Hey, Wyro! How are you holding up? Where are you speaking to us from?
Greetings! After 15 months of roaming the world, my journey has come to London. I’ve obtained the long term visa and now in the process of settling down, which feels like a fresh start and brings a sense of optimism and peace.
How have recent events affected your way of making music? Has it forced you to make music in new ways? Are you making less music now or more?
The impact of war on creative productivity is disheartening. Firstly , when I come across the latest news about explosions in my hometown of Zaporizhzhia, it becomes challenging to see the purpose of work for a while. Additionally, there’s the perpetual need to handle trivial everyday matters, which can be quite distracting. Moreover, the fact that I no longer have a studio adds to the hurdles. But, despite these obstacles, I continue to make some music, just at a slower pace. The creative process persists, I’ve managed to work with a minimal setup consisting solely of a laptop and headphones.
How have you managed to keep making music and keep yourself inspired creatively?
I have always been inspired by the sound itself. At first, you twist the knobs of a synthesizer, searching for a pleasing tone. Then, you play around with the keys, finding the right notes for that tone, and before you know it, you are completely immersed in the process. The harder part is to find free time for it.
Have you managed to play live recently? If so, where? Are there any underground parties still happening in Ukraine?
I lived in Moscow guys, not Ukraine. I was born in Ukraine, my dad lives there, but I lived in Syberia, then in Saint-Petersburg, then Moscow, and was just visiting Ukraine regularly. To be honest, I don’t know much about parties in Ukraine too. But I’ve played in Tel Aviv, Sofia, Timisoara, Thailand, and Bali in the last year.
Whose music are you really enjoying at the moment? Why?
I love Barac’s music because it never fails to send me very deep into inner space. I love G76 for his excursions to unusual robotic worlds. I love Costin RP and his easy and groovy yet super deep trancey house adventures. I love the live sets of Ion Lugwig, they are just amazing. Also, I listen to a lot of ambient, I especially like Abul Mogard and his gigantic sound cosmos.
What’s one tune you’re loving at the minute we should know about? Abul Mogard – Slate-Coloured Storm You haven’t always made minimal house styles. What music did you start out with and why did you make this shift?
I was an absolute fan of drum&bass music, wrote it, played it, did parties, but at some point also overdosed on it a bit or, probably, just got old 🙂 I still like some d&b tracks and sets and totally respect the genre, but today I’m more interested in exploring the worlds of minimal techno and house. It seems to be a little more room for experimentation and more space for the sound in general in these genres, they feel less “squeezed”. But maybe I’ll go back to 170 at some point, time will tell.
You’re a diverse producer. Would you say you like to experiment with loads of different styles? Have you always been inspired by lots of different types of music? How are you able to adapt to other music production workflows?
Yeah, it would be fair to say so, and yes, it has always been like this, listening to Funk in the morning, Minimal Techno in the afternoon, and Ambient in the evening. The sound cant be very inspirational in any form. I am lucky enough to not be dependent on one style, so just enjoying the freedom. And it’s very fun to learn new skills and adapt to new production workflow, especially through collaborations. You get to the studio with someone, who, let’s say, knows everything about electric guitars, you join forces and create some cool new things while learning from each other – what can be better than that?
