Omi is a DJ with a mixed cultural background. Her unique life experience includes residing in various countries: Ukraine, India, Kazakhstan, and Georgia. She is also an open transgender woman whose creative mission is in increasing the visibility of trans* people. We have talked to Omi about her life path, life-changing experiences and artists which have influenced her most of all, and about her experimental mix for LVBZ.

 

Tell us about your childhood and background. What was your journey to music?

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I was born in Kiev. As a child, my mother often took me to the theatre to watch opera and ballet, but I hardly remember those times. In the early 90s, my music background included Sade, Madonna, George Michael, Michael Jackson, Vangelis, Enigma, Jean-Michel Jarre, Bob Marley, and many others. Somehow unnoticed, they stormed into our Vega-323-stereo at home, into the city’s broadcast, and my life. The gramophone records with audio plays for children became irrelevant. However, all changed some time later, when I got into the Hare Krishna community my mother is a member of.

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Apparently, that is when Indian music and mantras appeared in your life?

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Yes, I got into some kind of a rave, where alongside dancing, people would play musical instruments and sing mantras. The overall result of this process was the feeling of belonging, euphoria, and connection with God. There also was the band called Village of Peace, because of which I started to dive into reggae and dub. At that time, there were many musical Hare Krishna projects; I used to collect tapes. I hope the box with those tapes still can be found somewhere in the attic of our country house. At a certain point, I moved on to study in India; that is when my music background was enriched with mile-long mantras, and each of them was characterized with its own melody and performance rules. We learned them by heart and sang in the chorus while administering sacraments. We also had sessions where we learned to play Mridangam. This is one of the numerous kinds of classic Indian percussion drums. 

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So how did you get to deal with electronic music?

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While I was at my studies in India, my mother moved to Kazakhstan. When I got expelled from the school, the only choice I got left with was to follow her. That is how I got to Almaty. At first, it was extremely hard for me to get used to the new environment, but it got better later on. Unfortunately, I still never felt at home there, so I became even more introverted, and ended up in the world of electronic music.

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Sounds like the beginning of a new stage in your life…

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Yes. At that time (1999-2000), there was a radio programme called the Friday, hosted by Nariman Isenov, where I heard UKG for the first time and got extremely excited. I fell in love with the broken beats, I started to record radio shows on tapes and constantly listen to them. Then I came across the programme called the Chillout on 103,5 FM. The hosts were Aidar, Kostya Bazhanov and Roma Bazhanov. I also learned about the forum and the community of ravers from.kz, started to go to clubs, and I really loved jungle, liquid DNB, and sambass. I really wanted to compose such music myself, so I ended up finding Ableton and making some demos. Next, there was a period of my life when I was not able to find time both for my family and my passion for music. I even listened to it very seldom. And only after my 13-year long relationship ended, I gradually came back to music. What was the hardest was starting to compose again, I still have not finished even one of my music projects since then. I think keeping this context in mind, will help the listeners to better understand why my sets are structured in a certain way and why I tend to prefer certain sounds, although these are not limited with any genres and bpm.

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Can you tell us about people who supported you throughout your way?

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In Kazakhstan, I was lucky to get acquainted with wonderful people. Zoë Mc Pherson was the first person to inspire me to start. Nazira provided me with the first introductory session. Ainura Mei helped me to arrange my first playlist. Acell allowed me to practice with the equipment at the Object club, she has always inspired and supported me. At some point Edgar Nishnianidze found me and called to play at Bass Place, and community warmly accepted me, I’m so grateful for.

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In your opinion, have there been any changes the queer community is perceived in Kazakhstan?

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In the early 2000s, I would not be able to imagine a gender transition. It seemed to be an extremely challenging thing to do. I could not find a community of trans* people and was all alone, like a spy in the enemy rear, having to pretend to be someone I was not. Many years later, I found a girl on some dating website, and she invited me to a support group. Nowadays, there are groups, channels, groups on social networks open not only to LGB, but for Trans* people as well. Now it is much easier to find relevant information, support, community, friends. Unfortunately, the trans* community remains separated from society, and I really aspire to change it by doing all I can. Being a DJ has become one of the attempts to increase visibility and normalize being transgender − at least to the extent of covering the limited audience coming to listen to my sets. 

 

Have you ever faced a non-tolerant audience while performing your DJ sets?

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Once, there was a person who left the dance floor upon saying he would not dance to my set because I’m a trans person. It was very transphobic. However, he came back a bit later and then was dancing in the first row. I think I can say that this is my mission as I see it: I want the music to speak on my behalf.

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Can you tell us about the most recent experience of leaving the comfort zone?

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Recently, I moved to Georgia, but I felt there as if I were on the move: I never managed to adjust to the local worldview. However, I believe that is the purest freedom, to be bold enough to step into the unknown (although sometimes with a clearly assessed chance of a success, and even knowing there will be support if necessary) − and fight the comfort zone dragging you back. That is exactly the point of time when you get an opportunity to unleash your potential. But one of the crucial components here is to give yourself the right to make mistakes.

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Tell us about your favourite musicians who have influenced you?

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To me, there are two artists who have been crucial to me: Kostya Bazhanov and Kostya Timoshenko. These are the people I got lucky to know and become friends with. There have been times when I experienced disappointment, frustrations, and challenges, but these two wonderful individuals have always supported me as DJs, mentors, and close friends. Also, they are true DJ professionals in the region. On top of that, I would like to highlight the artists whose music and mixes inspire me to be creative: Forest Drive West, Gio Shengelia, Driss Bennis, Kosh.

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Tell us about your mix for LVBZ. What is it about?

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My initial plan was to show which music-related and cultural phenomena have influenced me throughout my entire life, but then this idea became less of a priority. This is a mix-experiment. It is about an attempt to lead the listener through various emotional modes, place them into a wave of reflection, and then gradually take them to the condition of the mind being free and calm. For instance, the first track, Morning Raga - Mayapur Shenai, comes from my childhood in India. It's being played every morning for the whole village since 70s, for people to help tune themselves into a cheerful state of mind and a good mood. Its full length is 20+ minutes, so I have recalibrated and shortened it for the mix; and track 6 is where I added fragments from Purusa Suktam — a mantra we used to sing all the time during the Hindu rituals.

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Where and when is the best atmosphere to listen to it?

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I would like listeners to experience it in a calm and relaxed atmosphere, feeling comfortable, when you do not have to rush. And making sure there is nothing around which might potentially get you distracted − for instance, a mobile phone (if you use it as a player, it is better to switch it to the silent mode while listening).

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Disclaimer: if you make pauses while listening,  you will stay in the same condition and thoughts you were at a certain point of the music fragment. So it is much better to listen to it as a whole. No pauses. Just deep-dive into the sound, relax, and enjoy everything you feel.

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You should not listen to the mix if you are depressed or are in a bad mood, as this music can possibly trigger you. I asked some of my friends to listen to the mix, and, unfortunately, one person got triggered. So, if you feel sad, better listen to the mix with your soulmate. 

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What is the color of your mix?

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I would say it starts with some purple color, then it turns light blue, turquoise, green, yellow, red, and the final part is purple again. Roughly said; yet there are many complex, exciting combinations. But, maybe, it will be different to you, as all of us are different :)

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Name some local artists which we should pay attention to and why?

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Akkord I On - that is a duet of Kostya Timoshenko and Roma Bazhanov. Roma passed away in 2018, and this recording is his last piece. Its music is beautiful and deep dub ambient, honestly, the most beautiful dub I have, I guess, heard in my life. This is one of the favorite and most valuable gramophone recordings in my collection, and I included 2 tracks from it in my mix.

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Also, I would like to highlight Gio Shengelia, a Georgian DJ and composer. His energy and flawless selection of music literally streams through the screen. He was the first artist in whose set I heard deep electro, and I really liked the sound. 

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Also, I would like to mention one band not from the region, yet extremely significant to me as it is more of a close friend living afar − but sometimes just a call is enough to feel good again:) I am speaking about DakhaBrakha. Take a look at the stream at KEXP, how all the participants interact with each other while performing their parts. To me, it is a little window into a culture I originate from.

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