nina kraviz

BORN: I was born in Irkutsk, a city in Siberia in the 80s

FAMILY: I grew up in a family where music has always had a very important place. My father is a true music lover with a great collection of rock, pop and  jazz.

MUSICAL ROOTS: I was into rock music with electronic elements as a kid - Led Zeppelin, Pink Floyd and psychedelic. Later as a teenager it evolved into Acid, Detroit techno, Chicago house and IDM, ambient and all sorts of obscure electronica, EMB. Funk and classic disco. Later sound track music, underground disco and wave.

FIRST PROJECTS: In the late 90s while studying medicine at University, in parallel I became a radio host and got a job as a journalist at a music magazine. My musical preferences at that time was around acid, Detroit techno, IDM, chicago house, drum’n bass. In 2000 I moved to Moscow and through my passion for music became a DJ and record collector. My first vinyl records was given to me as presents - Okino Shuya from Kyoto Jazz Massive gave me his favorite George Duke record and I-F gave me a few of his Viewless label releases. This inspired me to start collecting records. I continued working as music journalist at the legendary Russian magazine Ptuch, I became an assistant in an artist/concert agency and met many great artists - some of them were my heroes including Juan Atkins (meeting him was inspirational). For a couple of years I was collecting and playing funk music as a DJ and I did funk parties with a friend. Then came a period where I was really into the dutch scene - acid, electro and techno (Bunker records) and especially all kinds of weird disco (underground 70s disco, italo) and I was a frequent guest in Holland, especially Rotterdam and Den Hague. I sang and wrote on Golden Boy’s album but it never came out.  At some point my song writing ended up with me being the singer, songwriter, and co-producer in the band My Space Rocket. During this time I started slowly to produce my own music by making sort of demos or sound sketches with ideas for future songs for my band.


In 2005 I was selected as participant for Red Bull Music Academy in Seattle but couldn’t attend because I didn’t get US visa - I attended the following year in Melbourne instead and it proved to be a turning point. It was an intense experience for me as an artist and I continued learning about music production there. I gave the demo of our bands music to Greg Wilson and in 2007 our song “Amok” that was co-produced by a guy who is now known as Vakula was released on his B7 label. I also met Radio Slave there. 

In 2008 I left the band and started making music on my own. Within a couple of months I’d recorded a lot of music that I would upload to myspace under the pseudonym Damela Ayer every evening - I released a remix under this name. Somewhere in between of all this I also worked on some collaborations with Heinrich Muller.  In the meanwhile I became an established DJ in Russia with occasional international gigs; but I was also a certified dentist and was continuing working as a dentist at the Hospital for Veterans of Wars and parallel I was doing an upper degree. On Friday’s I ran parties at the legendary Propaganda club in Moscow.

In the same year I sent a demo to Jus-Ed and was signed to his label Underground Quality, while my other demo was accepted by Radio Slave for Rekids. Both records “Voices” on Underground Quality and “I am gonna get you /Pain in the ass” proved to be a break through success and this opened a door into international scene for me. The following year I made a few successful remixes, also collaborations, and in 2012 released my debut album on Rekids, with an 2 EPs “I’m week” and  “Ghetto Kraviz” that became underground hits and my most recognisable songs to date with “I’m gonna get you” and “Pain in the ass”. There was also an EP “Mister Jones” with a very well received dance floor friendly “Desire” that marked a last solo record on Rekids.

In 2014 I formed my own record label Trip (трип) that’s introduced a unique audio-visual concept and a number of new names to the electronic scene. Despite a low key attitude and a very specific non-conformist type of music, 2015 was marked with the crossover hit from Bjarki “I wanna go bang” that arguably became the biggest techno track of the year.

FABRIC: I think I was first invited to play at fabric in 2011. It was in room 3 and I was so excited about it. I really loved it! It always feels special as an artist to play at fabric and it brings a lot of excitement. Playing in room one is a unique experience because of the unusual DJ booth, where you can hide like a magician and orchestrate the room from there. When the room is full, with the lights blazing, it feels as if you are wired in directly to the dancing crowd.


I was very excited to record the mix. Of course! I wanted it to be live recorded, but I tried a few times and it kind of sucked. Some parts were great but something was missing… I realised that some parts of these 20 takes I did were awesome, so I had a dilemma of which to take. Finally I decided to take different parts and glue them together to make a story. In fact there are two separate stories in one story. A careful listener will probably feel that in the middle of the mix, there is a little break, as if to change a breath. I like real time mixing because it gives me this warm live feeling where you can feel a real person behind the mix. Some parts are mixed with vinyl and some parts (all the unreleased stuff) was mixed with CDJs, maybe some parts could have been mixed better but I decided to keep it unrefined because the energy on these parts of recording was just right and it captured exactly the emotional background I had at the time of recording.

Musically speaking it is my current taste.. this is what I feel like at the moment. There are a few really special and quite rare tracks there and I am very glad we were able to sign it off.

Bedouin Ascent is one of my absolute favorites, Frak’s “First snow in Harlem” from my favourite label Börtht, Killian’s (Abe Dugue) and Pansonic on Sahko (another all time favourite and a very inspirational label to me), Mike Henk’s hard to find track and DJ Tuttle’s gem that happens to be one of my favourite acid tracks, along with I-f’s Beverly hills that is also mixed in here). All three Woody McBride tracks and DJ Slip are also kind of collectors secrets and very hard to find, but I wanted to include them in my story.

Another special thing about this mix is 90s Russian electronica. I really love it and find it amazing! So there was no way I couldn’t include some artists from that fascinating era in 90s Russia (mostly from Moscow and St.Petersburg). I have included Species of Fishes - an IDM, ambient project from Moscow. There are a few tracks incorporated
in the mix, all from different albums, some of them were never released on vinyl. And New composers “Tetra” track that was made in collaboration Pete Namlook is also pretty special one (it’s from their collaborative album “Planetarium”). These are all pretty awesome examples of Russian 90s experimental electronica and IDM, which is still somewhat hidden from the international eye.

Some of the Species of Fishes will be re-released on the
sub label of трип that will start soon ready to start soon, along with music from Iceland’s Biogen. There is a serious amount of unreleased music on this mix. Biogen and Species of Fishes, Birk brainwash, Orange juice man, Breaker 1 2, Soren, Russians PTU and Nikita Zabelin and my own two previously unreleased tracks are all coming next year on трип. There is also one unreleased Apex Twin track that he kindly allowed to include to this mix too. The track previously appeared on his soundcloud but never saw an official release. Commass Vrubel’s (that I know since my journalist’s days in Ptuch) RX-5 rare record on small label Schmer that was founded by Jason Szostek (Prototype 909 ). Just in the middle of my recording process Jason reached out and offered me some DAT tapes that he recently found for a possible re-release on трип . 

This mix is a lot about acid, idm, ambient and, of course, techno. It includes some of my most treasured acid records. Some of them are very trippy, psychedelic and at time trancy. Frankfurt acid psychedelica, Air Liquid, Thomas P Heckmann’s Drax’s track “Amphetamine” remixed by Air Liquide, Or First Light  “Negative return”. Some tracks appear just for some seconds, like Panasonic and others stretched in a full length like the hard to define Bedoin Ascent. A very particular track is a voodoo madness by Automatic Sound Unlimited (one part of which is Rephlex label afflilated D’Archangelo).

This is mix is of course is what I am as a DJ and record collector, but it’s also what I am as a listener. What makes me groove at the moment. People call this a brain dance, but at some points the groove is very straight up for the dancefloor too. This mix is about some kind of trippy acidic dream with a lot of different emotions on the way, and as it was recorded in different times and places, under different circumstances, it’s naturally absorbed these very different emotions..  I’ve used only completely new unreleased music or rare old tracks, and nothing in between, no current releases. The mix is an invisible musical bridge between past and a future that is actually now.

THE FUTURE: A new album and a new sub label of трип that will focus on ambient, IDM, psychedelic and experimental music. As well as more unique трип events around the world.

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nina kraviz News




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