Vladimir Dubyshkin

From Tambov, Russia, a city by the Tsna River, comes Vladimir Dubyshkin. As an electronic music producer, Vladimir isn’t one to stick to a single genre. His experiments across different styles of music appeal to a wide range of listeners, from fans of noise electronics to those looking for danceable beats.

Vladimir's tracks, including “Lady of the Night,” “Ticket to Childhood,” and “Russian Porn Magazine,” consistently capture attention with their unique sound. Whether it's through the quirky rhythms of Euro dance-inspired tracks with unexpected vocal snippets or the mesmerizing allure of his techno tracks, Dubyshkin's music carries a distinct groove. Infused with a touch of irony and an infectious energy that gets people moving, his work is equally at home in the intimate setting of an underground club or commanding the vast expanse of a festival dance floor. His ability to connect with audiences across various venues speaks to the lasting impression his music leaves, resonating with listeners well beyond the final note.

With his first double EP on трип, “Ivanovo Night Luxe,” Dubyshkin delivers an experience as compellingly off-kilter as ever. The EP takes listeners on a bizarre journey, from the spooky ambience reminiscent of a ghostly carnival ride to the heart of a prime-time DJ set. “Ivanovo Night Luxe” not only deepens the intrigue surrounding Dubyshkin but also cements his reputation as a producer committed to his craft, illustrating the powerful notion that sometimes 'less is more.' In an exclusive interview with Coeval we chat over this powerful releases and much, much more.

Vladimir, with "Ivanovo Night Luxe", you've embarked on what many might see as a new chapter in your musical narrative. Could you describe the conceptual genesis of this double EP and what sets it apart from your previous work?

Hi! In fact, after the pandemic, I collected a pack of unreleased music I wanted to release but there was no particular reason to put it all together since the music is stylistically varied and time on the record is limited.

Therefore, after thinking a little and finishing a couple of tracks, I decided to release Ivanovo Night Luxe, a record that does not have an intro, outro and a holistic concept that are typical for a complete album. Let's say it, its a compilation of tracks that didn’t fit on the last record.

Regarding previous works, I still prefer the old concept of selecting music, adding tracks that are completely different in groove, and written in different periods.

In a relatively short span of five years, you've carved out a distinct sonic identity within the techno scene, a feat not easily achieved. To what do you attribute your ability to stand out in a genre that's constantly evolving and saturated with talent?

I just love music and make it for myself, avoiding all trends and racing for likes and listening. I find this approach more sincere.

How do you approach the process of naming your tracks, and is there a particular story or message you aim to convey through these titles?

Most likely there is...I think my time at the university was not wasted and I remember something from English stylistics lessons, determining the etymology of the characters' surnames and and meaning of idioms in the works of Chekhov, Griboyedov and Gogol. Usually, I make notes in advance and then name the track associatively, it also happens spontaneously when the name comes to mind, this happened with the track "Lady of the Night", the song has a hook “O boa noite Pra é quem de Boa noite”, which translates as "Good night" from Portuguese or the abbreviation "Rooyggbiv" which lists the rainbow colours.

Your music has been described as having a unique blend of irony and groove that appeals to a broad audience. How do you balance these elements in your production process, and how important is this balance to your artistic identity?

I'm guessing it's because of the track titles? I don't think about it during the process, rather it comes later but in general, it’s funny, most of the tracks are produced with minor elements and rather smack of “slight melancholy” along with irony, apparently the groove does its job!

Your sound has been influential, inspiring a wave of artists within the techno community. How do you view your role in the current landscape of electronic music, and what do you hope to inspire in others with your work?

Sounds cool, but it’s always difficult for me to estimate my work from the outside, and to talk about it, especially within the framework of electronic music. I never had the goal of “reinventing the wheel” or winning the sound designers` hearts in the meta modern era, on the contrary, like many, I continue what was started by the icons of the electronic genre, but through the prism of my vision of this world and I hope music will again be part of something larger than entertainment which was previously called art.

How do you decide when a piece of music is ready for release, and what criteria does a track or EP need to meet to be part of the Vladimir Dubyshkin catalogue?

 In general, it's a random process, usually, I release music that I don’t get tired of during touring or if the track has an idea, an instrument or a weird sound that can be emphasized, I will add it to the catalogue. It happens the other way around, when people ask about music that, alas, is lost or was played as a raw version or when Nina and I don’t see eye to eye and the record is put off until later, just during this time something new appears that I can replace.

Looking to the future, are there any unexplored territories or genres within electronic music that you're interested in experimenting with? What can your fans expect from Vladimir Dubyshkin in the coming years?

I don't like to talk about the future, since the modern world is unpredictable and constantly changing, but as an artist who listens to other genres of music, I would like to work with hip-hop artists or make a sound for an advertisement of insect repellents and take a break from the dance music.

Interview by Izabel Rose