as it got recorded. I mostly did that for my own sake – you put it out there, it’s finished, you move on to the next thing, again and again. This has changed, the race (against my own self) has come to an end. So there is new music coming soon – whenever the timing feels right. Though far more than to release this music I wish to get to play it out live…

What about feedback? Do you worry about what other people think?

I wouldn’t say that I worry all that much but I certainly do care…

Do you think platforms such as Bandcamp, SoundCloud, and social media can help independent musicians? If so, which ones are the best for you?

I think that they make for good servants but poor masters. Which is so obvious – but the risk of becoming a slave to all this without actually realizing or acknowledging it is so real. It can swallow you up. Been there, feeding the beast. I have connected with many great people through these platforms though. Some of them became my close friends, I’m very grateful for that… I guess that’s yet another proof of how much power these platforms hold.

Let’s spread some love: which musicians caught your attention lately? 

F: I've been listening to everything that Valentina Magaletti got her hands in, especially Holy Tongue and Moin whom I just recently got to see live at ICA London. I'm a big fan of Spresso, the joint project of Mica Levi and Alpha Maid. Been rinsing lots of classics, Shellac, Storm & Stress, Slint and Unwound. Some drone – Kevin Drumm, Leila Bordreuil, Sarah Davachi, Tongue Depressor, Éliane Radigue, the whole XKatedral catalogue, Yellow Swans. New MJ Guider. Still House Plants, Klein, Ruhail Qaisar, Jespfur, Milan W., eastworks and Farida Amadou. World of Echo label. Carl Crack, John T. Gast, Christoph de Babalon, CS + Kreme. Windy & Carl and other kranky stuff, Raum (Grouper + Jefre-Cantu Ledesma) and Bowery Electric. Some new, some old favourites.

Beyond the Booth with phil in a maze: Recalibrating, Learning, Practising

You emphasize dance and free body movement through some of your activities, like Dzikie Ciała [Wild Bodies] workshops. What does dance mean to you?

Dance is my gateway to connecting with my body, mind, and emotions. Like yoga, it harmonizes these three dimensions of our being, allowing to explore the depths of our inner selves – a journey that can be challenging. It resembles dreaming, where symbolic language reveals insights into our current experiences and struggles. In this sense, dance becomes a powerful form of expression through the body.

, the Jasna 1 resident who uses dance as a powerful tool for self-expression and healing. In the interview, she opens up about the transformative power of dance, her dedication to equality in Poland’s electronic music scene, and her vision for building inclusive, creative spaces.

Wild Bodies is a project initiated by Marta Ziółek, an artist, choreographer, and performer whose work delves into corporeality, self-creation, collectivity, and the strength of femininity. I extensively analyzed her work in my undergraduate thesis, which significantly influenced my theoretical exploration of choreography and performativity, ultimately shaping my research on social choreography for my MA.

Marta invited me to create the musical layer for the workshop, which unfolds live. I blend ambient and meditative music during the grounding segment, then transition to various styles of club music, tailoring the soundscape to the chosen narrative and dynamics. This approach parallels the collaboration between Frederic Gies and FIEDEL, who have been working together on the Dance is Ancient project for several years.

The workshop begins with the aim of fostering a space for the celebration of free bodies, focusing on community-building and the transformative power of dance. We integrate elements of dynamic meditation, footwork from club and street cultures, and trance dances, exploring diverse movement dynamics, forms of physical expression, collective resistance, and shared experiences in movement.


Can you discuss the potential therapeutic effects of dance and movement on mental health and well-being, as observed in both personal experience and scientific research? How does it translate or transcend into electronic dance music spaces?

I won’t reference specific studies here, but there has been research exploring how our bodies synchronize on a biological level when we dance together in the same space. The endorphins released during dance enhance our tolerance to pain and stress, and there are investigations into dance as a therapeutic tool for trauma recovery and conditions like Parkinson’s disease. Dancing to electronic music taps into our primal instincts, with synchronized bass frequencies that can induce a trance-like state. Much like meditation, this experience has the potential to cleanse and help us process what we wish to release.

For me, movement is essential for experiencing and transforming emotions. I engage in yoga, running, and Thai boxing, and I recognize that my well-being relies heavily on these practices. Dancing, especially within a community, is profoundly liberating. While it’s not always a euphoric experience, the right conditions can create moments I recall as some of the most beautiful in my life.

Philosophers of phenomenology, such as Max Scheler, have explored how we sensually connect with others, often concluding that such moments are limited to sexual experiences. I would argue that those rare and precious instances of shared euphoria on the dance floor also deserve recognition in this context.

I saw you reference Joseph Beyus’ work in the past. If you were to draw inspiration from his performances and translate them into a nightclub setting, what elements or concepts would you incorporate?

I’m particularly drawn to initiatives focused on community building, social utopias, and fostering sustainable change through art. As he once stated, “To form the social order like a sculpture – this is my life’s task and the task of art in general.”

I admire Beuys’ projects, such as the Free International University for Creativity and Interdisciplinary Research (FIU), which he founded in Düsseldorf in 1973. This alternative educational institution aimed to provide free access to learning, promote interdisciplinary exchange, and nurture creativity to help build a better society. Another remarkable initiative is 7000 Eichen – Stadtverwaldung statt Stadtverwaltung (7000 Oak Trees – Reforestation of the City Instead of City Administration), which he developed for the documenta 7 exhibition in Kassel.

Both in these endeavors and in his more “object-oriented” works, such as those involving felt or performance, there’s a simplicity that resonates deeply. They powerfully articulate the emotions, needs, and longings we all experience but often struggle to express.

Can you share insights into the creative process behind your sets, from initial idea to execution on the dancefloor?

The approach I take to building sets always depends on the purpose and circumstances, but I used to create them with a strong narrative structure. Early in my DJ career, I often arranged tracks meticulously, especially when I wanted to prepare thoroughly. Now, I lean more towards an intuitive flow, but I find myself increasingly drawn to constructing sets that emphasize the nuances of sound and dynamics. I enjoy shifting the atmosphere frequently, blending genres, and experimenting with different styles.

I’m particularly impressed by DJs who can build tension and create seamless mixes that feel almost effortless. Moving forward, I plan to focus on refining this aspect of my DJing while also expanding my vinyl collection, potentially with a greater emphasis on techno than before

How do you balance between fulfilling audience expectations and challenging musical boundaries when making selections for a gig in Poland?

Lately, I’ve been reflecting on how my inspirations and musical innovations primarily stem from the West – broadly speaking – particularly from the bass and house scenes of British and Berlin-centric techno, along with a handful of labels and artists from other European countries. Charting my own course beyond these influences isn’t easy; it demands significant time dedicated to digging for and listening to music.

Nonetheless, I’ve found that what I present in my sets is ultimately filtered through my taste and intuition, allowing me to craft a unique narrative from the combinations I choose. I believe a DJ's role is to promote new music, share the fruits of personal exploration, and highlight timeless gems, all while balancing these elements to create an enjoyable, captivating experience that reflects my own vision and resonates with the audience.

How has the Polish DJ culture evolved over the years, and what influence did it have on shaping the music scene?

I recently wrote an article exploring my perspective on club culture in Poland, coinciding with an exhibition about Warsaw's clubs in the 1990s. One of my central arguments is that this culture, like many others, encompasses multiple aesthetic and ideological dimensions.

In Poland, we observe a division between the techno scene that aspires to the Western model and a native scene rooted in the rave tradition, particularly inspired by the iconic Manieczki club in the Wielkopolska countryside, with Wixapol as its primary representative. The recent premiere of the documentary “Rave” has sparked a debate highlighting the aesthetic tensions between these two communities.

This situation reflects the classic divide between mainstream and underground cultures – those who view music as pure entertainment versus those who see it as a platform for political engagement. We also grapple with the commodification of the electronic music scene and the lack of systemic support. However, I deeply appreciate the vitality of our community, marked by the emergence of new, youthful collectives and the enduring presence of major festivals like Up To Date in Białystok. These events remind us that our community is vibrant and essential. Many individuals are tirelessly working at the grassroots level to shape, develop, and professionalize this scene.


How do you see the gender balance and representation of women and queer artists within Poland's electronic music scene today? You’ve been active in this matter yourself.

Since I began organizing events with the FLAUTA collective, which includes benefit events for those with refugee experiences, I’ve consistently aimed for an equitable representation of women and men in the lineup. Eight years ago, achieving this was nearly impossible, but today, the landscape has shifted significantly!

Awareness is evolving, thanks to the dedicated efforts of various bookers, promoters, and artists, particularly the Oramics collective, which has long championed the visibility of women and queer individuals. While I still encounter lineups that feature only men – something I always notice – I see this as part of a broader issue of political engagement. There will always be those indifferent to ethics in club culture, unwilling to advocate for parity. Fortunately, change is on the horizon, and the increasing presence of women and queer people in the scene makes it impossible to overlook.

What role do local clubs and venues play in helping new talent grow and build a sense of community in Poland's electronic music scene?

I believe that clubs with regular programming are vital for sustaining and developing the scene. Unfortunately, we’re currently facing a crisis in this area, especially in Warsaw. The number of places to party is dwindling to just a handful. The cooperative club Pogłos, which once hosted a wide range of initiatives and collectives, has succumbed to gentrification and the pressures of developers. Meanwhile, clubs like Jasna 1 are often undervalued, and the future of newer venues like K-Bar Powiśle remains uncertain.

Reflecting on the current situation in Georgia, I wish we in Poland would better appreciate the opportunities, freedoms, and economic conditions we still have, especially considering how recently they were threatened by the pandemic. On a brighter note, the scene of collectives and independent promoters is quite dynamic, with new DJs and producers continually emerging. The Ukrainian community also plays a significant role in energizing the scene. I hope that in the near future, we can focus on uniting and supporting the venues we have, rather than allowing further divisions and complaints to arise.

I recommend keeping an eye on the works of Earth Trax, Rethe, Yes Stanley, naked relaxing.

Lastly, how do you reflect on the current political situation in Poland? And how does it affect you personally?

I live in a metropolitan bubble, yet the last eight years under the right-wing Law and Justice party have profoundly impacted me, as well as many women and members of the LGBTQ+ community. We took to the streets during the Black Protests to voice our outrage over limited access to safe abortion, inadequate sex education, and proposals to make the morning-after pill illegal. Such regressive measures in the 21st century have left us feeling angry and fearful, deprived of our rights to make decisions about our own bodies. As someone involved in the arts, I have also been affected by the political changes within cultural institutions.

Fortunately, following the elections last October, we are witnessing a shift. Key directors at major Polish museums are being replaced, and new competitions are being organized – bringing a long-awaited sense of relief, though it still feels hard to trust this change. The unification of the opposition is being likened to the events of 1989 and the rise of "Solidarity." However, no one is naively optimistic that everything will improve overnight. Politics remains deeply intertwined with the Catholic Church, and issues like the lack of civil unions, same-sex marriage, and legal abortion continue to loom large.

Moreover, a humanitarian crisis persists on the Polish-Belarusian border, where refugees, often caught in dire situations due to Lukashenko's actions, face severe hardships, with only activists and NGOs stepping in to help. Poland is increasingly divided, with two radically different narratives emerging, and nationalism is gaining strength, reflecting trends seen throughout Europe.

Beyond the Booth with daisy cutter: Dancing as an Atavistic Experience

Domi, can you tell us all about your latest music release? Are you preparing something new?

One of my latest releases was for the YUKU label, a VA called 

, meaning "local fauna" in Czech. The tracks capture the aesthetics of 10 different artists—either Czech natives or creators residing in the country. My track is called "TTT," and it fuses elements of Latin music with bass-heavy electronic sounds.

 by Max Dalhaus x Kronom, released on the UNIZONE label. This remix has a tense, post-apocalyptic atmosphere and is a sonic equivalent of a rolling boil. It was my first remix release, but I was very comfortable with it, and I will definitely keep doing remixes as well.

We’re thrilled to kick off our Beyond the Booth series with 

, a Slovak artist based in Prague whose music blends emotion and technique. Her sound is constantly evolving, shaped by diverse influences from Latin rhythms to deconstructed vocals. In our interview, we had the opportunity to dive deep into her creative process, inspirations and how she always pushing boundaries.

I just finished a track for the next VA for my beloved YUKU label again, featuring very cool producers, and I am really excited about this one. I’ve also started remixing and working on a few tracks for some upcoming compilations on international labels. I am considering my first album, or at least an EP, for next year, but it's hard for me to put all the material together and create some kind of story that aligns with my imagination.

I am slowly preparing for my first live set, but I am struggling a little bit with technicalities, so I can't say when it’s going to be ready.

What’s your routine? Are you the perfectionist tweaker, or do you have a more spontaneous approach?

Oh God. I am a big perfectionist in my production—sometimes I wish I could take it easier because it's crushing my productivity—but I am slowly learning to change. I am trying to strike a balance between perfectionism and spontaneity. I am more spontaneous in my performances (DJ sets), which I approach without any limitations, and I really enjoy each moment. I love to mix fast!

So, in a way, I'd be a perfectionist tweaker when it comes to polishing my work, but spontaneous in the initial creative stages. It’s all about finding that sweet spot where discipline and creativity feed into each other.

What are your tricks for maintaining inspiration and creativity over time?

I often listen to music outside of the genres I play or produce. This helps me open up new perspectives and ideas. When I want to learn something, it's easier to take a reference track I like and try to listen to what makes the work timeless. Collaboration with other producers is also important for me. I’ve found that it leads to spontaneous creativity and new approaches. Right now, I’ve started collaborating with a few artists whose style is different from mine, but I see music from a new angle and it helps me find new strengths and styles.

Another trick is to record my ideas. They can come anytime during the day, so I try to make a note on my phone so that I don’t forget. When I first started learning music production, I created every sound from scratch, but now I incorporate loops and samples to create something new or to get inspired by unexpected sounds. I love deconstructed vocals! I even play with my own vocals where I try to sing, but oh God, it's really hard to mix them.

Last but not least, I try to stay connected to my passion, always reconnecting with the initial spark that got me into music-making.

Another trick is to record my ideas. They can come anytime during the day, so I try to make a note on my phone so that I don’t forget. When I first started learning music production, I created every sound from scratch, but now I incorporate loops and samples to create something new or to get inspired by unexpected sounds. I love deconstructed vocals! I even play with my own vocals where I try to sing, but oh God, it's really hard to mix them

Definitely my emotions, but also many iconic musicians. I would mention SOPHIE. I love her deconstructed, metallic sounds and vocals. Even when they’re pitched or shifted to sound brighter, they still sound super clear and human. I deeply value that, as I believe at the heart of every song is the desire to be a vessel for connecting with an audience. She consistently communicated so much, and it was always done with great generosity.

When I hear a unique mix, innovative production, or a fresh track from other artists, it helps me push creative boundaries as well! From time to time, I check out music on labels like NAAFI, Swine Daily, or Slagwerk. I’ve found many inspiring bangers there.

You’re a producer and DJ. Which role do you prefer and why? How do these roles complement each other for you?

Slowly, I’ve become confident in both roles. I can express myself more through music production. I struggled for a long time with DJing because when I was playing tracks from my favorite producers, I would analyze them too much, get distracted, and couldn’t focus enough on DJing.

I found my footing in DJing when I started playing my own productions. It went hand in hand, and I was super happy about it—especially when I saw people dancing and enjoying themselves.

How do you handle moments of indecision when selecting tracks? Or is the process seamless for you?

I try to read the crowd and trust myself and my instincts. Sometimes it's just freestyle, sometimes I prepare a tracklist, but it depends on the situation. I always have a backup tracklist just in case.

But I usually adapt to the moment and go with the flow. Since I mix different music genres, it’s challenging but also very satisfying because I push my boundaries and learn to find the sweet spot between the tracks.

Can you remember the first time you felt confident behind the booth, felt the energy from the crowd, and realized “this is it”?

Oh, it was for sure at the Maldades event curated by Miss Carriage in Ankali. I was playing before DJ Babatr, and I had never experienced such a nice feeling from a set. I think the audience and my friends really helped me to have this feeling. I was very happy and energized after my set, and I appreciated every second! I truly found my confidence there.

Which set or venue has been your best experience so far, and why?

Each venue has been very special and created an intimate, powerful experience for me. Performing at legendary clubs like Jasna 1, RSO, Garage Noord, and Ankali was a big honor and very exciting. The intimate settings, combined with great sound systems and passionate crowds, created the perfect environment for memorable sets. The unique character of each venue also allowed me to explore different aspects of my musical identity.

It's not been that long since I started playing B2B. I’ve only played with my boyfriend (A+++), and even though it was challenging in the beginning, I really enjoyed playing with him. Our music tastes are a bit different, but every time we played, we found the sweet spot. I would love to continue B2B-ing because, as I mentioned before, it gives me new inspiration and skills.

Lastly, let’s spread some love: which musicians do you think deserve more attention?

I appreciate every person who starts making music because I know the hard work that goes into it.

From international musicians, I would mention the Argentinian Pondus and the Milan-based St. Grimes and Miss Jay. Their productions and DJ skills are just fire! From my home country, it's definitely DJ Gap, Isama Zing, and the new blood on the scene, Zaffer9 (witch house doom hyperpop). From Czechia, I’d love to mention Evil Medvěd, count, Ancestral Vision, Exhausted Modern, gl meiny, and last but not least, BoLs/sLoB.

Beyond the Booth with domizako: The Dance Between Perfectionism and Spontaneity

 Berlin is an association that is coming up with a solution in the German metropolis. Their task is to represent and promote the interests of the club scene and the entities that create something in the night industry. "In a recipe for a vibrant and healthy city, you need to have a creative community that you both value and support. If you think these people are just creating problems, it's wrong," says Clubcommission Berlin spokesman Lutz Leichsenring in an interview on urban space and dance culture.The association, which has been operating in Berlin for over 20 years mediates needs between the city and the scene, sits at the table when decisions about the metropolis are being made and at the same time helps a new generation of young promoters at home and abroad.

Berlin is considered one of the most iconic cities of club culture. Even though the eastern scenes are incomparably smaller, there are things that unite both worlds and importantly things that smaller scenes can learn from Berlin. For example, the need to defend their activities in front of the city authorities or to prevent decrease of creative space.

Can you briefly describe how Clubcommission Berlin works?

Clubcommision is a structure that uses holacracy model, (decentralized management dividing authority into self-organizing teams, so ed.) and we are divided into working groups that organize themselves. There is usually one elected member of the board who leads the group and then we have employees that are managing the working group when it comes to protocols, invitations or meetings with the partners we want to talk to. This is somehow the way the individual working groups are set up and then, depending on the working group, they meet regularly and address their issues. For example, a working group for space meets every two weeks.

How many members Clubcommission has and what are the criteria for them?

We have 330 members who are divided into three categories. They are club owners, then club promoters who organize club events and then we have festivals that kind of have their own ecosystem. There is really only one fundamental criterion for becoming a member - you have to be part of a system that is creating nightlife. So it's not just about being part of the night time ecosystem because there are also casinos or table dance bars etc. For us, creating nightlife means that someone works with art and creates a system and space. You are not only curating your programme but you are also cultivating your audience. This means that you have a certain idea of ​​who you want to have there and at the same time you also think about what you are presenting to your audience. I think that's the main thing that makes our members unique. It's really about the idea of creativity being curated.

How do you collaborate with foreign scenes and cities?

I run a global consulting organization called 

 that helps build club commissions and establish night mayors all over the world. We always have to find a good model for each city that works best for it. Sometimes a suitable position is within the government such as the night mayor and sometimes it is outside like Clubcommission. Every city is different, so we have to always find a model that will have the best impact. In this way, we helped to establish a representative organization in 70 cities. We also do various foreign studies. For example, we have now conducted a “Creative footprint” study in Stockholm, which measures creative space to examine the cultural value and impact of music and nightlife in the city.

At that time, we only heard about it from the media when it was already too late for anything. But today we have a platform called Clubkataster. It is basically a map where you can see various clubs and music venues and in addition it marks in real time where the city has a new pledge and planned development. As a result, we are warned of possible conflicts and get alerts at an early stage. In this way, we can connect at-risk clubs and for example support their participation in urban politics.

But it is an ongoing topic and we are a bit victims of our own success. Because we are moving to places where rents are low and development is still in the process. But at the same time, we are attracting people to live in these places. So we are partly the reason why gentrification is happening.


Can gentrification be beneficial for nightlife in some way, or is it always a killing force for the scene?

I think that now, after the covid, we have opportunities that we did not have before, thanks to gentrification. For example, people tend to buy things online and they got used to it. So the question is, what will happen to all these shopping malls and retail stores that people no longer go to. Before the covid, we thought that maybe they would turn into offices, but now we see that people work from home and they don't need offices that much anymore. So the discussion about what is happening now inside the city is very interesting and it raises questions about what brings vibrancy to the city. When it's not the shopping part that is the vibrancy attractor then it needs to be culture. But that's easier said than done so we must sit at the table and we must have our representatives there when big decisions are being made. We need to be in dialogue with the real estate industry and with local authorities, and we simply need to come to the table with a clear idea of ​​what we want to do. But I don't think we're there yet.

The structure of the Berlin Clubcommission is more professional than anywhere else in the world, but we still do not have people sitting at the most important meetings. Sometimes we are invited, sometimes not. It's very coincidental. We need to be professional all the more now and know exactly what we want and what our vision for the city is. At the same time, we need to educate people who are in charge of those places. We need to give them insight into what can actually happen there. It's really sad to see how the real estate industry thinks about those places and what they are suggesting - a coffee chain here, a mall there. They do not think about something completely new. They have no imagination or they think it's too risky. That is why we need to have this debate.

How did communication with the authorities look like before Clubcommission was on the scene?

We have been here for over twenty years and I think that before that everyone fought for themselves. There was no contact person for the public or for the government. This was problematic mainly because the public and politicians followed only the assumptions and what they heard, but no one had any data or information. So what we are doing today is creating a voice for everybody and organizing a lot of research at the same time. Especially during the coronavirus crisis, we knew exactly who was in danger and what the main problems were.

How did covid change the behavior of visitors and the challenges for Berlin club culture?

I think it's too early to say. It has only been open for not that long. Of course there are a lot of people at the moment and the queues in front of the clubs are really long and the venues are crowded. But otherwise, I think it's really too early for this question, everything will turn out in a few months.

What does a vibrant urban space that is friendly to music look like? What are its main pillars?

I think you have to have three basic pillars to create a recipe for a living city. You need to have a creative community that you also cherish and support at the same time. If you think that these people are just creating troubles so you illegalize them and criminalize them. I think it is the wrong way. Misfits and people who are unconventional must also have their place in a lively city. So that's the community.

The second pillar is space. You need to have an affordable and accessible space where people can meet, rehearse, gather and perform. Without such space you will not have vibrancy.

The third pillar is then the right framework for the conditions under which people in the city can operate. You need to have the right policy and laws that are supported. For instance, to have a 24-hour city that does not have a curfew. It is a very artificial idea to tell people when to go to bed. It only causes problems. People will binge drink until the curfew and then take to the streets and cause a lot of trouble.

Another thing is public transportation at night, so that trams and buses are available even after midnight. People need to go home at some point, so this is also something which needs to be taken care of. The third pillar also includes the city having an organization or commission, such as Clubcomission or the night mayor. To represent the interests of the scene, moderate the discussion and translate the needs of one or the other. Maybe then also something like a music board that will be funding experimental music and various movements emerging from below. If you do not support people who do more alternative and thus financially risky projects, you will have a very commercialized nightlife.

Politicians are constantly changing because of the elections, while the aim of the Clubcommission remains the same. Is the fluctuation of people in the positions of city authorities something that makes it difficult for you to communicate your needs?

Yes, in some cases it is a bit more complicated, but in some other cases it is also good. Because maybe we did not have a good contact person there yet and then thanks to the change in staff due to elections we can work on that. For instance during the last fall elections we offered new members of parliament a tour through a nightlife. We invited representatives of all political parties and gave them a somewhat of a guided tour. In a few days we also have a meeting with representatives of political parties and club spokespersons. Every political party has a person who takes care of the creative industries and the music scene. We invite these people together and have open discussions together with them and with our board. In addition, no drastic changes took place in the Senate last year and the same political parties remained there. A few people changed, but it was nothing dramatic.

What are the basics that can less developed club cultures learn and implement from the bigger ones like Berlin and Amsterdam?

I think it is really important to create one voice for the scene, so you can have a mutual understanding for each other's needs. It is also important to create a paper that gives recommendations to governments. I think it is really essential that there are not too many voices with different opinions, but that you create one voice. Even if you don't agree on everything together you can actually agree on certain things and they need to be addressed to the public and to the politicians.

Is there anything that club cultures in cities, which don't really have to deal with a decrease of creative space yet, can do, to avoid this issue in the future as much as possible? Are there any general ways that could possibly lead to the prevention of decreasing creative space?

There is a need to create a vision for inner cities. I think it is important and necessary that you involve all the stakeholders to align on a vision. In the debate over the various possibilities there should be people that are running the spaces as well as people that own the spaces and the government. I think it's something that needs to be discussed. For this discussion of course, you need to sit at the table and represent the interests of the creative people. I think that this also means that you need to organize yourself, you need to create a voice. Then you can sit at the table and discuss the creative space. Essentially it is about creating a vision for inner cities and not just let the investors and developers do whatever they think makes the most money.

What are the signals for a city and its club culture that they might need a night mayor or its own club commission?

An important sign that you need a club commission or night mayor is when rules and regulations are implemented that really hurt the creative community. For instance if you decrease the amount of buses that are running at night or if you limit the opening hours of venues with a law. When there is something happening without any dialogue with people it is when you can say oh wow I think we need a counterpart organization that opposes those decisions and maybe describes alternatives or organizes protests or whatever is necessary to do. I think signals are there all the time because night time and economy around night culture affect so many different aspects in city development. There are signals everywhere.

How can clubs and venues strengthen their position in the city, in a case that they don't have any organization behind them yet?

What we recommend for cities that don't have a night mayor yet is to go through six different steps. The first step is to get inspiration for what other cities are doing. To really learn what are the solutions for certain problems. Maybe also do delegation trips to those cities or invite people over to conferences where they speak about things. It's really about inspiration.

The second step is assessment. I think it's really important to have data and information to make your point. Search for everything you can find as secondary data or do research or surveys. Every data and information that you can get hold of is important.

Number three is awareness and creating awareness. It's about discussing these topics and discussing the numbers that you researched with stakeholders and city government and also media people to create awareness that there is actually a problem in your city.

Number four is about creating an action plan. Action plan is a manifesto and milestones. It's maybe a certain paper that you publish where it says: these are the things that we need to change and this is how we want to do it.

Number five is about access. Because if you have a plan and you create awareness you need access to decision makers. Access is about having a night mayor, having a person that represents you, having an organization that is speaking up.

Number six is education. Lot of problems that are caused is because there is a lack of education on the city side as well as on the community side. Education is really about the start of networking and about learning from each other, about know-how transfer but it can also go into having experts at the table and educating others. That would be our six steps approach for a change.

In order for an open air event to take a place in Berlin promoters must have a special permit from the city. Is it hard to get it?

I think it got a bit easier than it used to be. During covid, when the parties could not happen inside, it became more clear to the authorities that the people that are doing open airs have good intentions and that it is not about making noise, litter and creating problems. As a result, the public became more aware that open air events are part of a culture that just wants to have a place in the city.

But yes, when it comes to public space, there are many interests. At the same time, there are many interests that go against people who want to have a party in a public space. It's always about discussion and dialogue. This question is not so easy to answer, because it varies depending on the city districts and the areas of the individual districts. For example, when it comes to a park, it is more problematic than when it comes to a private place. Generally speaking I think the problem is that these promoters and events are not legalized and lie in the gray zone. They do not want to be illegal, but there is no right legal framework. It's not like you will just apply for a license and then you automatically get it. So it's happening illegally because there's no other way. But we are getting closer and closer to the point where the city provides us with certain spaces specifically for this culture. It would then be possible to use these spaces under certain conditions. For example, the organizers would have to take good care of it and let the city know in advance what they are planning. It's on a good way.

So is the right legal framework being prepared?

It has been worked on for several years now, but it's really not that easy. But I think that as long as there is some dialogue and some ongoing process, there are less complaints and less tension. So let's hope we're on the right track.

#interview archive

Beyond the Booth with bijū: The Struggle for Unity

Beyond the Booth with cccore: A Space Out of Time

Beyond the Booth with ophélie: The Activism Embedded in Club Culture

Beyond the Booth with phil in a maze: Recalibrating, Learning, Practising

Beyond the Booth with daisy cutter: Dancing as an Atavistic Experience

Beyond the Booth with domizako: The Dance Between Perfectionism and Spontaneity

Lutz Leichsenring: United voice and vision prevent decrease of creative space

Interview with Temporary Pleasure

Interview with Olaf Boswijk