Artist Profile – Amorius (Ukraine)
Amorious is a Ukrainian born Cyprian resident currently living in Paphos. He makes beautiful, blissed out DNB with a liquid backbone, but his compositions are far greater than the sum of their parts, drawing on influences far reaching and sometimes, from quite unexpected sources, for drum and bass music anyway.
His most recent venture, courtesy of Brazil’s DNBB Records is Ethno Code, a stunning 5 track EP that draws on his Ukrainian musical heritage, blending traditional folk songs and instrumentation, and blending it all seamlessly with crisp liquid production values and delicious harmonies.
The release absolutely knocked us out for two reasons. The first was the passion and sentiment behind the music, and the second was because it proved yet again, that drum and bass music and those making it who are willing to push creative boundaries, really do know no limits.
When music like this presents itself there’s only one thing left to do here at INSIDE DNB HQ, and that is track down the creative source and find out more. So here goes.
Amorius! Welcome in!
Hello INSIDE DNB and readers!
You studied at Kherson College of Music (in Ukraine) from 1995 to 1999 playing clarinet, and then from 1999 to 2005 at Kharkov Academy of Culture, again with clarinet, but also conducting. This sounds like a wonderful experience. Why clarinet?
Thank you for the question.
Actually, I didn’t choose the clarinet myself; my father chose this instrument for me.
He worked as the director of a music school and conducted a children’s orchestra.
One day, he asked me to help him out, saying that there weren’t enough clarinets in the orchestra and that it wouldn’t be difficult, just temporary until a clarinetist arrived.)))
I was 12 years old at the time.
That’s how my father skillfully introduced me to this instrument, and then I went on to study clarinet at a music college.)))
And what was your initial route into clarinet?
At first, there was the orchestra, but since I had to play the parts and they weren’t always easy, I had to practice, learn scales, and play études. Later, I played classical pieces and performed at various events from the music school and different competitions.
Of course, I didn’t really enjoy it, but it was still interesting, and I became immersed in it.
The world of music has always been very fascinating and magical to me.
However, I was more captivated by electronic music and at that time, the Yamaha PSS270 synthesizer.)))
It’s one of my favourite instruments, but in jazz, not classical. Artie Shaw is one of my musical idols! Do you have a favourite player in a particular genre?
Since I attended a classical school, the world of jazz and improvisation was not clear to me, and this later became a disadvantage for me. It got to the point where I couldn’t improvise or play based on feelings and sensations.
I only needed notes.
Later on, I spent a long time learning that notes are not essential. I liked the classical works of Carl Maria von Weber.
And how did you find conducting? That must be quite a high pressure experience!
I enjoyed conducting, and it came easily to me, almost like a game. You wave your hands, show the sections where everyone plays, when to enter, and help with dynamics. At the same time, I liked that the orchestra became a living organism that you guide. You can slow it down, speed it up, and play with dynamics as you feel it.
You’re a sound/recording engineer during the day. This would probably be the dream job of many of our readers, and definitely one of mine. How did you progress from a playing musician to being in the studio recording other musicians?
Everything is simple: I lost interest in playing the clarinet.
I have always enjoyed writing music rather than playing; playing was not interesting and too easy for me. I started making arrangements at the age of 12 when I got my first Yamaha.
At that time, my father was singing at various events, and I would create arrangements and backing tracks for him of well-known songs. I also made different musical intros and music for school events. That’s when I got my first studio in school! They gave me a room, and I wrote music there. I was 13 years old.
At the same time, I experimented with electronic music and styles on the Elektronika EM25 synthesizer and Yamaha PSS-51. When I studied at the music academy, I worked as a DJ in nightclubs. While playing as a DJ, I absorbed a variety of music and styles.
Then a friend gifted me a CD with the program Reason, and that’s where my journey into the world of computer DAWs began. After Reason, I installed Cubase, then Pro Tools, and Logic.
My favorite DAW is Logic.
And what types of music do you record in the average week? Is it bands or singers, or commercial projects, or what?
Mainly, it’s pop music. I prefer dance and pop music over rock. The artists can be varied; they can be popular or not, but the main focus remains on the song and the idea. If I hear an arrangement, style, or performance in my head and our musical tastes align with the artist, then I happily create it. Usually, such projects go smoothly, with enjoyment and quickly.
I believe that every song has its own energy, and this energy doesn’t last long, so while there is this fuel, it’s important to create and not put it off. If it burns out, then usually the song can struggle for a long time and become uninteresting. That’s how it is for me… But I understand that someone else might have a completely different approach. I mainly work with Ukrainian artists and would like to collaborate with artists from other countries, but such an opportunity hasn’t arisen yet.
If someone is reading this and wants to work together, I am open to collaboration.
I work with many artists such as Maruv, ANKA, NK, Sansi Slava, Mogilevskaya, etc.
That’s a very interesting concept. This is probably why many bands first LPs are the best, because the essence and the energy has been captured quickly.
So, when did you discover drum and bass music. Tell us about how that happened, and what were the circumstances?
From 16 to 26 years old, I was a DJ, played in different clubs of Ukraine, and was a resident of clubs in Kherson and Kharkov. At that time, many remixes were written.
Back in the early 2000s, when I got my first computer, I started making my first drum and bass tracks and remixes, which were successfully played on the radio. And now, after so much time, it’s time for my own music. It became my music therapy! At first, I just wrote down ideas, wrote tracks, and then I thought: why not release them?
I agree! And what about your studio set up? Being a sound engineer, I expect you have a real treasure trove of equipment?
This topic is very interesting, and I have two absolutely polar states here: sometimes I want a lot of equipment, and other times just headphones and my phone or laptop 😂
Currently, I have the following equipment:
Rode Classic II Mic
SPL Track One Mic Preamp
1176 Compressor (clone)
Antelope Orion Studio
Yamaha NS10M
Adam S3A
Warm Bus Compressor
SSL Sigma
TC Electronic Finalizer 96k
Roland MC303
Yamaha PSS2
Behringer TD3
Moog Minitaur
Korg Volca Sample 2 and more…
Wow! That’s a lot of gear!
The whole reason I reached out to you in the first place was because your release on DNBB records at the end of last year just blew me away. The beauty in the music, and the wonderful use of traditional Ukrainian instruments and songs really struck a chord with me.
As a seasoned producer of some really quite excellent liquid DNB, what made you want to create this unique blend of traditional and ultra modern music?
One of your features is that you can squeeze the maximum out of the minimum. This is especially true for technology. For example, you were interested in writing a track without a computer, so you made the track “solo” track on your phone.
With so much focus on studios and equipment, this sounds like a crazy idea! Can you talk us through the process?
Inspiration comes to me from a variety of sources. It can be an unexpected sound, a musical phrase, the variability of the weather, mood, a picture, a film, a book, or the synthesizer itself. In the album “Ethno Code,” in the track “Solo,” at the beginning, you can hear the sound of a wall clock that was in my hotel when I was working. I liked this sound and the atmosphere it created at that moment so much that I recorded it on my phone. And this happens often.
It was interesting, engaging, new, and pushed me to step out of my comfort zone. At that moment, I just didn’t have the opportunity to get to my laptop.
I was on the road and had only my phone and headphones (Airpods Pro 2) with me. I installed GarageBand on my phone and started exploring its capabilities, processing, etc. It all began with recording the sound of a clock on the wall; I used that as the foundation and the intro, and it runs throughout the entire track. I also recorded birds on a voice recorder outside and left that as an atmospheric element. The sound that plays at 2:59 (on the flanger) is me recording the creaking of the front door.)))
I asked an artist I work closely with, ANKA, to record the flute (sopilka).
She recorded the sopilka(Ukrainian flute) at her home, sent it to me, and I edited it as needed and added it to the track. I figured out how to import files, cut them, etc., on the go. In the end, there’s a choir in the background; that’s also ANKA. That part was a bit challenging because I was running out of tracks, and I had to somehow mix, compose, and splice the sounds together.
You are also very open to the idea of collaboration, so does that include singers and instrumentalists, as well as DAW based producers, and are you looking for worldwide collaborations?
I am generally interested in collaborations, both with producers and with singers, musicians, and instrumentalists. The only important thing is that our direction, perception, and musical tastes align. Because if we want different things, unfortunately, nothing will come of it. Usually, you can feel this right away, even in correspondence. 🙂 If anyone is interested, please message me directly on Instagram
Your family and friends call you a magician of synthesizers and buttons, and have done since you were bought your first synthesizer aged 11 (a Yamaha PSS 270). Electronic sound and sound generally is infinitely fascinating, but what is that YOU love so much about electronic sounds, and electronic music?
Electronic sound feels limitless to me. There are no boundaries or restrictions. It can be used very flexibly. Everything depends on the nature and state of the person. Everything you want is just there: atmospheric pads, acid sounds, modular glitches, etc. You can create some really unusual sounds. Very often, I find that I tweak a certain sound, and then a track is born from it.
Right now, I’m waiting for a statuette from the DNB AWARDS in America from the internet radio station and the program ‘Hack This Planet’ for the best DNB track of 2024. Here’s that track:
Growing up with parents and siblings who are also musicians is very empowering isn’t it. Does anybody else in your family appreciate drum and bass music?
My father played the trumpet, and my brother also played the trumpet, but he didn’t pursue music further and is engaged in completely different activities. My wife, Veronika, also writes music.
Our older daughter, Sandra, loves broken rhythms and experiments:
I am currently teaching her about sound work on her tracks. She has good taste and bold, interesting ideas.
Finally, thank you for taking the time to complete this interview. It’s been quite a journey as we have been going back and forth through Google translate!
What projects do you have due for release, and what is your message to the Global drum and bass community?
First of all, I want to thank you for your interest in my work, for the time you’ve dedicated, and for the interesting questions.
We are currently preparing to release some tracks that I find interesting on DNBB RECORDS and LIZPLAY RECORDS. Some are softer and more atmospheric, while others have a slightly magical and mystical sound. I try to create tracks and name them in a way that conveys the atmosphere of my life, my location, and my state of mind. It’s like a meditation for me. I want to create a track or an album that will make its mark in the history of drum and bass music.
My message to the community will be:
Believe in your dreams; they have a tendency to come true!
Amorius’ next release ‘Memories In Motion’ is available in DNBB Records, 14th March 2025.
FIND OUT MORE HERE:
https://www.instagram.com/amorius_music
Stream Amorius music | Listen to songs, albums, playlists for free on SoundCloud
