MEET:VTSS – Martyna Maja interview by Chloe Lula with photos by KEYI STUDIO. Make up and hair by Servulo. Styling by Samantha Pletzke. Agency Modern Matters.

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MEET:VTSS - Martyna Maja interview by Chloe Lula with photos by KEYI STUDIO. Make up and hair by Servulo. Styling by Samantha Pletzke. Agency Modern Matters.
MEET:VTSS interview by Chloe Lula with photos by KEYI STUDIO. Make up and hair by Servulo. Styling by Samantha Pletzke. Agency Modern Matters.
MEET:VTSS interview by Chloe Lula with photos by KEYI STUDIO. Make up and hair by Servulo. Styling by Samantha Pletzke. Agency Modern Matters.
MEET:VTSS interview by Chloe Lula with photos by KEYI STUDIO. Make up and hair by Servulo. Styling by Samantha Pletzke. Agency Modern Matters.
MEET:VTSS interview by Chloe Lula with photos by KEYI STUDIO. Make up and hair by Servulo. Styling by Samantha Pletzke. Agency Modern Matters.
Interview VTSS Martyna Maja by Chloe Lula with photos by KEYI STUDIO. Make up and hair by Servulo. Styling by Samantha Pletzke for Keyi Magazine
Interview VTSS Martyna Maja by Chloe Lula with photos by KEYI STUDIO. Make up and hair by Servulo. Styling by Samantha Pletzke for Keyi Magazine
Interview VTSS Martyna Maja by Chloe Lula with photos by KEYI STUDIO. Make up and hair by Servulo. Styling by Samantha Pletzke for Keyi Magazine
Interview VTSS Martyna Maja by Chloe Lula with photos by KEYI STUDIO. Make up and hair by Servulo. Styling by Samantha Pletzke for Keyi Magazine
Interview VTSS Martyna Maja by Chloe Lula with photos by KEYI STUDIO. Make up and hair by Servulo. Styling by Samantha Pletzke for Keyi Magazine

Berlin-via-Warsaw high roller of the new generation of techno VTSS aka Martyna Maja returns with a mesmerising 6-track EP titled ‘Borderline Tenderness’, this time from Berlin-Milan based label VEYL run by 

Alex Knoblauch & Maenad Veyl and visual artwork by Tomaso Lisca with photos by KEYI STUDIO

Following a tremendously acclaimed collection of releases showcasing her fresh take on dance floor belters through Intrepid Skin, REPITCH, 

HAVEN and also featuring on KAOS, Monnom Black and Hellcat; this new record expands her horizons to different sides of her odd electronics as in ‘Woah’, while also giving a proper dose of her well-known craft to incorporate hardcore, EBM and acid influences on cheeky techno grooves.

新一代来自华沙现居柏林的Techno领军人物VTSS又名MartynaMaja带来了令人着迷的6首曲目EP,名为“ BorderlineTenderness”,这一次来自Alex Knoblauch和Maenad Veyl经营的柏林/米兰品牌VEYL,以及来自Tomaso Lisca的视觉艺术,KEYI STUDIO摄 在发行了许多备受赞誉的专辑之后,这些专辑通过IntrepidSkin,REPITCH,HAVEN展示了她在舞池腰带上的新鲜风采,并在KAOS,Monnom Black和Hellcat上脱颖而出;这张新唱片将她的视野扩大到“哇”中她奇怪的电子产品的不同方面,同时也适当地运用了她的著名工艺,以结合铁杆,EBM和酸性影响在Techno上。

How have you been doing over the past year? 

I got a dog, which is one of the best things I’ve done for myself. Taking care of that little creature has 

really helped me so much. I’ve also been thinking about a lot, including how I want to live my life. As Kylie Jenner famously said, “This was the year of realizing stuff,” and it indeed was that! Like everyone, I went through a lot of ups and downs and questioned every single aspect of everything I do. I’m good now, though! I have the ideas, the energy, and the will to keep fighting, however cliché this may sound.

I’ve been working on moving out of Berlin since October and now it’s finally happening. I’m grateful for everything that happened to me here but I want to try something new. I’ve been thinking a lot about how the lifestyle I had there was not sustainable—for many reasons—but mostly for my mental and physical health. I love DJing and I believe I’m good at it, but I want to focus a bit more on production now, in a wider sense. I’m also getting back to playing live after a two-year hiatus.

在过去的一年中,您过得怎么样?

我养了一只狗,这是我为自己做的最好

的事情之一。照顾那个小动物确实对我有很大帮助。我也一直在考虑很多事情,包括我想如何生活。就像凯莉·詹娜(Kylie Jenner)所说的那样:“这是实现事物的一年,”的确如此!像每个人一样,我经历了很多风风雨雨,并对我所做的每个方面都提出了质疑。我现在很好,但是!我有保持战斗的想法,能量和意志,尽管听起来听起来有些陈词滥调。

自10月以来,我一直在努力搬出柏林,现在终于实现了。我很感谢这里发生的一切,但我想尝试一些新的东西。由于很多原因,我一直在思考自己的生活方式是如何不可持续的,但主要是为了我的身心健康。我喜欢DJ,并且我相信自己会做得很好,但是从更广泛的意义上讲,我现在想将更多的精力放在制作上。中断了两年后,我又回到了现场表演。

What have been the biggest challenges for you accompanying the lockdown? Have there been any unexpected joys or moments of progress, peace, insight, etc?

I was absolutely miserable for the longest time to be honest. I was completely broke, and it felt like I was surrounded by so much hate and evilness on the internet. I actually expected people to have more compassion towards one another, but I guess we all were hurting. I couldn’t listen to club music at all, I lost the feeling in my right foot for months (it’s back now though, all good), and even more was going on for me personally. So it all felt like everything was just exploding. 

But I guess all that misery has led me to start questioning every aspect of my life, and as someone extremely self-aware and obsessed with self-healing and self-progress, I’ve discovered some answers deep inside myself and started fixing my life step by step. It’s still an absolute mess, but I couldn’t just stay where I was when life stopped and wait for the clubs to restart. I know some folks just put their life on hold and wait for Berghain to reopen, but fortunately (or unfortunately) that wasn’t me. The world will not be the same, we have to adapt and rethink our ways. In a wider sense, not only regarding clubbing.

与封城相关的最大挑战是什么?有没有意外的喜悦或进步,和平,洞察力等时刻?

老实说,我很痛苦。我完全被打破了,感觉就像我被互联网上如此多的仇恨和邪恶所包围。我实际上希望人们对彼此有更多的同情心,但是我想我们所有人都在受到伤害。我根本听不到俱乐部的音乐,几个月后我失去了右脚的感觉(虽然现在还不错),而且个人经历还更多。因此,一切似乎都在爆炸。

但是我想所有的苦难都使我开始质疑生活的方方面面,作为一个非常自我意识,对自我修复和自我进步很着迷的人,我已经发现了一些内在的答案,并开始固定自己的生活。一步步。仍然绝对是一团糟,但是我不能仅仅停留在生命停止的那一刻,并等待俱乐部重新开放。我知道有些人只是搁浅了他们的生活,等待Berghain重新开放,但幸运的是(或不幸的是)那不是我。世界将不一样,我们必须适应并重新思考我们的方式。从更广泛的意义上讲,不仅涉及俱乐部。。

Berlin is a place full of people trying to make it in the electronic music industry. What do you think has allowed you to break through the noise?

While back in the days DJs were more anonymous, now people love to know more about you. This cult can obviously be extremely unhealthy and has already created a weird new reality, but regardless of how anyone feels about it, it is what it is. I guess the key is working hard on all elements involved. I’ve been producing, playing live, and DJing for some years, and I’m quite confident about the quality of what I’m doing. But I also have a bit of let’s call it “a personality,” or whatever, and I don’t hide it under a bacl and white Instagram. I actually try to express myself with any arts I’m involved in. I think there’s so much beauty in creating your image in a way that stands out from the mass of copy-paste profiles, sounds, and images.

柏林是一个充斥着希望在电子音乐行业干一番事业的人的地方。您认为是什么让您在噪音脱颖而出?

过去,DJ更为匿名,现在人们喜欢了解有关你的更多信息。这个邪教显然是极不健康的,已经创造了一个怪异的新现实,但是无论任何人对此有何看法,它都是如此。我想关键是要努力处理所有涉及的要素。我从事制作,现场演奏和DJ工作已经有很多年了,我对自己的工作质量充满信心。但是我也有可以称其为“个性”或其他任何东西,而且我也不会将其隐藏在空白和白色的Instagram下。实际上,我试图用自己参与的任何艺术来表达自己。我认为,在一片充斥着复制-粘贴的画像与声音和图像的混乱中,创造与之不同脱颖而出的图像是很美的事情。

Do you feel like being in Berlin trapped you in the techno world?

Yeah I guess so, a bit. It’s a bit of a bubble. I moved here when my career was already kind of taking off, so up until the pandemic I had never actually been in Berlin on a weekend, so I never really settled in terms of making friendships and relationships with people other than DJs. I always meet people in clubs and bars and whatever, and when you tour like that and move to a new place you’re never even there to party or socialize. I’ve just been thinking about how that’s not a long-term solution for me, not what I consider a real life. I’m not blaming the city for that, just the lifestyle. One of the things I’ve realized I want is a normal life for myself, outside of “the scene,” and I think it’s going to be easier when I get out for a bit.

您是否觉得自己被柏林困在Techno世界中?

是的,我想是的。有点泡沫。当我的职业生涯已经差不多开始腾飞时,我就搬到了这里,直到疫情我从未真正在周末去过柏林,所以我从来没有真正与与DJ之外的人建立友谊和建立关系。我总是在俱乐部和酒吧等地方结识朋友,当你像这样巡演并搬到一个新地方时,你甚至都不会在那里参加聚会或社交。我一直在考虑这对我来说不是一个长期的解决方案,而不是我认为的现实生活。我并没有为此责怪城市,只是生活方式。我意识到自己想要的一件事是在“场景”之外,为自己过上正常的生活,而且我认为走出一点路会变得更容易。

What’s your take on everything happening in Poland and what do you hope to see change? What do you think is the way forward to make change possible?

I love my friends there, I love my family, but I always was more of a nomad and still am. I was meticulously learning English growing up because I knew I wanted to see the world, live in different places, and understand how our differences make this world beautiful. 

I believe what’s happening comes from ignorance and how ugly the history was to us at a few points, though it might often just look like evil. For me, understanding the world and other people comes from traveling, seeing, and talking to people, and getting to know their stories and understand their points of view. Or even reading foreign press daily. It’s such a simple thing for us now to live here [in Berlin] with other English-speaking people, and communicate as easily as it is and act like it’s our all native language. People from English-speaking countries—or wealth—don’t even consider how much of a privilege it is to know English like that. 

My family members come from a different generation, and they were taught to speak Russian. For most of them, the Soviet Union is all they saw. I’m lucky that my mom and dad moved to Warsaw and worked their asses off for me to understand more about people, culture, and life. They also implanted into me the belief that if I work hard enough and make smart enough plans, I can do whatever I want. I don’t think that’s very common in Eastern Europe. After the gloomy days of Communism, there’s not that much enthusiasm for the future.It’s also hard to dream big when you’re just struggling to survive. 

Don’t get me wrong, I’m not trying to talk shit about where I come from. I’m grateful for everything I’ve been through and all the experiences I had in Poland. It’s a beautiful place with gorgeous mountains in the south, the sea in the north and my personal favorite part where my mom comes from, Mazury, with thousands of lakes and forests. It’s such an interesting culture and there’s so much good music there these days. I don’t believe my generation had enough in us to institute the real change, but I believe Gen Z will. They’re finding ways to explore the world—even without traveling—and to not be as scared as every generation before. I have so much respect for the people who stay and fight for their countries, but I don’t think that’s my role in this. My perspective is kind of gloomy, and I’m not too hopeful, so this affects me a lot in everyday life. But as long as there’s fight, there’s also hope.

您对波兰正在发生的一切有何看法?您希望看到什么变化?您认为使变革成为可能的前进方向是什么?

我爱我的朋友,我爱我的家人,但我一直都是游牧民族,现在依然如此。我之所以认真学习英语,是因为我知道我希望看到这个世界,生活在不同的地方,并了解我们的差异如何使这个世界变得美丽。

我相信发生的事情来自无知,而且在某些时候对我们来说历史是多么的丑陋,尽管它有时看起来常常像邪恶。对我来说,了解世界和其他人来自旅行,见人和与人交谈,以及了解他们的故事和理解他们的观点。甚至每天阅读外国媒体。现在,我们很容易与其他英语国家的人一起住(在柏林),并且像现在一样轻松地交流并表现的像这是我们所有人的母语一样。来自英语国家(或财富)的人们甚至都不会考虑像这样地了解英语是多么大的特权。

我的家人来自不同的世代,他们被教说俄语。对于大多数人来说,苏联就是他们所看到的。我很幸运,我的父母搬到华沙,努力工作以让我得以了解更多有关人,文化和生活的知识。他们还使我相信,只要我努力工作并制定足够聪明的计划,我就可以做我想做的任何事情。我认为这在东欧并不常见。在共产主义的阴沉日子过后,对未来的热情就没有那么多了。当你为生存而挣扎时,也很难梦想成大事。

不要误会我的意思,我不是想说我来自的地方的坏话。我对我所经历的一切以及在波兰的所有经历深表谢意。这是一个美丽的地方,南部有美丽的山脉,北部有大海,而我个人最喜欢的地方是我的母亲来自的地方,Mazury,那里有成千上万的湖泊和森林。这是一种有趣的文化,如今那里有很多好音乐。我不相信我们这一代人有足够的能力去进行真正的改变,但我相信Z世代会做到。他们正在寻找探索世界的方式,即使没有旅行,也不会像以前的世代一样害怕。我非常尊重那些为自己的国家而战并为之奋斗的人们,但是我不认为在这之中有我的角色。我的观点有点阴郁,我不太有希望,所以这对我的日常生活影响很大。但是只要有战斗,也就有希望。

Keyi, as you know, has a strong relationship with Chinese club culture. Have you spent any significant amount of time in Asia? If so, do you have any general impressions of nightlife there? Or is this somewhere you’re planning to go?

Unfortunately I haven’t been to Asia that much. I just had one tour there in 2019 with stops in Shanghai and Seoul, so I haven’t experienced anything I would even wish for. One of my first things to get cancelled in March 2020 was a big Asia tour with gigs in Tokyo, Taipei, Singapore and Seoul. That was the most painful part of the pandemic. I’m excited to see some places reopen there and to go back. The gigs I’ve played there so far were beautiful.

如您所知,可以与中国俱乐部文化有着密切的关系。您在亚洲花费了很多时间吗?如果是这样,您对那里的夜生活有什么一般印象?还是这是您打算去的地方?

不幸的是我没去过亚洲。我只是在2019年在那里进行了一次巡回演出,在上海和首尔停留,所以我甚至没有想要的任何经历。我在2020年3月被取消的第一件事就是在东京,台北,新加坡和首尔进行的大型亚洲巡回演出。那是疫情中最痛苦的部分。我很高兴看到一些地方重新开放并返回。到目前为止,我在那儿演奏的演出经历很美好。

I could be wrong in making this assumption, but I associate you and SPFDJ—and your social media presences specifically—with a distinct brand of third-wave feminism that’s brazen and unapologetic. Is feminism and the way women are viewed and treated in the music industry important to you?

I definitely see where you’re coming from. With SPFDJ I think it’s something more thought-through since I know she’s more educated about this topic, but I’ve learned a lot from her. I just work on being less apologetic about who I am, which is also connected to my femininity and to feminism in general. It has taken me so long to learn how to be comfortable with my womanhood, to make friendships with women, and to learn how to stop comparing myself with others, especially women. 

It’s definitely important to me, and knowing that my presence and work has some kind of effect on other women builds me up so much. I think Lina [SPFDJ] and I have (almost) succeeded in being judged for our work and our skills, and not by the way we present ourselves, or at least we’re getting there! Of course techno bros will be bros and either overlook or tokenize women. But I can see a change already. Or maybe we’ve just grown thicker skin!

我做这个假设可能是错误的,但我将您和SPFDJ(尤其是您在社交媒体上的形象)与一个独特的第三波女权主义品牌联系在一起,这种品牌是直接而不带歉意的。女权主义以及音乐界对女性的看法和对待方式对您来说很重要吗?

我完全了解你的出发点在哪。关于SPFDJ,我认为这需要更多的深思熟虑,因为我知道她对这一主题的教育程度很高,但是我从她那里学到了很多东西。我只是努力减少对自己的身份的歉意,这也与我的女性气质和一般的女性主义息息相关。我花了很长时间才学会如何适应自己的女性气质,与女性建立友谊,以及学习如何停止将自己与他人(尤其是女性)进行比较。

对我来说绝对重要,而且知道我的存在和工作会对其他女性产生某种影响,这让我非常振奋。我认为Lina [SPFDJ]和我(几乎)已经成功地因我们的工作和技能而受到了评判,而不是通过我们展现自己的方式,或者至少我们到达了那里!当然,techno bros将一直是bros,他们忽略或将女性标记化。但是我已经看到了变化。或者,也许是我们的脸皮变得更厚了!

Do you feel like with celebrity or visibility comes a responsibility to use your platform for advocacy?

I do feel like all musicians and DJs have a responsibility to use their platforms this way, not only because we have a big platform, but because we’re playing music that started as a political movement. So avoiding this is absolutely ridiculous. And I’m not saying that everyone with a big platform owes anyone anything, but electronic music has always been political. Of course you can’t expect everyone to be extremely knowledgeable about every issue, because we all came here for the love of music. But the fact that there’s a lot of folks staying quiet in certain situations shows that they came here to just use this culture and create a narrative to suit their agenda for “apolitical rave culture,” which is hedonistic and short-sighted. I do get tons of shitty comments every time I speak up for the simplest issues, but to be honest I’ve just started blocking people like that. I don’t need this energy and I don’t need people of this sort on my shows or listening to my music. I want to be surrounded with people who love, respect other people and stand up for one another.

您是否觉得随着名气或知名度带来使用您的平台进行倡导的责任感?

我确实觉得所有音乐家和DJ都有责任以这种方式使用他们的平台,这不仅是因为我们有一个强大的平台,而且因为我们正在播放的音乐是从政治运动开始的。因此,避免这种情况绝对是荒谬的。我并不是说拥有大型平台的每个人都欠任何东西,但是电子音乐一直是政治上的。当然,您不能指望每个人都对每个问题都非常了解,因为我们所有人都是出于对音乐的热爱而来到这里的。但是,在某些情况下有很多人保持安静,这一事实表明,他们来这里只是为了使用这种文化,并为自己享乐主义和狭隘的“非政治狂欢文化”的议程创造一种叙事方式。每当我为最简单的问题发声时,我都会收到很多卑鄙的评论,但老实说,我刚刚开始屏蔽这样的人。我不需要这种能量,也不需要这类人出现在我的表演或听我的音乐。我想被一群彼此相爱,互相尊重,互相支持的人所包围。

You just hosted a mix series called Music Up, Women Up, that consisted of sets from other women you respect in the scene. Is this part of any larger initiative you’re undertaking to elevate women’s voices? And on that note, do you think the answer to female oppression is collectivism and mutual support?

I’m really happy with how this project turned out. I’ve invited a few amazing artists like Rui Ho, Lokier, Chippy Nonstop, Lyzza and YhaYha, all absolutely beautiful and talented folk. It was a collaboration with a fashion brand, and while these can be tricky, I do feel that without our main source of income (gigs), it’s so important to support one another, also financially, cause likes don’t necessarily pay your rent. I don’t have much experience working with brands, but this is another interesting topic, especially now when we can’t gig. I know there has always been this illusion of an “underground” and a lot of downsides that come with getting money from companies, but maybe that’s some kind of a solution for musicians to survive another year of this. With mainstream music it’s kinda normal, but we hold so tightly to the idea of some kind of underground that we’d rather see people go broke and suffer than get some kind of partnership with a brand, all to maintain the “ underground scene”. Is this “scene” in a room with us right now?

Obviously we have to stay independent and authentic, but in my opinion first of all we have to survive and stay sane.

您刚刚主持了一个名为Music Up,Women Up的混音系列,其中包括您在场景中尊重的其他女性的场景。这是您为提高女性的声音而采取的任何较大举措中的一部分吗?在这一点上,您认为女性压迫的答案是集体主义和相互支持吗?

我对这个项目的结果感到非常满意。我已经邀请了几位了不起的艺术家,例如何瑞(Rui Ho),洛基耶(Lokier),奇普不间断(Chippy Nonstop),Lyzza和YhaYha,他们都是绝对美丽而有才华的人。这是一个与时尚品牌的合作,尽管这些技巧可能很棘手,但我确实感到,没有了我们的主要收入来源(演出),互相支持很重要,而且在经济上,因为点赞是不能拿来付房租的。我没有与品牌合作的经验,但这是另一个有趣的话题,尤其是在我们不能演出的时候。我知道,总是存在着一种“地下”的幻想,以及从公司那里获得钱财会带来的许多弊端,但是也许这是一种使音乐家能够再生存一年的解决方案。对于主流音乐来说,这是很正常的,但是我们对某种地下世界的想法是如此执着,以至于我们宁愿看到人们破产而遭受苦难,而不是与某个品牌建立某种合作伙伴关系,所有这些都是为了维持“地下世界”。这是现在和我们一起在一个房间里的“场景”吗?

显然,我们必须保持独立和真实,但我认为首先我们必须生存并保持理智。

What music have you been working on recently?

To be honest I’ve been doing everything but techno recently, and I’ve been enjoying the shit out of this! The lockdown and isolation from what I’ve been doing every single week of my life for the last 13 years (going to clubs) has kind of been a freeing experience. I always hated “the scene talk,” the rules, and the expectations. I’ve started doing stuff that just makes me happy and not thinking about how anyone is going to react or whether my usual crowd will accept it. I’ve put out music that partly I know I might not have the crowd for, just yet at least. It’s fun, though it can be challenging at times. It almost feels like you’re failing. I’m trying to flirt a bit more with music that’s … I don’t know if “mainstream” is the right word, but maybe “accessible”— what folks can listen to at home. Not just in this special moment with the special soundsystem. That’s beautiful as well, of course, and I’ll for sure keep making club bangers, but I’ve finally understood the charm of actual songs and everyday home listening.

您最近在创作什么音乐?

老实说,我最近一直在做除了techno之外的其他事情,而且我一直在享受这种乐趣!不同于过去的13年中每一周做的事情(去俱乐部),封城和隔绝一直是一种自由的经历。我一直讨厌“场景演讲”,规则和期望。我已经开始做一些让我感到高兴的事情,而没有考虑任何人会如何反应,或者我平时的人群是否会接受。我已经发布了音乐,至少在某种程度上,我知道我可能没有人群。这很有趣,尽管有时可能会充满挑战。几乎感觉像你失败了。我正在试水以下音乐……我不知道“主流”是不是正确的词,但也许是“可接近的”-人们可以在家听的。不仅在特殊的时刻,用特殊的声音系统。当然,它也很漂亮,我肯定会继续制作俱乐部的音乐,但我终于了解了实际歌曲和日常家庭聆听的魅力。

It seems like you’ve been quite productive; you had a remix with Nene H, you released an EP on VEYL. Are these all projects that you started and completed in the lockdown?

My EP on VEYL contains six tracks. It’s a bit symbolic to me since half is EBM and techno. I made all of those as many as three years ago and just did new mixdowns. The other three I’ve made since life stopped and I’ve slowly seen the world I’m trying to move into. I’ve changed over the last year. As a person, as a DJ, as a producer. And the new tracks on there are the ones I absolutely love (“Woah,” “Goin’ Nuts,” “To Whom All”Lovers”). We also just shot the music video to “Goin’ Nuts,” which indeed was pretty nuts to pull during the lockdown, with all of the restrictions! But Mother, the agency responsible for it, absolutely nailed it. Should be out 20th of May, with the most gorgeous cast (and crew) I’ve ever seen. All the Berlin club babes!

Loved working on that Nene H remix, it was for Possession which has a special place in my heart so I immediately said yes. It’s my new kink – working with vocals, in any way, also with my own.

看来您的工作效率很高;您与Nene H进行了混音,并在VEYL上发行了EP。这些都是您在锁定中启动和完成的所有项目吗?

我在VEYL上的EP包含六首曲目。这对我来说有点象征意义,因为一半是EBM和techno。我在三年前就做了所有这些,并且进行了新的混音。自从生活暂停以来,我创造了另外三个,并且我逐渐看到了我想要进入的世界。我在过去一年变化很大。作为一个人,作为DJ,作为制作人。而其中的新曲目是我绝对喜欢的曲目(“哇哦”,“疯子”,“向所有人致敬”)。我们还只是将音乐视频拍摄到了“ Goin’Nuts”,在所有限制条件下,确实确实是在锁定期间可以拉动的坚果!但是负责这件事的机构,Mother,绝对把它钉牢了。应该会在5月20日发布,这是我见过的最华丽的演员(和剧组)。所有柏林俱乐部宝贝!

我喜欢为Nene H混音而工作,这是因为Possession在我心中占有特殊的地位,所以我立即说是。这是我的新手-以任何方式使用人声,也使用我自己的人声。

Do you have any other upcoming plans or projects you can talk about?

I’m getting back to playing live, which is super exciting! I never enjoyed playing live techno in clubs to be honest, and I quit doing that two years ago, even that’s kind of how I started back in Warsaw. For this coming fall and 2022, however, I’ve agreed to a few shows at selected festivals (like just announced No Bounds in Sheffield). I’ll be playing a completely different live show; it will be more of a “freestyle” vibe musically an outlet for me to do whatever I want without having to make sure people are still dancing.

I’m trying to work on my own vocals as well. I used to sing around 10 years ago, but I got kicked out of music school for health reasons. If anyone ever heard me talk I have a really deep strong voice, it actually has something to do with some vocal cords dysfunction. I can’t fully get back to using my vocals as my main tool, but I’m trying to find solutions and a middle ground, and to not get too coc*blocked by this. I’m also recording an LP and making some really cool remixes for people who are not in my closest circle, which is so exciting. I’m most inspired by differences.

您还有其他可以谈论的计划或项目吗?

我要重新开始现场表演,这真是太刺激了!老实说,我从来不喜欢在俱乐部玩现场电音技术,两年前我就退出了,即使那也是我回到华沙的那种方式。但是,对于即将到来的2022年秋天,我同意在某些节日上进行几场演出(例如刚刚宣布的谢菲尔德无界)。我将播放完全不同的现场表演;从音乐上来说,这将更像是一种“自由式”氛围,让我无需确保人们仍在跳舞就可以做我想做的任何事情。

我也在尝试自己的声音。我曾经在10年前唱歌,但出于健康原因我被踢出了音乐学校。如果有人听过我说话,我的声音很深沉,实际上与声带功能障碍有关。我无法完全恢复使用人声作为主要工具,但我正在尝试寻找解决方案和中间立场,并且不要因此而受阻。我还在录制LP,并为不在我最近的圈子中的人进行了很酷的混音,这真是令人兴奋。差异给我最大的启发。

What are you working on now? What are your future plans and goals? What do you hope to accomplish in the next year?

I hope to be healthy, be happy, not broke, and to maintain some of the most beautiful friendships that 2020 provided me with. And be the best dog mom the world has ever seen. And maybe dj some.

你现在在忙什么您未来的计划和目标是什么?您希望明年完成什么?

我希望自己健康,快乐,不破裂,并保持2020年提供给我的最美丽的友谊。成为世界上见过的最好的狗妈妈。也许dj一些。

Interview 作者: Chloe Lula

Photos照片: Grzegorz Bacinski & Izabella Chrobok from KEYI STUDIO www.keyi.eu

Styling 造型师: Samantha Pletzke

Make up 化妆: Servulo 

Nails 钉子: Camila Inge nailsvoninge

Translation 翻译: Emi & Joyce

Designers 设计师 : Catalogue of Disguise, Laura Gerte,Kasia Kucharska, Lou Debetoly, Wolford, Johanna Gauder

Agency 中介 : Modern Matters

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