For a big movie buff and passionate record collector as 

 it is only natural to own a music collection with a big section of original movie soundtracks and scores. Awaiting the perfect opportunity to put them to use has arisen and we can now delve into a 70 minute journey through the artist’s beloved cinema sounds. We’ve also spoke with Dtekk – née Jędrzej Dondziło – about the mix and his life as a local patriot of Białystok.

Taking us on a sci-fi drive through his favorite stellar systems, Dtekk has recorded the 13th episode of our podcast with stuff he almost never pulls out of his record bag in a club.

Tell us a bit about your podcast. How did you approach it, how was it conceived? Which movie scores and soundtracks are included in the mix?

I have a considerable collection of records that are “redundant” from a club-DJ standpoint. It’s been quite a while since I had a turntable at home, so I missed playing them a lot. Movie soundtracks, combined with my recollections from a movie, usually convey different emotions. I thought it would be a challenge to make the mix coherent in terms of both sound and emotions. The mix combines lots of my favorite movies’ sonic moments, eg. Alien, Interstellar, The Fountain, as well as sound design from the third season of Twin Peaks – a TV series that shaped my sensibility in a major way.

Have you been watching a lot of movies recently? What were your favorites? What would you recommend and why?

I love science-fiction movies so no wonder that my recent favorite is Villeneuve’s new Dune :) I’m glad this is not another action-movie aimed at reaching blockbuster status. Same with his sequel of Blade Runner - Blade Runner 2049. Amazing.

Are there any movies which you think are good only because of their music? What are your most favorite film scores and film soundtracks?

I don’t think I have ever had such a conclusion. At least I can’t think of any movie like this at the moment. Among my favorite OSTs and scores are Angelo Badalementi and Dean Hurley’s Twin Peaks (of course), lots of Phillip Glass’s work, some Clint Mansell's, Hans Zimmer’s work. I think there’s no surprise here. I love this kind of music, as it takes me on such trips as ambient music does. It makes my mind at ease, stimulating it very much at the same time. It’s usually very uplifting and comforting.

As a DJ you have a very wide range of genres you can cover. How do you make decisions on what styles and genres will you play at an event? Were there any genres for you which you thought you would never listen to, but you ended up building affection for later anyway?

Generally, it is the promoter / booker that makes that decision for me usually haha. I like taking some detours though, usually in my techno sets. My electro sets are never only about electro, they often include ghetto house, acid, or raw, funky techno elements. A few years back I wouldn’t think I’d enjoy amen breaks this much in the future. After decades of neglect, jungle and bass music in general, has sneaked into my life and it gains more and more territory :)

What does it take to have 'the perfect' night for you at FOMO club? Tell us a bit about the club itself. How are you managing in these times?

You touched on a very vast topic – I don’t think I can sum up the club in a few words, as the foundation that we’re building it on is something that is usually not taken into account when starting a club. For us FOMO is more than just a venue – it's a vision stretching far beyond the typical activity of a music club. Our programme, visual identity and communication rely on quality and attention to detail, with each one as important as the other. Our mission is spreading awareness – musical, artistic or social – and our main goal is building a strong local scene and cooperation with the "Eastern Bloc", with our friends from Lithuania, Belarus and Ukraine. Despite (unfortunately) opening our club just 6 weeks before the first national lockdown, we don't compromise and still believe that creating a valuable venue like this requires integrity, consistency and determination. We are very proud of what we’ve achieved so far, but we well know that there’s still even more work ahead of us. With the pandemic taking away a year of our life (and earnings), the club's situation is very shaky. We are convinced, however, that the struggle will be worth it.

The perfect night at FOMO? A night at which the right people coming lose themselves in music and in conversations with other like-minded people. A night accompanied by open-minded people who are coming to get to know our world, and are falling in love with club culture.

What are your plans for the future of Up To Date festival? What are your biggest dreams yet to be accomplished there?

Frankly speaking, my dream is to survive and get a shot for development of all the ideas that we’ve had to put aside for better times. Although we managed through the pandemic with no break in throwing editions, it damaged us in many ways. There is also a bright side in all of it – UTDF has built a trust among its audience with the line-ups we have. People don’t expect recognised names that much anymore. I hope we will maintain the freedom in programming while still being able to gather new passionate people around the festival.

Do you consider yourself a local patriot? I can imagine making a living off running music events, especially in a city as large as Białystok, can be challenging.

I am definitely a local patriot. Long time ago I made a promise to myself to make things work in Białystok and it has been a crazy ride. Just before the pandemic the things started to look very promising, as we had the 10th, the most successful edition of Up To Date Festival and we opened FOMO, which took off in a very enthusiastic way. 6 weeks later, when the first lockdown came, the collapse started… So the biggest challenge is to work hard to get back the moment we had back then. What is more, we need to face all the changes in culture and the scene that came with the pandemic times. Some of them may last long, some may stay with us for good...

Gravity Podcast #13 – Dtekk

“Sizova’s funky mood basement comfort zone party mix” –– Elena’s title for the recording says it all. We've briefly spoke with the artist in a short Q&A below.

After a short break we’re back with the 12th episode of our podcast contributed by Elena Sizova.

Hello Elena! Tell us a bit about how this mix was born. Where and how did you record it? What was your approach to it? How do you feel about it after it’s done?

The mix was born at my home studio, with all kinds of electronic music gathered from tracklists of parties I played in November and December. The podcasts I make home and the sets I play in clubs differ – it's weird for me to play bangers home alone. But this time I decided to find a compromise. As a result I had fun. Let’s call it “Sizova’s funky mood basement comfort zone party” mix.

These days I’m calm and relaxed, enjoying life in general.

In the last 2 years you performed mostly in Belarus and had a couple of shows in Russia, due to the limited traveling possibilities: Did this somehow infect your sets?

Yes, my traveling possibilities are very limited at the moment, indeed. But I’m trying to find a solution to this situation. It didn’t infect my sets at all – I like to play with the mind of a listener doesn’t matter where.

Are you able to discover new places and things in these times? If so, what were the highlights?

With the pandemic and limited travelings I became very introverted so I spend a time mostly home – working on myself, music, reading a lot. If I were to talk about places, my highlights were those couple shows in Russia. My first experience playing for such a huge crowd (around 7000 people) at Signal festival, then nice club Mutabor in Moscow, and a weekend at one of my favorite cities St.Petersburg.

Where do you find inspiration for producing and writing new music?

Gravity Podcast #12 – Elena Sizova

Lokier recorded the mix at home during the recent “light lockdown” in Berlin and while she decided to go for a “more chill vibe than usual”, her set is still strikingly effective and doesn’t pull any punches. We have checked in with the Mexican-born artist in a short Q&A below.

Lokier delivers the 11th episode of our podcast, a series of mixes introducing the Gravity Artist assembly. Recordings made at home, in the studio or in a club. In and out of lockdowns.

Hi Yoan! How are you? Where and how are you spending these cold winter days?

Hi! I’m doing good, thanks! I’m home right now and I’ve been here most of the time since all my January gigs got cancelled because of Covid. I’ve been trying to use this time to work on music and taking care of myself (eating as healthy as possible, going to the gym).

You’ve recently performed at the massive Amelie Lens’ Exhale event for thousands of people in Athens. How does it feel to play for such a massive crowd and how was this particular experience for you? Did you already get used to standing in front of such a large audience?

It was amazing! I didn’t even know that it was going to be such a massive crowd until I started playing. I started early so when I got there it wasn’t too crowded, and then at some point during my set I looked up and I saw the room full and I was blown away. I’ve only played a few massive shows before and I love it. It’s very impressive to see such big venues with all the people and lights, it’s a bit overwhelming but in a good way. Somehow I don’t get more nervous than when I play smaller parties, I guess because I always try to give as much as I can to the people.

You’ve also recently released an EP titled 

 on Amelie Lens’ Lenske label. How did your collaboration with Amelie come to happen? Why ‘Back To Life’?

It was during the last lockdown when I saw that Amelie included my track “Shadow” on her Spotify playlist so I wrote her to say thank you. We talked for a bit and then she asked me to send her some music. I worked on a track that she liked and shortly after she asked me if I wanted to be part of Lenske. I didn’t expect it at all, I was super excited.

I named it “Back To Life” because when I was working on the EP I developed tinnitus so I had to stop working for months. We were in lockdown so it was easier to avoid music for a while. Amelie was always very understanding and supportive and she gave me time to recover. When I felt better I was finally able to finish the EP and I really felt like I was coming back to life!

 label in 2020 but since your initial release, it’s been quiet over there. Have you encountered some setbacks?

Since I released my first EP on Light Strike I’ve had many work offers and proposals and to be honest I’m always super slow when I work on music. I hate that actually. Sometimes I can spend months without being able to get inspired. I definitely want to make a second EP but it’s going to take a while.

You were born in Mexico and you have lived in Barcelona and Berlin. Where is your home?

It’s hard to say. I definitely feel like Berlin is my home now but Mexico will always be in my heart. I miss it a lot sometimes, that’s why I try to go back once a year.

Do you follow the Mexican scene? I’ve read that your performances weren’t very well accepted there in your beginnings, but I also hear that the scene has changed a lot recently. Do you think Lokier could find a music homebase there now?

I don’t know too much about the scene now to be honest but I’ve noticed that everytime I go back there’s always a new party or club or even new DJs that I didn’t know before. I think there are more people that like the music I play now, at least I’ve had really good experiences and gigs in recent years. I don’t think the scene for the music I like is still big there but it’s definitely growing.

Can you recommend some of your recent horror cinema favourites?

Oh, to be honest, since my tinnitus developed I’ve been trying to relax and meditate a lot because when I get a bit stressed it gets worse. So sadly I’ve had to avoid horror movies for a while now. I think the last one I watched was Us by Jordan Peele. I loved it. The acting, shots, costumes, and the music are amazing. I even had the chance to go to an Us-themed haunted house in Universal Studios haha, and it was super cool!

Gravity Podcast #11 – Lokier

An intimate gathering of close friends as compensation for the original plans intended for the public. That is a scenario we’ve become quite familiar with in recent times, maybe even accustomed to and comfortable with. In a short Q&A with Marie Pravda we talk about the plans and ideas that worked, some that didn’t, and those yet to be fulfilled.

With the latest measures forcing Marie Pravda to cancel her party, she met with a small group of friends instead and recorded the 10th episode of our podcast.

 we spoke, we talked about you becoming a ‘sort of a happier person’, in part thanks to lockdowns. How are you now, six months later?

The nice thing about those times during the first lockdowns was that I was having enough time to calm down and deal with some issues in my mind. That really helped me and made me sort of a happier person.

To be honest I am not holding up so well this time. Some obvious fragments of reality are disturbing my sense of freedom and I can feel that something has changed in my perception.

My close circle friends are also going through their shit and we are all helping each other, but I can feel that the level of the energy of each of us is going down. At least it's a good setup for making changes ))

We also spoke about music as a language and how you were still not sure how to handle the ‘happier’ emotions in your DJing.

That I still don't really know, but I progressed towards tracks with a richer sound. More psychoactive in a way and they feel much more kind. That is the sound I like to play right now.

I believe this mix was recorded in an interesting setting. What was the occasion? Paint us a whole picture.

Long story short: It was December 17th, a day on which we were supposed to have our party called Transcendanz. It got cancelled because of governmental restrictions, but we decided to meet anyway in an intimate circle of people in Studio410 in Brno. And I suggested that we should start our evening with a whole pill like we used to when we were younger, and then I started to play. And the rest…you get the picture. We all played and ended up listening to records even after the sun came up. Truly a super nice afterparty. I think the recording sounds like it ))

You’ve started two, more or less regular, club series – Planeta Pravda and Transcendanz. You don’t seem to be short on ideas for clubnight concepts and bookings. How did they go?

It all stems from an urge to provide an experience for the visitors of the party as well as for myself. When I felt the energy flowing among the dancers at the first Transcendanz party, I decided to keep at it and do more.

We formed a creative group consisting of me, my best friend Anita, my brother Vojta and my best b2b partner Mikuláš aka Kosmic Skaut. Transcendanz emphasizes the trust-building between us organisers and the visitors. We just want everybody to have the kind of experience from which you can live off during the following days, including us. It is not about drawing people’s attention to big names on the poster. That is why we decided not to announce line-ups at all while still bringing interesting artists from abroad.

When I did my first edition of Planeta Pravda, I wanted to give visibility to my friends from Brno who are active on the scene there. I felt that it’s a shame they don't play as much in Prague. To be honest I was really touched by the support we got from people. I think the main purpose of Planeta Pravda is to connect. I would like to be able to expand these ideas, but regarding the current situation it is not possible right now.

You bought a one-way ticket to Mexico, leaving Prague in February. Why? What’s your plan?

This another lockdown made me realize that you cannot really plan for the future. So right now I want to see another part of the world and its culture, ideally get some opportunities to play, enjoy some sun. And after that, let’s see what the future holds ))

It was the time of ‘the end of the year’ lists. Do you know which pieces of music you played the most in 2021?

 which popped to my mind instantly which I have’t got a chance to play yet, but I found it in 2021 and I will play it a lot in 2022.

Gravity Podcast #10 – Marie Pravda

If there is one feeling most of us probably had at some point during the last two years, then it’s the bitter disappointment from our plans being shattered. It’s easy to lose a part of your enthusiasm, no doubt. Our Berlin-based affiliate KILLA surely knows a thing or two about that, yet she seems like the kind of radiant person who never gets bummed out too much. Read on to learn how KILLA keeps those sparks in her eyes alive and what she has been up to lately.

KILLA converts her newly-recharged mojo, good old sass and a selection of bumping techno (and more) into the 9th installment of our podcast.

You have mentioned in a commentary to the mix you've sent us that it took you a while to finish the mix after 'so many months away from the booth', but you've recently 'got some mojo back'. What is it exactly about being in a club booth that recharges you? How's your mojo and how are you now, after several months in the booth?

The summer season turned out surprisingly well with some beautiful moments like playing at Fusion festival or for the secret Bassliner Open Air and also a lot of short notice club gigs. That really breathed some new life into me because I believe that a DJ needs to feed off the crowd's joy & energy to be able to give their best, to improvise and to dare. It's not the same when you are playing live-streams alone in front of a camera or recording mixes at home, while trying not to annoy the neighbors too much. It's also important to get to «test» tracks with the ravers. It can bring so many surprises, no matter how safe your digging hand is.

As silly as it may sound, nothing makes me happier than ending up drenched in sweat from dancing in the booth while mixing. Being in the the «zone»: it's pure magic, it's like great sex. Afterwards, if things went well, I'm more relaxed, the world suddenly feels less hostile, food tastes better and I sleep like a baby when I eventually get home.

These days, after so many gigs have once again been cancelled and so many uncertainties about the next season, I feel a lot like Tinker Bell in a world where people don't believe in fairies anymore. But I keep finding new killer tracks to drop and it would be criminal not to play them loud as soon as I get a chance. Hope is never completely lost as long as you can find beautiful music that brings you back to life.

 – has recently organized 'Racing Bodies, Raving Minds', a pre-rave series of workshops which expanded on the community-building practices your organization has initiated during the pandemic. What were these workshops about?

We were lucky enough to secure some cultural funding and decided to use it to focus on the many ways our bodies and our shared experiences can open new paths to self-healing, politics, arts and so on.

So one module by Maria F. Scaroni, who is a choreographer, was a sort of parkour through the location that also involved a crash-course in «Zeitgenössiger Tanz». There was also some « Rave Fitness » with Heather Purcell, which is an adaptation of Kickboxing & Tae Bo moves to really fast pumping beats. A part of the programme was also a workshop dedicated to learning choreographies to pop songs (hosted by Austin Fagan who is a dancer and a drag performer).

The list is pretty long but there was also poetry, multi-sensorial live music & drawing performances, a «silent disco» with Bluetooth headphones and down-tempo music etc.

We tried to involve activists and artists from the queer community to share their vision of «Raving», in theory as well as in practice. The events were taking place outdoors 2 days in a row with a big all-night rave to round it up.

You've also recently taken upon the noble task of ushering a new generation of DJs onto the scene. Can you tell us a bit more about the Newcomers Day? What was your role in the project and how did it all go?

The Newcomer Day project was initiated by Jan Henschen from Revier Südost, with support from Berlin Musicboard. He asked 6 Berlin DJs whether they'd like to participate as curators, which involved reviewing mixes, picking our 3 favorites and performing a little showcase together. The other «DJ-Godmothers» were Franklin Da Costa, Irakli, Laura BCR, Ron Wilson & rRoxymore, and I think we were all quite baffled by the sheer quantity of music sent to us within just a few days. No kidding, I spent 3 days straight doing nothing but listening to roughly 70 mixes!

There was a lot of really good stuff covering many different styles and that was quite heartwarming because the Berlin scene doesn't always do justice to the many facets of Dance music.

We had to reschedule some of the events from August to November, which was pretty cool for the newcomers as they got to play a proper nighttime gig in a club instead of an afternoon outdoor showcase. That also gave me the opportunity to invite the artists to play on 

 in October to get familiar with another side of the trade. You can find the winner's mixes [from Ball & Chains, Monibi & Nites], as well as the THF recording on 

–––

Tracklist

1. Henry Purcell / Choir Of King's College ─ Man, That Is Born Of A Woman [Brilliant Classics, 99790]
2. Gary Beck ─ Video Siren [!K7 Records, K7376LP]
3. Wheez-ie ─ XOXO [THEM015]
4. Furfriend ─ Fist Fuck (Perc Remix) [Perc Trax, TPTX004]
5. Hyper-On Experience ─ The Frightner (Remastered) [Kniteforce Records, KF95]6. The Track Stars ─ Dirty Bitch [Dance Mania, DM 082 2016]
7. Marc Acardipane ─ Slaves To The Rave (PCP Mix) [Planet Phuture, PP007-V6]
8. Drax ─ Amphetamine [Afu Limited, AFULTD.X3]
9. Wislov ─ The Empires Of The Future [Kniteforce Records, KF123]
10. Subradeon ─ The Last trumpet [Trapid, 02]
11. Kalli ─ Song For Them [THEM016]
12. Atiq ─ From Dusk Till Dawn (TMSV Remix) [Minddubs, MDUBS001]
13. Prince de Takicardie ─ One More Time [Cartulis Music, CRTL011.2]
14. Jamaica Suk ─ Art Vs. War [Gradient, 001]
15. Joshua James ─ Marlene [Phantasy Sound, PH97]

Recorded live at home, vinyl only, with 2 x PLX-1000 decks, DJM 500 mixer (+ interface & Ableton to record the audio).

Gravity Podcast #9 – KILLA

Recorded during a clubnight at Hala Odra in Szczecin, 

’s contribution to our podcast is a glimpse into her folders filled with everything from acid techno slammers through eurodance to warped pop-rap cuts. “I actually never know what I’m going to play in the next ten minutes,” says the genre-defying DJ, whose no.1 goal is to keep her audience on their toes. Monster has replied to a few of our questions, read on.

In my opinion you're one of the most characteristic DJs in Poland. Your music selection definitely stands out from the rest. How would you describe your music style and who's your DJ guru (not necessarily from Poland)?

Describing music isn’t my favorite thing to do but when I play I want people to feel carefree, full of joy. I want them to always be on their toes with excitement about what’s coming next because I actually never know what I’m going to play in the next ten minutes. This element of surprise when it comes to the genres I play is really important to me, because, as a listener myself, I love being surprised by a DJ, there’s nothing worse to me than a predictable DJ set. That’s why I can’t stick to one style.

I also appreciate so many genres of electronic music that I would feel bad if I had to limit myself to just one or two. I grew up listening to a lot of late 80’s pop and early 90’s eurodance so I love that catchy cheerful vibe in music, the genre is not important.

When it comes to gurus, I really appreciate DJs who try to do more than just DJing, whether it’s running a label, a collective or a mix series or any type of activism for their local scenes, so people like Violet, Asquith, Mama Snake, Dtekk, Feelaz are the ones I look up to.

You are actively taking part in many discussions within the scene, proudly representing the 

 crew. What is the main goal behind your DJing? What do you hope to achieve and how can music specifically be instrumental in doing so?

My DJing goals have been changing over the years, but at the moment something that I really want to focus on is highlighting the Polish and Eastern European scene, because I feel we’re being overlooked and underrepresented. The scene is obviously younger and smaller than the Western scenes but there’s been a massive growth in recent years, with Poland joining the EU and people being able to travel freely. I don’t see the reason why the lineups of festivals should still consist only of names of artists coming from wealthy post-colonial countries.

We need to have a conversation about actual equal representation, we need to highlight smaller scenes that are struggling to survive because of financial resources, not because of their lack of creativity. We need to have an equal exchange of artists, not this one-way model of importing the same big names from the same rich countries over and over again. In my mixes I always try to play as much music by local artists as possible and I’ll continue to do so.

From my perspective your DJ career has accelerated after your first appearance at Unsound festival in Krakow. Was it a turning point? What other moments do you consider milestones in your development?

Definitely Unsound was a huge moment in my career, I will forever be grateful to the Unsound bookers for trusting me to play during such a crucial slot, it was absolutely nerve-wracking but totally worth it!

Joining Oramics was another milestone for me, because I suddenly stopped being a local DJ from Poznań. I started touring around Poland and getting more recognized, got to record more mixes for different labels and crews, which is always a lot of work that ultimately teaches me something as a DJ.

 for Violet’s naive label and its landing on 

 feature was also huge, really made me believe in my vision even more. I’m patiently waiting for more milestones to come.

Gravity Podcast #8 – Monster

 took things slow for another episode of our podcast and delivered a mix full of trippy twists and spacey tunes. It’s Monday, so why don’t we keep it slow too: let’s kick back, put on the mix and enjoy what Franklin has to offer.

Where do you get inspiration for your mixes and what makes a mix special in your opinion?

Inspiration comes from the tunes. Certain special tracks that might not work on the dance floor but will give a mix that edge. I'm usually interested in creating mixes that drive on the borders of dancefloor compatibility.

As a producer, DJ, live performer and promoter you have been an active member of Berlin’s electronic music scene for many years. You grew up near Frankfurt. How did you find your way to electronic music and were there other musical influences that shaped you?

   In my younger days I had to rely on recommendations from friends or certain radio shows I was taping. My friends gave me some mixtapes on which I didn't have a clue what was going on, but they sounded very interesting. From early Gabba to Trance tapes. I always loved instrumental music like Art Of Noise or some of those over the top epic instrumental Mike Oldfield LPs. But I wasn't fixed to styles. More like certain LPs from certain Artists.

Amongst the big influences were also computer game soundtracks, the demo scene from the Amiga 500 area or extended remixes from commercial dance tunes, which gave them a much less commercial vibe. I listened a lot to the HR3 Clubnight while drawing pictures for hours in my room. The next step were the first club visits and also some early DJing with two tape decks and tracks I've recorded from CDs.

The pandemic was and is an intense time for everybody. Especially artists had to suffer a lot. How did you make it through this time?

You are the founder of 'Mother's Finest Berlin' – a label and event series with a diverse and high quality line-ups. Just recently you’ve celebrated the 8th anniversary of your imprint at the Renate club. Eight years is a long time. Can you tell us how it is going and what drives you?

Club environment is a special place for me so I'm always drawn back to it. I’ve missed it a lot during the pandemic, since almost all social interactions were gone. In the future we'll release more EPs. Also, MF will be back regularly at Oxi Club, plus there will be more events internationally.

As for everyone in the Gravity Network, music is a huge passion. What else do you like to do in your free time?

I'm a movie nerd and during the pandemic I came back to working with visuals. Started experimenting with generative art and having fun zooming out with it.

Gravity Podcast #7 – Franklin De Costa

Prague-based Exhausted Modern contributes the number six to our podcast series with an hour long recording of his recent earworms. Catch up with the artist through a short chat we had about the development of his practice.

In your production you’ve recently started using speech more and there is a voice at the beginning of your Gravity Podcast as well. Why are you working with voice and who is an inspiration for you in this sense? What sonic qualities do you look for in the voices and speech you use?

I've always placed bits and fragments of speech into my production, I think of it the same way as I think of other instruments and layers. Maybe it's a reminiscence of 90's music that stuck with me, all these new beat tracks and acid house productions, where producers were quite often sampling TV and radio. I like to play with it, chop it up, play it backwards, stretch it and just mess around with it, perhaps it brings some kind of humanity.



What are you working on at the moment? Do you have any releases planned in the near future?

I'm always working on new music, it's a constant process, not sure what I'd be doing besides that. I have three new releases, a 

 on Marguerite which has just been posted, and I'm super happy to be making a comeback on 

, a label that's supported me since the beginning (s/o to Anwar), but that's gonna happen later due to the current situation in the record manufacturing industry. Last but not least, I am part of the monstrous forthcoming 

 from Veyl records, which has been announced recently.

Your sound has been progressing lately, moving more towards digital production and post-production. What were the constraints of the analogue approach that made you start working digitally more? Or were you just exhausted from it?

I'm glad it's visible, it's true that I'm trying to expand my knowledge. I'm kind of late to the party, since the world has shifted and progressed a lot lately. Thanks to evolution in technology, there are plenty of new options, digital VSTs have gotten much better and generally the digital and analog worlds have merged and taken the best from both. There's tons of new progressive music that resonates with me, but I certainly remember two moments that pushed me out of my comfort zone. 

 LP by Maoupa Mazzocchetti hit me like pure crystals of MDM (Maximal Dance Music), that was the point when I realised we've entered a new era - crisp clear production blending together all sorts of genres. Another transforming moment was seeing my friend Oliver Torr playing live at Fuga (Bratislava), he's a true mastermind, always seeking new sonic experiences, and positively pushing the boundaries of the Prague scene.

Gravity Podcast #6 – Exhausted Modern

As we can hear in the podcast your music style can be characterized by ebm, synthwave and dirty electro. On the other hand you're really into italo disco, your live debut at Jasna was in my opinion mainly influenced by italo. How do you plan to develop your live acts, can we expect more dark stuff?

I think I am very flexible with my style, maybe it comes from being a promoter for many years and trying to play a suitable warm up for the headliner. Definitely one thing the mentioned styles have in common are the synth arpeggiators, which appear of course in Italo disco. Since my live debut was set for K.O.D. party with Franz Scala, it was clear for me to prepare an Italo one. However, I would like to perform more live sets in the future and show more varieties of it.

" (Handbook for City Dwellers) being honored this year as the most original and influential art initiative in town. What is the main idea behind the project and what we can expect from it in the near future?

When we founded the place with Arkadiusz Poltorak in 2016 our main idea was to connect the art with the music world and to basically have a meeting place where friends of friends can approach each other. Since the space's conception we aim to enable local artists to make independent artistic statements whether it concerns an exhibition or a presentation of live music. Our name comes from Bertolt Brecht’s series of poems, Aus dem Lesebuch für Städtebewohner. Keeping up with Brecht, we encourage socially conscious and aesthetically challenging production in visual arts, electronic music and beyond.

 took charge for the 5th episode of our podcast, and by taking charge, we mean infusing her hour long recording with a dose of powerful electronica: emb, electro, industrial and some italo as a cherry on top. For the occasion, Jędrzej Kowalczyk of Jasna 1 had a chat with the artist about her sound and her Krakow-based activities.

The rest happened by itself, Martyna Nowicka joined as the second art curator and other local forces are part of the place. Now we would like to legalize it as a "Kunstverein". From the award we have won, we invited Marysia Lewandowska to lead workshops about "adaptation" and bonded strongly with the participants. It showed us how important, especially after lockdown, it is to meet with people with a common context and help each other to work out strategies.

Which also led to the project "Venues from the Future" we are participating at, together with 6 other similar places around Europe, financed by the European Commission. Our goal is to produce a toolkit for surviving the times of crisis and show the importance of community spaces and their direct impact on locals, which often isn't provided enough by big institutions. I hope 2022 will be mainly about new friendships and networks, which also refers to the Gravity project :)

You've already released really great music on labels like Mechatronica or Warsaw based Dom Trojga. Can you tell us something about your forthcoming releases?

Thank you Jędrzej. I am happy you like it :) So far I have been taking part only in compilations, so I am very excited about my next release, which will be my solo 7" on a new London based label called Ferry Lane Records. As pressing plants are overloaded and Brexit actually have happened, it might take a bit longer as predicted, but hopefully it will be released by the end of this year/beginning of next year.

Gravity Podcast #5 – Charlie

 has approached her Gravity podcast contribution as a single episode radio show, guiding the listeners through her stimulating selection of slow electronica, pop ballads, disco and soft trance. After the recording was done we caught up with the artist for a brief talk about her broadcasting and climate oriented efforts.

You are a well-versed radio DJ with two shows on two different radio stations. Can you tell us a bit more about your radio practice and how do you make it work for you? How do you keep it interesting and doable for yourself?

I wish I could say there is some excellent planning behind it, but it all developed very naturally. I started off by broadcasting a vast range of music on Radio 1, then when I got into djing, a club-oriented show 

 was born out of this context. Later, when I was approached by the community Radio Punctum, I thought that it could be a perfect outlet for all the soft stuff I still wanted to play, and that resulted in 

Hosting two such different shows has always felt interesting, mainly because I totally reversed the expectations. You would assume to hear one thing on national FM radio which has 30 years of history and another thing on local community radio: I flipped these two, and that alone keeps me on my toes. Also, I love to invite guests, especially to Mixtales. Now more than ever, I wanna provide a platform to the abundance of talent I see everywhere around me. When you have the means to amplify other voices, why wouldn’t you do it? It’s a no-brainer!

And as for how I keep it all doable – I'm a Capricorn sun and Saggitarius rising 🔨🔨🔨 hehe!

Which are your favourite radios in the world and what kind of show do you listen to regularly yourself?

Well, I listen to radio much less now than I used to, as there were points where it filled my days. For example when I was writing my master dissertation on community radios a few years back, I was obviously obsessed with all of it.

Now I have just a bunch of go-tos. When it comes to stations I have a soft spot for Netil radio in London which is run by the friendliest and most interesting Slovak guy, Miro, and also Foundation FM which is very much a women-at-the-forefront kind of a radio and I am a huge fan of that.

As for shows, I really dig Focus on NTS because that’s exactly what I love to do myself - pick a well-known artist and go deep into their work and dig out songs I’d never dream of finding. Then there is Bianca Lexis’ show on NTS which I am a dedicated listener of. Also, I often go back to Trigger on Radio Punctum which is hosted by a Synth Library Prague affiliated collective of women, nonbinary and trans* people.

And my latest discovery is HydeFM which I found out about through Mishka who recorded a guest mix for my show Devotions. She hosts a show called Cruel Summer there.

You are working with the educational Instagram channel 

. What is the idea of the project and what is your involvement there?

I work in a climate-oriented expert NGO in Prague. Klimatist*ka is a part of an extensive European Commission project I participate in as a national project leader. The Instagram account itself is very much in diapers. However, the idea is to create a middle-ground edutainment platform in Czech language, helping to break down complex data and tangled information. We aim to show how much climate justice, gender equality and development are interconnected (spoiler alert, VERY). The majority of young people care deeply about climate and our future on this planet, and there is tons of research supporting that. Still, complicated graphs, far-reaching research results, or even certain types of activism can be a massive turn-off. It is easy to feel disconnected from it, overwhelmed and like there is not much we can do, right? That's when Klimatist*ka steps in.

How is it going then? What are people's responses to the channel so far?

So far so good, but some topics can still be quite polarizing, so I am awaiting some heated discussions as we move forward with a proper kick-off campaign! There will be an IPCC report release and COP26 this year, which are quite exposed events so there is always a lot happening around them. We might need to secure enough CBD oil for our community manager as it certainly has the potential to be a nerve-wracking experience.

I’ve seen many memes and jokes making fun of the fact that we sometimes feel guilty as individuals for throwing a plastic bottle into the mixed trash bin, or for not taking our own tote bag for grocery shopping. At the same time a single company like Amazon can in 11 minutes produce the same amount of carbon as 276 cars would produce in a year.

What’s your stance on this? Should we compare ourselves to corporations? Should we feel guilty?

I have no clear-cut answer to this one. We live in a severely disbalanced society, and I can’t stand the redistribution of blame from the corporations to the individuals. This has been the strategy for the past 30 years. Unfortunately, it suits the people who hold power, so now a lot of advice is focused on individual actions and not the bigger picture. But if we want to change the status quo, it requires rewiring the way we think about living, which also comes down to individual choices. And then we come full-circle because the current system makes it hard to implement any change and keeps people hostage, which can be very demotivating. So hey! Like everything important in life, it is 

Gravity Podcast #4 – NCOL

For the third episode of our podcast Gravity artist 

 from Hannover has done what he knows how to do best – 62 minutes of strictly rhythmic and hypnotic techno. Before delving into his sonic story, read a quickfire chat we had with Kimmy to learn more about the artist.

What are you up to these days? What's the situation in Hannover?

At the moment the situation here in Hannover is difficult because since the start of the pandemic the clubs are closed and it’s even not possible to do open air events. So we are waiting for things to get better. In the meantime I talk with my friends about music and life. I do regular DJ live streams from my living room and share them via Instagram. I’m happy that I can reconnect in this way with my music friends from everywhere in the world. Beside the music I spend a lot of time with my girlfriend and my family.

Can you tell us where you've recorded the mix and how have you approached it?

I recorded the mix at home. I prepared the mix like always – the tracks must be something special. I always look for certain labels and producers and listen carefully to the productions and try to research the background. To discover little stories and to recreate them into a story of my own. With this I would like to take the audience by hand on a journey that is absolutely timeless and is still entertaining even after listening to it several times.

What else other than DJing do you do in your life?

I am passionate about organizing my events. During the pandemic, my girlfriend Doni and I started a new project called Code. As soon as we can start with events again in Hannover we want to start with the first events.

Code is about quality techno and house music in connection with selected visual concepts. It is a series of events as well as a music label, with strong emphasis on anti-discrimination, inclusion and freedom for all.

In addition to music, I love to travel, do sports and I like to be with people who I feel good spending time with.

What have you been doing while you weren’t able to DJ or make events?

The time wasn't easy, but I tried to keep motivated and meet people as much as I could. We have been constantly exchanging ideas about new projects and how the scene in Hanover can be improved after the pandemic.

How did you become a DJ, what was the initial impulse?

I became a DJ 12 years ago. At that time I got inspired by artists like Ben Klock, Carl Craig or Ricardo Villalobos to name a few. First I usually played at friends' houses, until later when I started getting opportunities to play more and more at clubs.

I would like to take people on a journey in which everyday life no longer plays a role. It's about enjoyment and about letting yourself go, not feeling any inhibitions.

Can you tell us a bit about yourself? Where do you come from? What are your origins?

I was born in Aleppo, Syria. I came to Germany when I was 15. I’ve been doing events for about 7 years. I also had 2 clubs in Hannover.

What are your favourite places in Hannover to go to listen to music?

I prefer listening to music at home, because my home is my temple.

I love my neighbourhood – the Linden district which is an alternative, artsy suburb. There I love to take walks by the river Ihme and listen to music. If you are visiting Hannover I can recommend to you my favorite restaurant 11A and a really cool music bar Bukowski's.

Gravity Podcast #3 – Kimmy Msto

For the second edition of Gravity Podcast series we’ve invited 

, the resident and booking manager of Jasna 1, to step outside his comfort zone. To hear how far he went, listen to the podcast on our Soundcloud and read the short interview with the artist to learn more about his approach or the current situation in Poland.

You have taken a non-traditional approach to the Gravity podcast, as you've mentioned yourself, it's 'the strangest podcast you've ever recorded’. Why do you think it's so strange and how does it differ from your less strange mixes?

I used to record almost only club mixes, with a huge range of speed, but still with club music. This one is a mixture of ambient and very diverse selection of my favourite experimental, downtempo stuff. Definitely a mix for listening at home, laying on a sofa, not for dancing.

Has the previous year changed how and what kind of music you listen to? Or have you always listened to a more diverse mix of music without having chances to play it for an audience?

Last year I was finally able to buy a proper hifi setup for home listening. I bought nice old speakers from my good friend and a Yaqin chinese tube amp. It is the perfect combination to listen to instrumental music, which cannot be said about my studio monitors, which were my only sound system for a really long time. I used to listen to very diverse music for years, but right now I'm doing it even more.

It seems club life is quickly awakening in Poland. How does it feel to be back in the DJ booth after such a long time? Has anything changed for you?

According to law all clubs in Poland still work as bars, but frankly speaking it's kind of bullshit. Nothing really changed, but for sure I'm enjoying every minute in the DJ booth even more, after such a long break.

Which events from before the pandemic stayed vivid in your memory and which ones do you look forward to the most?

Definitely the memory of all our K.O.D. parties before the pandemic remain very vivid, especially the italo edition with Franz Scala, Charlie’s live debut and Kinzo Chromef. Also our 3rd bday party with Willikens & Ivkovic, Chino live and Jealo was kind of a special night for me.

I'm really looking forward to return to normal booking policy at Jasna with international artists. I really miss meeting new people before the party, etc. Right now I'm booking almost only Polish artists, it's time to support the local scene.

As a booker and art director of Jasna 1, can you tell us something about your plans? You did some renovations of the space right?

As I mentioned in a previous question, in the next summer months I'm planning to book primarily artists from the local scene. I don't think of it as a problem, the Polish scene is getting better and better and that allows me to make interesting, diverse lineups. I hope to begin with more international programming in September.

In spite of the difficulties during the pandemic, we were doing our best to improve our space. Finally we’ve managed to correct the acoustics on our smaller bar floor, enlarge the number of toilets and arrange a new bigger smoking area.

Which track have you been playing on repeat recently?

There is an interesting story behind this mysterious track released on Offen Music, a label run by Vladimir Ivkovic: Lena Willikens played it for the very first time at our K.O.D. bday party at Jasna in Warsaw. I used the instrumental version as the outro of my mix. : )

Gravity Podcast #2 – Kovvalsky

As we dive into unpredictable times in the aftermath of the pandemic, our experience of everyday life and our perception of music comes out altered. Some of these changes will stay with us, some will vanish as they appeared - without warning.

In the wake of the pandemic, the Gravity podcast series invites each artist of its roster to showcase their music through a conceptual journey, reflecting on how their listening, playing habits, and possibly other important aspects of their existence have been affected by the general context. These mixes, accompanied by short interviews and a photographic glimpse into the artist’s personal space, constitute an archive of these unprecedented challenges, how they were apprehended and conquered.

By the time Ankali opened its doors in May 2017, fleika was already a renowned figure of the Prague music scene. From the meticulously curated Dietl Archive series to the unhinged Cukr raves taking place in extravagant venues, his involvement in the electronic music events that rhythm the city is still outstanding. In this exclusive short interview, fleika lets us in on his creative process, how it was affected by the pandemic, the magic of DIY venues, and his experience of being as passionate a raver as he is a DJ.

Tell us about your selection for the Gravity podcast and the narrative behind your mix.

I tried to stay true to my essence, but also to reflect my current state of mind and the surrounding situation in Prague. Recently I started building my sets around older tracks hidden deep in my library. They are already tied to some emotion or memory of the time when I first found them, or even played them. I mix them up with the fresh digs and complement the frame previously put in place. In this mix, I started on a darker note, continued groovy and almost positive in between, before ending in a deeper and more melancholic atmosphere. This for me represents the emotional roller coaster of this last year.

How was your interest in music impacted by the ongoing crisis? Did a noticeable shift occur in your taste and approach to music?

#podcast archive

Gravity Podcast #13 – Dtekk

Gravity Podcast #12 – Elena Sizova

Gravity Podcast #11 – Lokier

Gravity Podcast #10 – Marie Pravda

Gravity Podcast #9 – KILLA

Gravity Podcast #8 – Monster

Gravity Podcast #7 – Franklin De Costa

Gravity Podcast #6 – Exhausted Modern

Gravity Podcast #5 – Charlie

Gravity Podcast #4 – NCOL

Gravity Podcast #3 – Kimmy Msto

Gravity Podcast #2 – Kovvalsky

Gravity Podcast #1 – fleika