"If I have an idea and a vision, I just follow it and don't equate my performer role with my day-to-day self." ___ electronic music producer / DJ / Vilnius / Lithuania.
How would you describe OBCDN?
I used to be more of a hypnotic style advocate and played lighter techno, but now I'm slowly moving into industrial techno. I think there is more freedom, hedonism, and freedom to express yourself. A heavier style does not oblige you to adhere to stylistic frameworks. There is more experimentation, improvisation, and for me, as a musician of live music, it is perhaps even more acceptable. But I accept all styles. I like everything: both heavier music and lighter.
Why do people like industrial sounds in music?
Perhaps distortion, in my genre of industrial techno - it literally dominates. But I wouldn't limit the subgenres, because now everything is intertwined with each other. The Western scene doesn't put style into boxes either.
Do you find your personal values in your music?
Partly yes and no, because usually when I make music I have an image, an idea, a message in the music. And that message doesn't always reflect the day-to-day me. I think there is no need to distinguish between who you are during the day and who you are at night, and here too, I wouldn't divide it into personalities. If I have an idea and a vision, I just follow it and don't equate my performer role with my day-to-day self.
How would you describe your journey to foreign scenes?
I think that I have always done what I wanted to do without following trends and specific goals. I think consistency and doing what you like and what you love and believing in yourself. To believe in music, because sooner or later it leads to people who know other people (as I say, good people meet other good people), and then place, time, and coincidences. It just happens.
What was your backstage support like when abroad?
Abroad, maybe in the scene, there are more people of the older generation, 40 years old and older. It was strange at first because it is somewhat different from the Lithuanian scene. I felt great support from them. For example, if you talk to an agent, they try to help you, give you advice, or simply, if they hear and see promising music in you, they try to share it and not keep quiet.
Isn't it difficult to play in Lithuania again after playing abroad?
The contrast, I won't lie, is definitely there. After returning from Berlin to Šiauliai and playing on the Šiauliai stage... But sometimes in smaller stages, like in Šiauliai, which I love very much, there are more bombastic parties than in Berlin.
What do you think could be done to make night culture take a step further?
I think we should get rid of stereotypes. We have Soviet stereotypes about substances and parties in Lithuania, that the heavier the music, the less educated the audience is... I would like the Lithuanian community and scenes to get rid of it, and look at the party as a cultural phenomenon, not just a party in a warehouse.