Nina Kravitz - Interview
“My true talent lies in improvisation and unleashing spontaneous ideas.”
Nina Kraviz on her Transformative Techno Journey and Redefining Boundaries in Electronic Music
Interview: Nick Clarke, Editor
Credit: Nicholas Fols
In the ever-evolving world of electronic music, few artists have left as profound an impact as Nina Kraviz. With her magnetic stage presence and eclectic style, she has become a trailblazer. Nina is constantly pushing boundaries and redefining genres. From her open-minded curation to her unwavering commitment to uplifting underrepresented artists, she has carved out a unique space in the industry.
In this exclusive interview, Nina invites us into her world, sharing intimate insights into her musical evolution and personal inspirations. We embark on a captivating journey through her creative process, exploring the challenges and joys of her globetrotting DJ lifestyle. Join us as we delve deep into the mind of the enigmatic Nina Kraviz, immersing ourselves in the music that drives her, the artistic exploration that fuels her, and the boundless possibilities that lie ahead.
Nina’s lightheartedness and sense of humour fill the conversation, showcasing her humble and down-to-earth personality. There are also serious moments when we catch a glimpse of her dedication to music and the unwavering passion that drives her creative journey.
So…. we kick everything off with the traditional “Hajimemashite” (はじめまして) greeting surrounded by all the industry types in the heart of Shibuya.
I have been to see you play many times over the years, one memorable one was at Carl Craig’s party in Barcelona. I dragged some die-hard techno fans kicking and screaming to see you for the first time. You owned the dance floor that night, I remember you playing like 4 B-sides of the Purpose Maker by Jeff Mills. You converted them, and they have been your fans ever since.
Nina Kravitz:
(Laughs) Actually, I'm circling back to that sound once again. I had this realization about two years ago that I was truly missing it. I enjoy experimenting with various sounds all the time, it’s difficult in this environment but I am really appreciating some good, old-fashioned music again. I find myself gravitating towards the '90s minimal sound again you know? Like Mike Ink, the label Studio 1. It's been exciting to delve into minimal again, and I've even reached out to Daniel Bell in the hopes of him making some tracks for my label, I really hope so.
Is he still playing Vinyl when he plays?
Nina Kravitz:
I don't know much about his DJing style since I've never heard him play, but a close friend of mine who knows him says he's a pretty talented DJ. It's interesting how some legendary producers create incredible music but may not be as focused on DJing. However, I believe there are only a few individuals who excel at both such as Jeff Mills, Ricardo Villalobos…. and me! I’m joking of course! (laughs).
You’ve got to put yourself in there!
Nina Kraviz:
It's quite rare to find individuals who can master both DJing and producing. But lately, I've been really into Ricardo Villalobos again. In the past two months, I've listened to around 15 sets of his from 2001 to 2014.
He recently created a remix for one of my songs, and I'm extremely proud of it. However, it's 30 minutes long. So I'll have to cut it down because it will be a vinyl release. Typically we are only allowed 13 minutes per side!
So that's how it is done, he hands it over with how long he thinks it should be or he is expecting it to be cut down?
Nina Kravitz:
To be honest, I'm not entirely sure about his process, but in my case, this is how it works. I suppose he doesn't cut it down because he does not have time. (Laughs)
Since it's my song it’s okay though, I will find a good part and edit it.
Credit: Nicholas Fols
We've been keeping up with your recent releases over the years, and your label and it's been an incredible journey. Now, I want to rewind a bit and delve into the beginning. What initially made you want to become a DJ?
Nina Kraviz:
Well, looking back, I realize that my journey into DJing unfolded gradually over a period of six or seven years. It wasn't even a conscious decision or a predetermined path. Rather, it evolved naturally step by step. During that time, I had the opportunity to travel to Poland, where I connected with fellow music enthusiasts and record collectors. My love for funk records led me to organize a party called Funk Explosion, where I would spin seven-inch records and unleash my energy by shouting into the microphone.
Looking back, I believe the initial spark occurred during my teenage years when I used to record all these radio programs. It was a whole new world for me. Growing up, my exposure to music was rather conventional, with rock, pop, and some electronic music - but not much. Mostly influenced by my parents, I grew up with a more classical perspective on harmonics and rhythm in music. However, what truly ignited that spark was listening to music in the darkness of the night, while pretending to be asleep to not disturb my mum and dad. It reminds me of artists like Autechre, who did that concert in the dark so people could only listen to the music. Similarly, individuals with impaired vision, like blind masseurs, develop an incredibly acute sense of sound and touch due to their circumstances. When you immerse yourself in the music, with nothing but the flickering lights of a radio receiver to accompany you, it reaches deeper into your subconscious, especially during those formative years of absorbing everything around you.
As time went on, these experiences continued to shape me, eventually leading me to relocate to Moscow. Before that, I worked as a journalist for a fanzine, and I couldn't go out without my parents' permission because I was still very young.
The true immersion into the world of DJing occurred at a club, where DJ Sasha was playing a completely different style of music. It was an intense experience, but I never thought “OK, now I am going to turn this into a career”. Honestly, I didn't have any set plans or ambitions and I was certainly not thinking of becoming a DJ. At that time, I was a medical student on the verge of becoming a dentist. However, my passion for DJing was fueled purely by the love and enjoyment of just doing it. There was no specific plan or goal, unlike many of these young artists today who are jumping straight into the industry after making their first beat. That's fine, but for me, it was completely different.
Was there a defining moment when your outlook transformed from being a devoted music fan who simply enjoyed listening to the art form, to someone who felt the inner drive to transition to an active creator?
Nina Kraviz:
Initially, my shift into DJing was more of a collective experience and while I didn't have the equipment at home, a friend of mine did. However, we were limited to record players with pitch control, as we did not have access to CD players with a pitch control. As I began practicing, I'll admit that my mixing skills were not very good in the beginning. At the time I was living with my friends in a tight space, we couldn't afford our own apartments, and there was no privacy really. I lived like this for just over four years, with my neighbour passing through my room to get to hers.
During that time, I had the opportunity to befriend a successful Russian DJ. Our paths crossed through my involvement in conducting interviews and working as an assistant to promoters, taking care of artist bookings and taking care of them. The promotional agency I worked with was excellent, and through that experience I had the opportunity to meet a really diverse range of people, such as Grace Jones. It was an invaluable part of my education. Like spending two days showing Juan Atkins around, and eating chicken! As a techno lover, this was fundamentally life-changing for me - I would understand this much later of course.
I distinctly recall the moment when I began experimenting with mixing on my own. I had a strong desire to learn, yet no one explicitly taught me how to do it. To this day, I find it puzzling how mixing can be taught in formal schools or workshops. For me, it was all about immersing myself in the music, honing my beat-matching skills through dedicated listening and practice. My neighbour, often returning from exhausting gigs across Russia, unwittingly became my audience from my practice sessions. I would try my hand at mixing, even if they turned out to be train wreck mixes. And she would say to me “Come on, when will you learn how to DJ for fucks sake?” (laughs)
Do you remember ever getting that first beat matched?
Nina Kraviz:
To be honest, I don't recall the exact moment but I do remember it being difficult. People have different talents and strengths I guess. For me, even the simplest of tasks didn't come naturally, and even simple dance moves proved to be quite difficult. It made me think that I was somewhat “special” you know and wondered if I was somehow different from the others. This feeling persisted during my time in ballet school, where it became evident early on that I faced a unique set of challenges.
And I realized that the technical aspects of DJing weren't my strong suit. However, what I discovered was that my true talent lies in improvisation and unleashing spontaneous ideas. These moments of creative flow allowed me to craft mixes that elicited the “wow” factor. Beat matching, on the other hand, was something I struggled with. While I've honed my skills over the course of the past 15 years, back then, it was apparent that it wasn't my strong point. The anxiety I experienced, coupled with what I now know is my ADHD, made it even more difficult to concentrate on simple tasks.
So, beat matching proved to be really frustrating and difficult for me. However, I found my strength is in creating unexpected and wild mixes out of thin air. One unforgettable experience was in 2014 when I played at an after-party in Greece, which is unusual for me. The DJ who was supposed to perform did not show up, so I ended up playing for over 12 hours with only one bag of records. I guess I had some 80 records in there, which maybe gave me just 200 tracks to work with. I had to find interesting ways to mix these tracks together. Later on, this became a crucial aspect of my record label. It was one of the ideas I had when I started releasing these double album compilations. If a DJ had a limited amount of records, or only these records they could still rock a party by blending these tracks together in a variety of ways - like solving a Rubik’s Cube. The pressure was off - as you would always have the tracks there to seamlessly mix. These are the kind of records that never leave your record bag.
Credit: ACiD (@acid_ofc)
Those compilations are so important.
Nina Kraviz:
Yes, and as time passed and I dedicated countless hours to practicing, following the “10,000 hours rule”, I reached a point where I could mix any kind of music. I mean, literally anything. Even when the rhythms were completely different, I found ways to make it work. Sometimes, it involved abruptly stopping one record and starting another with a little finesse - the critics would be like "Oh my God!".
Ricardo Villalobos is a name that springs to mind.
Nina Kraviz:
Yes, and actually listening to his works, and his mixes from the early 2000`s it's interesting how our perception of an artist's work can change over time. You know, there are moments when you listen to an artist at different stages of your life (even after just five years), gaining a fresh perspective to truly grasp his artistry. Things I did not pay attention to before, and now I listen to those same mixes, he is a genius. I feel as though the colours have changed. Because I have changed also.
Most people just listen without analyzing the details of what he is doing, and why he is doing it, but I find it captivating to dissect his thought process. I believe that the way someone mixes reflects how they think, you know what I mean? A well-executed mix not only showcases their technical skills but also reveals glimpses of their character, energy, and even their state of mind. My favourite mixes are when you lose control, completely.
Credit: Nicholas Fols
I would say you are very much like that too with your style, and especially the way you interact with the crowd when you are playing live.
Nina Kraviz:
Yes but live interaction can be very different, very different. Where the energy can vary from being vibrant and loud to introspective and subtle. For me it's a unique experience each and every time, as it depends on my mood and the situation I encounter at the event. The ever-changing atmosphere makes it very captivating, and truly beautiful.
It's fascinating to observe why some DJs take a slow and deliberate approach while others operate on a whole different level. Sometimes, they surrender control and allow something deeper, even the subconscious, to guide their creative output.
Do you think that can be recreated in the studio?
Nina Kraviz:
This applies both in the studio and performing live. It sets the tone and direction, which can span various styles and moods. It can be subtle, loud, or highly expressive, depending on the energy of the audience. Contrary to what some may assume, those who don't know me might think I'm not interactive, but that's far from the truth. Every time I attend a party, I can't predict my exact mindset. It's like stepping into a new experience, assessing the atmosphere, and approaching it with a fresh perspective. Even with my USBs and familiar music, each time feels so very different. So I never really know if it’s okay or what’s really happening. It’s a unique experience.
What is that? (looking at Arthur’s phone)
It’s a low-battery alert on his phone (laughs).
Nina Kraviz:
Oh, that type of thing makes me nervous! (laughs)
So, when you started out, what kind of challenges did you face early on, and how did you overcome them?
Nina Kraviz:
Oh, there were countless challenges, but you know what? One thing that always kept me going was my love for traveling. Whether it was hopping on a plane or in the car, travelling was a big part of my journey. Buying records was a challenge too in the early days, they were pretty expensive for me back then. However, I always found a way to make it work.
Another challenge is the obvious one, sleep. Sometimes my body screams at me like, "Why are you doing this to yourself?" But you know what? I never question it because deep down, I know I do it because I love it.
It's not some cliché or me trying to impress anyone. This is what I love, and even though it's physically demanding, it's one of the most perfect ways for me to express myself and connect with others. Sure, I could do other things too, but this...this is where my heart truly belongs.
It is truly exceptional the schedule you have, it must be so hard to manage both mentally and physically.
Nina Kraviz:
When it comes to keeping up with the demands, I have to admit that there are times when my mind gets tired and less flexible. Switching between different types of work can be challenging for me. I run the label, writing songs, and I still travel without a tour manager.
Do you ever take a break?
Nina Kraviz:
Not really, and that is something I am working on. There's a lot of work involved, and while I love the intensity, I need to take a longer break in between the bigger tours. To learn the importance of taking breaks and finding the right balance. Overworking is ok, especially when you're in tune with everything and feeling good, working hard is perfectly fine.
However, if something is bothering you or you find yourself overthinking, it can easily lead to tiredness.
Travelling as much as you do, is it hard to realize when that is happening?
Nina Kraviz:
Overworking can lead to exhaustion, so it's crucial to listen to yourself and pay attention to any signs of tiredness. Sometimes, it's easy enough to notice it on your own, but it's also helpful when someone else points it out and says, "You look pretty good, but I don't want you to overdo it.” Taking care of your body is no joke. It's important to listen to your body and give it what it needs. For me, it is not as easy as; If you sleep enough you are happy, if you do not sleep enough you are not happy”. Sometimes, when you're making good music or really passionate about your work, it can make you feel amazing, and sleep can become less of a priority. It's a unique balance to manage. I am still trying to figure things out. That said, you have to make sure to give your body the rest it needs and avoid anything that drains your energy.
Do you have any strategies or daily routines to keep yourself going?
Nina Kraviz:
Well, a few basic things but I am not going to share them with you. (laughs)
Yes ,of course, I make an effort to do simple exercises, like stretching and keeping my muscles active. I don't do it every day, but at least three times a week. I also enjoy getting massages. And when it comes to food, I absolutely love eating and enjoying food. Being in Japan is always a blessing because it offers incredible culinary experiences. Surprisingly, in Japan even though I eat a lot, I still feel so light. Although, I must confess that I consume too much sugar, but that's a whole different story! (laughs)
You've mentioned that your music is often born out of a sense of being unfinished or stemming from mistakes or coincidences. Can you share a particular track you have made or an artist that embodies this concept for you?
Nina Kraviz:
I don't enjoy labouring over a track for hours on end. I prefer capturing the essence of an idea, refining it, and then moving on. However, there are certain tracks, such as "Skyscrapers," which had more of a pop vibe, or "Tarde," that came together quite effortlessly. But with some other tracks, like "This Time," I went through numerous edits and even recorded around 40 vocal takes.
Normally, I would just sing and consider it done, but this time I started overthinking and taking the song too seriously. I thought, "Okay, now I'll sound like Tina Turner!" and I decided to record my vocals in a studio because it sounds better and provides a different environment compared to recording alone in my studio. It didn't occur to me initially, but after doing 40 or 50 vocal takes, the engineer was perplexed, asking why I kept doing it. Eventually, he just stopped picking up the phone. I would usually record this in my own studio, but I wanted to approach it differently this time, almost in a meticulous and clinical manner. The same thing happened during the mixing and mastering process, where I experimented with numerous versions. At some point, even my friends stopped answering my calls because I became a bit obsessed, calling them “Did you hear? I added a little more bass”.
It can get a bit crazy, you know. So, knowing where to draw the line is essential.
Credit: ACiD (@acid_ofc)
I was going to ask you, with most artists, whether they're making music, sculpting or painting, there's always the question of when do they know it's finished? As they can be forever tweaking it, working on it. Do you have a sense of knowing when it is done, or is it because people stopped picking up the phone?
Nina Kraviz: (laughs) That’s a difficult one. That was a truly intense situation for me. I felt like I was in my own world, in a different stratosphere altogether. Sometimes, in the pursuit of perfection, your approach can become a bit crazy.
I don't think Ricardo is like that, but I do not know, maybe he has something like that. But I also admire artists like Russell Haswell and Matthew Herbert. They embody a similar approach. It's a bit more intuitive and less clinical, reminiscent of the minimalist music from the 90s and early 2000s and '90s. Sometimes, it's hard to tell if it's a mistake or intentional, but I firmly believe that those imperfections are what make it so special.
Let me share an experience I had at Tresor when I was younger. The old Tresor was still open, and one night, Cristian Vogel was playing there. Matthew Herbert was not playing there, but I saw his CD was there called "Let's All Make Mistakes". The mix wasn't perfect, but there was a moment when he unexpectedly plays DJ Deeon “Shake What Your Momma Gave Ya" and this was my first introduction to Dancemania. I loved it soooo much. That track became my real entry point into dance music. It is a raw and unpolished sound, as if a friend had recorded it in a garage with a cheap handheld microphone. It resonated deeply with me. It encapsulated the essence of Dancemania, where imperfections are celebrated and become an integral part of the artistic statement.
Those imperfections, and “Let’s All Make Mistakes” Would you say someone like Ricardo Villalobos fits into that too?
Nina Kraviz:
Well, I wouldn't go as far as saying that artists like Ricardo Villalobos create music from mistakes, as it would be impolite to assume such things. However, I do understand his approach after observing how he works. It's not a structured process where you set a specific time to finish a track. It's more spontaneous, intuitive, and involves editing tracks as they're being recorded. And that's truly remarkable. In my own music-making, I also embrace a similar approach. And staying focused for long periods can be difficult for someone like me unless it's an incredibly captivating idea or song.
Speaking of captivating songs, do you have particular songs or mixes that inspire you?
Nina Kraviz:
Of course, there are a lot of songs that inspire me. Honestly, anything has the potential to be inspiring. Let me recount an experience from a few days ago when I was en route to the airport for my trip to Hokkaido. The driver had put on a mix by one of his Japanese friends, and it completely captivated me. The music in the mix evoked memories of the tunes I used to play in the past, that delightful, vibrant blend of cross-genre music. It really resonated with me. Later, when I played at Precious Hall, I was utterly inspired by that mix, and my set had that same energy. Sadly, it wasn't recorded, which left me genuinely upset. I cried when I realized it was not recorded because it was such a good set, and it deviated from the type of music I have been playing for many years. It was really minimal, it had a Steve O Sullivan type vibe to it, early minimal, really cool groovy-type stuff. I am really into minimal at the moment.
Speaking of music that helps clear the mind, whenever I find myself in need of that, I often turn to a Miles Davis' live performance. There's a particular moment during one of his concerts in which he does a rendition of Cyndi Lauper's "Time After Time", In the recording, you can hear someone in the audience coughing, and I can pinpoint exactly when it occurs. That cough has become intertwined with the song itself, becoming an integral part of the performance.
It's these small and unexpected elements that can become ingrained in recorded music, even if they originate from audio issues or accidents.
It has been wonderful to talk with you today and to be able to share this with our readers. Do you have a message you would like to share with them?
Nina Kraviz:
I would like to express my heartfelt gratitude to everyone who has supported me during these challenging times. I understand the economic struggles faced by many around the world, and I genuinely appreciate any interest in my music, whether it's my own records or the releases on my label.
I also want to share a remarkable and unforgettable moment I experienced recently. I had the privilege of attending a concert by the legendary Japanese pop singer, Yumi Matsutoya. It was truly incredible to witness her performance, and she even expressed interest in having me remix one of her songs. Furthermore, she came to see me play at Precious Hall, which was an incredibly meaningful and special occasion.
That would be incredible for your fans in Japan to hear that remix!
(everyone around us starts to smile)
Before we have to go, how has your trip to Japan been this time round?
Nina Kraviz:
This trip to Japan has been a unique and special experience for me. It's the first time I've been able to come to Japan in such a short period. After the pandemic, there were three or four years where I couldn't visit, so it feels incredibly significant for me personally.
I absolutely love being here and playing in Japan, so the wait has been quite long. During this visit, I finally had the opportunity to play at the legendary venue called Precious Hall, which I had been dreaming of for many years. I also experienced a typhoon and a cancellation. But regardless of the circumstances, it feels amazing to be back again, to reconnect with the place, and truly appreciate each moment here.
Meeting my old friends and DJs, like Sodeyama-chan, Hitomi-and chan, visiting familiar spots like Dommune and giving a big hug to Ukawa-san. Of course, some things have changed, such as the unfortunate closure of certain record shops, but it's heartening to see that the connection and love for music are still strong in Japan.
(hugs)
