There are certain sounds that merge industrial impact with the organic beauty of natural spaces, and there are artists who seem to possess a natural gift for translating them into musical compositions. Raised in an environment conducive to appreciating this dichotomy between noise and the sounds of nature, Toki Fuko is one of the international figures who has most masterfully channeled this particular understanding of techno.
However, in this interview, we go beyond discussing Toki Fuko’s performance at the 2024 edition of Paral·lel Festival or releases like "Port del Compte"—his tribute to the festival on Annulled Music (Reflection Code EP). We also discover an artist whose creative curiosities reach much further. Alongside his ambient imprint Troekurovo Recordings, Toki Fuko engages in interdisciplinary collaborations with various musicians and projects and, as he reveals, is even eager to produce a trip-hop album.
To accompany this conversation, Toki Fuko contributes a live set to the 80th edition of the You Play I Write series, recorded at Blank club in St. Petersburg in February 2024.
Toki Fuko (live) · You Play I Write 80
Vanity Dust: You have mentioned in your early days as a producer that being born in a city with a strong industrial presence was a determining factor. The sounds, noises, and sober, mechanical aesthetics of that environment attracted you deeply, together with a strong connection to the surroundings, which were also closely linked to nature. How did you reconcile this attraction when you started producing music? Did you go through other musical genres, electronic or otherwise, before fully stepping into your path towards Deep Techno?
Toki Fuko: Yes, indeed, I was born and raised in the industrial city of Lipetsk. This city is home to one of the largest metallurgical plants, where my father worked. In my youth, he often took me to the factory and showed me how the steel production process worked. I was always fascinated by the monumental technical buildings, the quarry machinery, and especially the sounds that the factory produced during production.
At the same time, I spent my free time in the countryside, enjoying nature. I loved the untouched landscapes, the forests, rivers, and fields. I enjoyed waking up at dawn to go fishing or exploring the woods. To this day, that connection to nature is part of my meditation. I was very sensitive to the soundscapes surrounding me. The natural environment always felt like silence, while the city felt like noise from industrial sounds.
Back then, there was no internet, and I listened to all the music I could find on cassettes, but I was a huge fan of The Prodigy. Sometimes friends from the capital brought back pirate tapes from various foreign radio stations with speed garage and psy trance, and we listened to those tapes for hours.
That’s when I began to familiarize myself with different electronic styles in music. When I got my first computer, I stumbled upon a disc with music production software called "Dance Ejay" in the 8th grade, and it captured all my attention. I enjoyed creating musical sketches from various loops. It was a way for me to feel like a music producer.
Later, I sought out interesting, non-mainstream music to enrich my musical vision. I listened to hip-hop, rock, breakbeat, jazz… sometimes spending more time studying certain genres than others, thereby sorting through my musical taste.
I came to techno and club music a bit later, as a high school graduate. By then, I was already organizing school disco events. However, it was my older friends who introduced me to the underground scene, as they were already playing in local clubs with Drum’n’Bass, Progressive House, and Electro. Each time, I was enchanted by the atmosphere and the tracks they played at parties; it felt like I was discovering new music every time.
You often describe your rhythmic sequences as a “form of thought” or a “meditative space.”
Where does the technical side of production end and where do introspection and the emotional dimension of your music begin? What do you think is the link between the two? Do you aim for the audience to decode a message, or rather to simply inhabit the sound, its beauty and its aesthetic intensity?
When I listen to music, it's important for me that the composition has a sequence and an emotional story. It should feel like a journey.
The music needs to capture the listener's full attention and immerse them in a particular state that the artist is trying to convey.
My recording process can be complex, but it's fascinating because I love to experiment and am constantly searching for something new.
Whether I'm writing ambient or techno, the key is to find a hook that can hold the listener's attention for an extended period. This could be a rhythmic loop or a texture from which the track gradually evolves, step by step, adding various elements to tell a story.
Sometimes, a loop may play in my studio for hours; I listen to it, and if I don't get tired of it, I know I'm heading in the right direction.
Regarding my form of thought, it's quite simple: techno represents futurism, the sounds of machines, factories, urban life, and constantly repeating processes; ambient reflects nature, the cosmos, and the inner state, a journey within oneself.
Often, my works reflect my internal state, whether it's a projection of chemical elements through sound waves or a perception of shamanism through the lens of world cultures.
Your transition from software to hardware helped you improve, expand, and ultimately achieve the type of sounds you were looking for. What limitations did you encounter in music production software, and how did analogue machines allow you to reach the sound and structure you were searching for? Was this a relatively fast, gradual, or intuitive process? Do you still feel open to further possibilities and mutations of your sound, or do you think you have reached a stable and defining personality?
In my work, I use both analog instruments and software. In the past, I didn't have the opportunity to acquire analog tools, so I studied synthesis in the program Reason. My main goal was to understand the principles of sound formation, how to apply the necessary signal processing, and utilize effects processors.
The first synthesizer I got was the Virus C. I spent hours exploring its various parameters and how they affect sound formation. At that time, I was already working in Ableton Live, and I enjoyed using the raw sound from the synthesizer, processing it through different algorithms and built-in effects.
I never felt limited by the tools I used. At one point, my studio expanded significantly. I was a fan of Roland and Moog, and I had a wide variety of instruments and drum machines. However, I eventually realized that I didn’t need such a vast array of instruments. I adhere to the golden rule "Less is More."
Currently, my studio mainly consists of a few cases with modular synthesizers, drum machines, and a granular synthesizer that serve specific tasks during track recording. Every day, I learn through interaction with my instruments. This process is continuous; once you achieve a desired sound, you don’t stop there but continue to explore the instrument and its capabilities.
Labels like Annulled Music, where you recently released "Reflection Code", have formed a very clear aesthetic in modern Deep Techno. Do you feel that today there is a genuine global community of “sound explorers”, or do you see yourself more as a satellite working in isolation in your own laboratory?
Of course, I am confident that such communities exist; otherwise, talented artists from different corners of the world wouldn’t be creating this kind of music. However, it remains a subcultural layer of art and society. As I am part of this subcultural scene, I feel like a sort of satellite, transmitting sound from my own laboratory.
You work both in the studio and with field recordings, which you integrate into your tracks. When did your curiosity for recording real sounds emerge? How do you integrate them into your productions? Can you comment on any tracks where you used field recording materials? What sounds or places do you typically seek for these recordings?
I have always loved observing the sounds around me, focusing on individual elements and imagining how they could fit into a musical composition.
Each specific place I have been to has its own unique soundscape, whether it's a forest, an urban environment, a winter wasteland by a frozen lake, or an abandoned factory.
The first works where I began to incorporate my field recordings were in the album "Spring Ray", released on the Silent Season label. At that time, I was heavily influenced by Echospace and how they utilized textures and noise in their work. I made many recordings in various locations: forests, streams, streets, and underpasses. It was important for me to capture the atmosphere of the moment. Additionally, I have a second musical project built around the concept of live recording and improvisation in the forest, called Troekurovo Recordings.
Once a year, my friends and I gather in the woods, 70 kilometers from my hometown, to improvise and capture the sounds of that place. The concept is simple: no preparation, just synthesizers, microphones, field recordings, and friends. We set up different microphones in a clearing to capture the atmosphere, integrating everything into modular synthesizers while improvising, and recording the entire result in the process.
You have been releasing music for almost twenty years, starting around 2008. Since approximately 2016, your releases have become more regular, and since 2021, the pace has intensified even further. How would you define your musical career in terms of the different stages you've gone through? Can it be said that in recent years you have reached a “stabilization” of your style and sound that has allowed you to work more intensely?
Yes, my musical career has gone through different stages that have shaped me into the person I am today. In the early days, I released minimal house, electro house, and progressive house, as the music I listened to heavily influenced my taste and mindset. Then, I spent a significant amount of time listening to Basic Channel and Deepchord, leading me to release more dub techno tracks. For me, this remains the foundation and the best form of combining the natural (atmospheric) and mechanical (techno) states of sound perception. However, electronic music is constantly evolving, styles blend, and new forms emerge.
I continued my explorations and began discovering new artists and labels, one of which was Prologue, which greatly influenced my perception and approach to sound and deep techno concept. I started collaborating closely with the Affin label, which gave me a strong start as a musician and helped my music reach a wider audience. I still maintain a great relationship with the label's founder, Joachim Spieth, and I try to release music there from time to time.
I have experimented a lot with my instruments and released numerous tracks on various labels. I still have a strong desire to continue producing new music, exploring different labels, delving into various musical concepts, and experimenting. There is always something to strive for and to develop within myself. If I ever feel that I have reached "stabilization", it might be time to conclude my musical career.
Sometimes during production, unexpected mistakes or unforeseen sonic changes occur that become part of the track. What level of improvisation or experimentation do you allow yourself while working in the studio?
Mistakes are perfectly normal. As my father used to say, "Only a fool doesn't make mistakes."
During the recording process, errors can occur, artifacts might pop up, and noise can emerge. Sometimes these can be removed in post-production, but other times they can be left as artifacts that remind us of a live recording.
It all depends on the context of the track. For example, in Troekurovo Recordings, moments can arise where I need to re-patch signals to different parameters of the modules, which may produce sharp or harsh sounds. I try to either incorporate those moments or cut them from the recordings.
In the studio, various situations can also occur during recording, even when I'm not making changes to the modular system. It’s a living organism in the world of sound. Before recording, I determine the parameters I will control, make a test recording, and then create a few more takes. I have long trained myself to document every action I take because there have been times when I played an instrument, and everything sounded perfect in the moment, but I forgot to hit record, and there was no second chance.
Thanks to your work in music, you've been able to visit, travel and play in many different places around the world. Sadly, we're not in a good time regarding the relation between countries and nations. Do you think music and its connection beyond borders can be a way to reduce tensions, conflicts and to keep people united despite the bad times?
It's a complex question. Indeed, relationships between countries and nations can be very specific, but I have always chosen to remain apolitical position. I believe we all live on one planet, and the borders exist only in our minds. Unfortunately or fortunately, there are people who manage global processes, which don’t always resonate with the average person. We just left with the choice of either following the rules or breaking them.
I also understand my role in this world is to create and make it better through my art. I always adhere to the principle: "If I can change it, I will." Everything else is just empty talk.
People constantly reflect on various events occurring in the world, leading to hate and boycotts of artists. Often, they seek to attention to themselves rather than addressing the real issues, or they fear for their image.
Hatred and anger always lead to destruction. My weapon is love.
My language is music. And if I am heard, it means we understand each other.
One of the most memorable sets at the Paral·lel 2024 festival was your performance. In fact, your track on Annulled Music, "Port del Compte", seems to pay tribute to this experience. What do you remember about your set and the overall impression? At what other festivals have you been able to perform with such a sense of freedom and connection with the audience?
Absolutely, it was a tribute to the festival, the organizers, and the people who were there. It was my first time attending this festival, and I was deeply impressed by the location: the stunning nature, the mountains, and the people. I really like the concept of having a single stage where everyone exists as one whole.
Toki Fuko — Port del Compte [Annulled Music]
I have played at various festivals, and in most cases, they involve large areas with different dance floors and music, which often makes me feel like I'm at a fair. You move between stages searching for something and can't fully immerse yourself in the music at that moment. The Paral·lel Festival is entirely different. You can enjoy a dub techno set on a sunny day while sipping a cold beer and mingling with new people, and in the evening, dive into dance techno and enjoy sets from great artists.
It was a tremendous honor for me to participate in this festival as an artist and share my music with the audience. I hope to return someday with my new live performance.
Unfortunately, I am currently facing some logistical challenges regarding European venues due to sanctions, but I remain open to new opportunities and collaborations with various festivals.
You state that every day you discover new ideas through your work with machines. Where is your curiosity directed now? Are there any sound territories, perhaps beyond techno, that you have explored recently in your studio?
In addition to my own tracks, I am also developing my skills in sound design. I collaborate with various art exhibitions, media artists, and in advertising. Recently, I completed a collaborative album with Alina Anufrienko (cello). This project represents a synergy between modular synthesis and the cello, resulting in a very cinematic album.
I would love to hear this work featured in a film or performance.
Currently, I am seeking a label for this album. I believe it will be something new from me, while still retaining my signature style and character. Additionally, I have plans to record a trip-hop album.
In other types of performances, you often play in clubs, enclosed spaces, and in a much stricter and darker night time atmosphere than at a festival like Paral·lel. Do you approach your work in clubs differently? Do you find alternative forms of connection with the audience, or do you notice changes in their reactions depending on the venue?
Yes, indeed, I always prepare my material based on the venue where I will be performing. I carefully study the space and, depending on my feelings about it, I prepare my material accordingly. It also depends on the concept of the event. Sometimes the same venue hosts different events with their own concepts. For example, in the Moscow club Mutabor, there are several stages. On the main stage, you might have a rave festival for several thousand people, a concert featuring a band, or an ambient performance with visual art where people can recline in comfortable chairs, enjoying and immersing themselves in the music.