Cxemcast 008 – Lumitecc
Interviewed by Bohdan Konakov.

Cxemcast 008 – Lumitecc
Interviewed by Bohdan Konakov.

Judging by your mix, you love to intertwine various styles of music. What factors are you guided by while playing and selecting that very tracks?

A mix for a podcast differs from a live performance. The main reference on the dance floor is the people’s reaction to music, but here it is important to follow the story, the idea. There may be tracks of any kind. It depends completely on my mood. To me, choosing music is always a free selection, most of the time it happens while I create the set.

What about the story behind your mix?

This story tells us that contemporary house and techno music are not in a bad shape. And where do I search for music? Usually, I just toggle through Juno indefinitely.

You’ve mentioned that you’ve been barely going to parties for the last couple of years. Don’t you think visiting venues is important if you want to be known and to get more invites to play?

I party just to hang out and, of course, to listen to music. Meeting people and establishing connections are secondary goals. A common strategy “party — useful acquaintances — DJing” isn’t my cup of tea.

Is DJing a hobby or more of a vocation to you?

DJing is more for the soul and for the mood. I’ve never actively looked for places where to play — there is always enough proposals, but I am not always able and willing. I don’t play often now due to large workload, I usually play some tracks at one of Kyiv clubs once every two months. Actually, I’ve never considered myself a DJ because that’s not my professional and regular occupation. DJs are now having a hard time. For example, my last purchase at Juno exceeded all possible limits (I hope my girlfriend won’t read this interview).

What about your record collection?

Vinyl is a means for collecting favorite and important music because digital does not live long. It is more mobile, though, and that’s important. I hardly play records; I have a rather strange collection, you know.

By the way, now I take comfort listening to instrumental music. Even though I’m not a big fan, I’ve recently hooked on music à la Jonny Greenwood. In general, it would be interesting to try playing live. I plan to devote myself to this idea in 2015.

So, what are you writing, and what do you plan to achieve as a producer?

I write what I happen to write. I never sit down with a pre-sketched, clear plan in mind such as “there will be techno in this passage and house in that one”... I guess that’s a bit silly. Music should reflect the inner world so as to be honest. I begin to write and so it goes... I’ve started using analog, bought a funny drum machine. How have I been living without it?

Many people complain that house and techno music are in decline nowadays. Classics are still better, they say. What’s your opinion?

Well, I disagree. Classics will always be classics, it shouldn't be compared with what is happening now because then this “now” thing gets lost. A lot of interesting quality music is currently out there. As for people who constantly criticize and have something to say on any given topic, they are just regular, unremarkable snobs. Their lives mostly consist of twaddling on forums, and they hide that behind a disguise of deep knowledge.

Who should contemporary musicians take their cue from?

You mean, who’s a role model? First of all, the new names that already stand out from the established artistic crowd. This year I really enjoy Call Super. Well, there is a dozen of new names that I'm really excited about, artists who are not afraid to experiment outside of the usual framework, and it's great!

That’s an optimistic view. What's going on with our local dance scene?

I like the guys I know personally. What they do is with a soul and for the soul, and I’m not ashamed of our techno scene. There is something authentic and sincere. However, our problem is always the same: currency exchange rate.

Okay, seriously, the problem of our country is low cultural level in general and of music culture in particular. I don’t know how promoters manage to survive while trying to nurture good taste by bringing expensive artists from abroad because there is almost no audience for those artists. Detroit, Chicago, London — those are cities where culture has been developing freely for hundreds of years. We are having a hard time after what has been happening in our country, but I think the best is still to come.

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