There’s nothing I can tell about the inside of JK. If you look inside — there’s nothing you can see, like in the darkest dungeon.
2 – In an interview for Boiler Room, you said ‘you can’t pretend to be something you’re not’.
Is the notion of truth very important in your own creative practice?
Yeah, the truth is important, but you can’t be sure if it’s truth or not. You just need to do it the best way you can and be as true as you can to yourself.
3 – Besides running this collective you also make music under the alias buttechno? What does this name refer to?
This name is a mistake. I found it in Yalta, in sacred place.
4 – It’s interesting to see how your music is diverging somehow from ‘techno’ as a genre to a more abstract/ cinematic direction. Do you watch a lot of movies ? If yes which film producer suits better your artistic vision?
I don’t watch a lot of movies, but I have some favourite ones. like Stan Brakhage films and others of American and European Avant-Garde, I like some Soviet films of 20-30, I like French New Wave, Italian Neo-Realism, 90-s Dogme thing, Corine and Clarke‘s early works. It’s quite an obvious list, but I’m not a cinema-digger.
5 – Few months ago, you did a live for Boiler Room, its dense industrial feeling enthralled us. We are curious to know more about the gear you used that day? And the nature of the sounds you used. Were the samples self recorded or presets?
Those sounds were both samples and self-recorded. I also used MPC-1000, TR-606, Moog Minitaur and Ableton.
6 – What does your creative process look like when playing live performances ?
When playing live I’m trying to work with pattern variations, trying to make all these robotic sequences become one alive BEING, filtering and mixing them.
7 – Your work exhales an appealing complexity. Layers of different sounds and rhythmic patterns.. Does it reflect your thinking as well?
I’m sure that all that people trying to make something are somehow reflecting their way of thinking.
8 – What stroked us the most, it’s how the whole set felt like one entity, almost as if the transitions were inexistent. How do you decide usually at exactly what point to change patterns?
It’s more about intuition, I think it needs to be natural, like you are running, then when you see a hole — you jump, it’s the same thing.
9 – Besides making music you also make visual art. What is your main concern as an artist? What kind of artistic or other revolution would you call for?
I don’t have concerns — I’m just trying to depict reality the way I see it and I don’t want to call anyone to any kind of revolutions.
10 – You’ve emerged with a style of making music that is distinctively your own. What dictated your formal decisions in the beginning of the project buttechno ?
The birth of buttechno was a mystery — but it was natural, it came up without my will, I think it’s the best way to start something — it just borns itself and you start to grow it.
11 – We saw that you collaborated with many other artists, designers and producers. Is the notion of collaboration very important in the development of your own artistic identity ?
Collaborations are interesting for me, because I see people that have very close view on things, so when we’re making something together this representation and fixation of reality becomes more powerful and solid.