This is one of the few interviews I’ve done that totally changed my perspective about the artist.
Now that both parts of Music From The Eastblock Jungles have been released, Proxy’s horizon is clear as ever. His destructive style of techno/electro quite literally obliterates genre boundaries and has cleared a path for the Russian producer unique to him. When discussing his music, his personality matches his music perfectly – blunt, to the point, and devoid of uselessness. Music From The Eastblock Jungles cements Proxy as one of the most utilitarian producers around, perhaps ever.
We were lucky enough to have a chat with Proxy about the two part album –
Where did the name for the album come from?
It is fairly straightforward, I think. You emerge from barren concrete, your life subject to the whims of predators and the thirst of parasites. The mewling of the animal that survives qualifies as music, however dreary.
Parts 1 + 2, while intertwined in their own way, feel like separate bodies of work. Was the work done separately or together? What determined which tracks made it on the first vs. the second part?
For a number of reasons too involved and potentially damaging to go into, it was decided that the record would be released this way. In terms of its reception, I have no fear of complaint. Apathy, the other “great enemy,” can be feigned for only so long in the face of something greater.
It seems like this album overall has really defined the Proxy sound. What was the process of creating such a cohesive, defining album like? How different was it than working on single or EP releases?
Proxy music only appears as distinct entities to outsiders. What I release this year is the same energy I release at any other point in linear time. What is in my head may change. My access to this energy does not.
You were stranded in Russia while working on some of the album – did that environment affect production at all?
Yes. It made the music worth making. I have at various times been offered the means and opportunity to produce music in far more comfortable environments.
The remixes on the album thus far have been phenomenal. Do you personally curate the artists for remixes? They all fit the feel of the album wonderfully.
My management is charged with dealing with such things. I have neither the time nor the patience to arrange for others to throw parades in my honor. Remixes, regardless of the quality, are non-essential. Bloat kills everything it touches. I am fond of the loud one, however.
“Shut Up!” made quite a splash when it was released. The vocal work is very unique – what was the method behind that track like?
I appropriated as much of the original track as necessary. The pertinent message was one of silencing your inferiors. The rest was deemed chaff and so discarded.
Have you learned anything you didn’t expect to from working on the album?
Assumptions wither and die in the heat of creative triumph. These are not to be mourned, as they only serve to soften your heart and dull your mind. There can be no heart. There was never a mind. There is only the inevitable. So it can be said that I learned nothing. I know fewer things than when I began.
What kinds of sounds are you looking to pursue after Part 2 is released? Anything new in the works?
Now that the landscape has been obliterated, I can see farther than ever. I have to rethink space and size and the scale of anger.
How’s your relationship with your label mates? Hearing this album alongside artists like GTRONIC’s releases has been very cool.
I have met some of them. I am not interested in sharing my personal opinions about specific individuals. I find it in poor taste.
Where is Proxy headed? With this huge body of work released, the possibilities are endless.
Only small men must come to terms with the things they have done. The curse of reflection is paralysis. I do not look backward. I do not move forward. I simply continue to be. You may not.