In Conversation with Vitka – From Classical Piano to Berlin’s Underground Scene
With roots in classical piano and a passion for storytelling through sound, Vitka has carved a unique path in the underground electronic scene. Now based in Berlin, she blends deep musicality with a diverse range of genres, influenced by the laid-back festival culture of Australia and the creative freedom of Germany. In this interview, Vitka shares insights into their creative process, memorable sets, and what’s next for the Tabularasa Collective. We’re thrilled to have her on for episode 79 of 333 Sessions. Enjoy the journey!
1. How did your background in classical piano influence the way you approach electronic music today?
My piano teacher was a Russian pianist who focused on working through some big storytellers with me from the Romantic period. So much drama! So much emotion! I think I gained a deep appreciation for melody and strong phrasing through this, and for building and releasing energy. I love a bit of drama 😉
2. What’s your creative process when preparing for a set?
My first big step is trying to figure out what’s actually going on with me, what my vibe is. Hopeful or hopeless, rowdy and spiteful and tough, or soft and romantic and contemplative… I go through lots of music in the process. I might put on a Pink Floyd record while smoking a legal CBD joint and doing the dishes, then go on a Chicago house, acid, breaks, and hip-hop YouTube bender (I still love YouTube for finding music) while going through a packet of chocolate-coated oat biscuits and a couple of lagers. Then, I dive into Bandcamp and go through the labels and artists I like, perhaps with a bottle of red wine and the occasional visit from a well-tipped Uber Eats person, followed by a nap.
I go through my hard drives, listen to stuff I’ve been playing recently, hop on the decks in my living room and just have a spin, and maybe call my mum. Ideally, I also go out for a cha cha cha with friends or alone — mostly alone though, why lie. I freestyle my sets and like to see where the flow goes and where people on the dance floor want to go, so I spend a lot of time reorganising my music folders so I can flow between moods, genres, and grooves the way I want. By the time this creative process is done, my apartment usually needs a very good change of air and probably a mop.
3. Can you tell us about a particularly memorable set or performance and what made it stand out for you?
The most incredible set, probably of my life, was by a German vinyl DJ, Dynamite Sash, at Summer Contrast Festival this year in Poland. My crew, Tabularasa, did the Tribes Stage there, and he played straight after me. I’ve honestly never experienced someone play vinyl so effortlessly and perfectly and build such a mind-boggling techno journey. Like it was NOTHING. I know a lot of vinyl DJs that make such a fuss about playing vinyl, like it’s the equivalent of a moon landing. Dynamite just slapped on record after record like he was making a f*cking peanut butter jelly sandwich, like it was NO BIG DEAL. And damn it was yummy.
I’ve never seen anyone beatmatch so perfectly — just techno banger after banger: progressive, sexy, raw, acidy. He took us on a RIDE. He had the floor screaming; I ended up hugging people on the dance floor, jumping up and down yelling how happy I was to have experienced this. True story. And Tabularasa is bringing him to Australia in March, where he’s going to be playing at our annual gathering, Waves Retreat. He’ll be playing Breakfast Club in Melbourne also. Nuff said — keep your eyes peeled!
4. How do you go about selecting tracks for your sets, and what inspires you in your choices?
I jam my sets, so I go on the dance journey together with the dance floor and figure out where we want to go along the way. Do we want it sexy, hypnotic, and mysterious, or maybe it’s time to get nasty and deep? Or do we want some old-school house vibes or perhaps go on an existential safari and get glitchy and progressive and layer, layer, layer? Then again, sometimes I just know exactly where I want to take the dance floor and go there full throttle. Of course, I also come with a selection of tracks that I really want to play. Life really is a box of chocolates.
5. What are some of the challenges you face when balancing different genres and energies within a single performance?
Keeping the energy is a big one when balancing different genres. You want to shift it but not break it — at least I don’t. That’s where working with 3 to 4 decks is really handy so you’re not forced to pull the skirt off the music all of a sudden when it’s time to get out of a track but you need to keep the texture. The quality of productions and how tracks have been mastered really affect the energy of a track and stand out big time on a proper sound system. Mixing a lot of genres is definitely a balancing act that can get weird at times and create some surprises. But I like to get weird, and I love surprises.
6. How would you describe the experience you aim to create for your audience through your music?
I just want people to have a good time. I’m a sucker for a harmonious dance floor and sharing vibes, dancing alone but still as a community. I’ve made some really good friends on the dance floor cutting shapes. My goal is to create an environment where things like this are possible — where there is a sense of shared energy, a safe, expressive space for people to lose themselves, let go, pull faces, blow some steam off, and maybe high-five each other. I hope people leave feeling somewhat lighter and more connected — to themselves or to each other, or perhaps both.
7. You are a founding member of the collective Tabularasa; what are some of the projects you are working on with them?
It’s go time for us right now! In Sydney, we’re hosting Viken Arman this Sunday, 17th of November, followed by Giegling on the 7th of December. Then we’re taking over the main stage on Saturday night at the beautiful Shipwrecked Festival in New Zealand in early February 2025. We’re doing Friday nights at the Lucky Cat in Sydney starting in February, and then it’s nearly time for our big annual community gathering, Waves Retreat, halfway between Sydney and Byron. I’m landing for Shipwrecked in Auckland on February 1st and then sticking around NZ and Aus until April for the whole shabang, and also a blowout with The Breakfast Club Family in Melbourne. Sign up to the Tabularasa Collective mailing list if you want to stay informed! Click here to learn more!
8. In what ways has living in Berlin influenced your music style and career?
To be honest, I feel like my time in Australia has shaped my style the most. Berlin is much more free and gives you more room to breathe and express yourself; however, musically, I find that venues stick to a certain sound most of the time, which means selectors often end up sticking to that sound too. Good or bad, hard to tell. I just know that I love a bit of variety, which I sometimes end up missing. So, I’d say that Berlin has influenced me to stay true to my sound and what I like.
9. How does living in Germany differ from living in Australia, where you called home before moving to Berlin?
Australian life is way more laid back; there’s more structure and bureaucracy to life in Germany. Then again, there is much more room for artistic expression and new ideas in Berlin. And respect for diversity. Australia, though, has this deep connection to nature and its beautiful and unique festival culture. I really miss that feeling of wild, open spaces and being immersed in the elements.
10. Could you name two tracks you’d like to add to our Flow Music Suggests playlist? They could be ones you can’t get out of your head or hidden gems you think deserve more love. Follow us to stay up to date!
Need2Freek (Original Mix – Walker & Royce
My Click (Original Mix) – Aaron Ahrends
11. Any words for your audience that you would like to leave off with?
Yes! Music is a beautiful thing, and dancing is a beautiful thing, and denied to way too many people on this planet right now. So do it more! And keep on spreading the love 🙂