DAZE RAW

Welcome to the DAZERAW Guest: SAINTGOLD @saintgold____ SAINTGOLD — originally trained as a radiophysicist, Alexey began his path in men’s fashion, founding the brand MASSTAK, and later co-founded the music collective EXOTIC INDUSTRY. His practice has since evolved into an interdisciplinary identity where sound and visual language merge into a unified expression. As a DJ, he focuses on post-industrial electronics, expansive textures of the European new wave, and aggressive EBM. His sets unfold through a distinct dramaturgy at the intersection of experimental rock, leftfield, and unhinged psychedelic vocals, layered with sharp, driving lines of industrial techno. Everything here is driven by tension, physicality, and rhythm. Comfort is not part of the equation. He has performed at clubs across Moscow and Saint Petersburg, including DEX, Blank, K-30, Stackenschneider, Yzeech, Kruzhok, and Griboedov Club. His mixes have been featured on RRC, Kivach Radio, FAM, and KURS Radio. Mix — link in bio📍

DAZE RAW / BOYD RICE An American musician and artist, best known for his project NON. He started in the late 70s — working with noise, tapes, and primitive sound equipment, long before any of this became a defined genre. He emerged from the early industrial scene but quickly carved out his own position. For Rice, provocation was never an aesthetic gesture — it was a consistent mode of behavior. His interests lay in power, control, manipulation, and extreme ideologies. The harsh symbolism and imagery of force weren’t random visual choices, but part of a broader logic of pressure and engagement with the forbidden. He never bothered to explain it. NON’s music is built on noise, repetition, and weight. Minimal structure, almost no conventional composition. The sound doesn’t develop — it insists. Slowly, monotonously. Visually and conceptually, the same principle applies: simple forms, sharp imagery, direct delivery with no distance. Rice always walked the edge — and never tried to step back from it. Being accepted wasn’t the point. What mattered was staying in the zone where discomfort arises. Not to shock for a reaction, but as a test of where the limits of perception actually lie. Art that doesn’t try to please — and doesn’t bother to explain itself.​​​​​​​​​​​​​​​​

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Welcome to the DAZERAW Guest: EX-HEIR @ex.heir Care. Care so much that you don’t give a fuck. you will see. Expression. Express beyond demand. expression is the IV bag hovering above god’s veins, plugged in to the filthy tunnel pumping the fluid idea of what desire needs us to be, for some thing to exist beyond us. express without hindrance. Image. Imagine yourself. in a room. alone. what does it look like? are you reading these words with someone beside you? care to express? Mix — link in bio📍

QUAL @qual_official_ @william_maybelline [I WON’T SING HAPPY SONGS] Qual is the solo project of William Maybelline, where the focus shifts into something more direct and uncompromising. Built on bass-driven structures and repetition, the sound feels minimal but carries a strong physical weight. There’s a sense of control in the studio, but live it often turns into something more intense and unpredictable. I spoke with Qual about writing, touring, and the way the project continues to evolve. Read the full interview — link in bio.

Welcome to the DAZERAW Guest: TAKIS SPECTRE @takis.spectre Takis Spectre is the stage name of a digger with 16 years of experience exploring 1980s electronic music (new wave, coldwave, EBM, new beat, early techno), a former administrator of several private Discord channels dedicated to searching for old electronic music, and a resident of the ITALLIKA party. Politics (the Cold War) and economics (scientific and technological progress, the decreasing cost of microchips for synthesizers, and major economic reforms) directly influenced the development of electronic music in Europe. Starting from the first punk rock concerts, electronic music underwent significant changes: the DIY approach opened up unlimited access for young musicians to experiment with synthesizer-based music (including in areas such as poster design, album artwork, and perspectives on religion, politics, etc.). Formally, techno is considered to have originated in Detroit, but the music created there found strong demand in Germany. On the other hand, Belgian new beat (which originally combined slowed-down synthpop (AB sound), acid house, and EBM) became the “missing link” between futuristic Detroit and industrial Berlin. Slow, dark music with hypnotic basslines and an EBM aesthetic perfectly resonated with European youth who were tired of the pop-oriented mainstream sound of the 1980s. It was precisely from Belgium that the atmosphere of the “dark dancefloor” spread to Germany, later transforming into hard German techno. The fall of the Berlin Wall on November 9, 1989—triggered by mass protests, a political crisis, and a mistake by a GDR official who announced the immediate opening of the borders—granted access to newly liberated spaces in the western part of the city (abandoned warehouses, basements, bunkers). These spaces became venues for uncontrolled underground raves where it didn’t matter what your education was or what family you came from; dark electronic music drowned out conversations about politics, while the absence of light erased the visual distinctions between Berliners previously divided by the Wall. Mix — link in bio📍

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COIL @coil_band Hard to call it just music. More like a set of states — somewhere between experiment, electronics and something harder to define. At first it’s not even clear why you’d listen to it. Then at some point you stop asking that question.

Welcome to the DAZERAW Guest: PAVEL VOLKOV @pvlvolkov Pavel Volkov is a DJ and host of the Dance Process show on KURS Radio, a program documenting the current underground techno scene. The studio welcomes both emerging selectors and established artists, as well as guests from other cities and countries. Pavel’s musical language is an analogue and psychedelic blend of rare club weapons from past decades and non-commercial club electronics, creating a connection between the dancefloor and the gut. The philosophy is simple — to let the clubber hear something they don’t expect, and to surprise them by the fact that they actually like it. “In an attempt to convey my perception of the DAZE brand, I curated a selection of rusty, unconventional raw techno.” Mix — link in bio📍

Years of Denial @yearsofdenial — between the stage and the studio. “We are not just a studio project — our music needs to transcend and come to life.” YOD is not just about music, but an ongoing process: between stage and studio, between control and risk, between sound and physical experience. Their live performances are built on energy and presence rather than perfection. In the interview, they speak about their approach to performance, the current state of the industrial scene, and why “we see ourselves as musicians, not content creators.” Read the full interview — link in bio.

DAZE RAW - dazeonly.com

Welcome to the DAZERAW Guest: AUTUMNS @autumns.dss Autumns, an electronic post-punk project blending whip-cracked rhythms, heavily effected vocals, no-wave guitars, and dub-driven mixing desk techniques. Known for a distinct fusion of DIY punk angst, dysfunctional metal dance, and dubbed-out rhythms, Autumns delivers high-impact performances using minimal equipment. Since debuting on Karl O’Connor’s (Regis) label Downwards in 2014, joining a roster including British Murder Boys, Surgeon, and Tropic of Cancer, Autumns has released work prolifically on labels such as Detriti, Touch Sensitive, and Opal Tapes. Notable projects include a live performance with Samuel Kerridge at Paris Fashion Week (2016), a sound installation at Void Gallery (2023), and an improvised score for David Lynch’s Twin Peaks: Fire Walk With Me (2016). Collaborations include industrial dub outfit Vacant Heads with Oliver Ho (Broken English Club) in 2022 and an EBM project with dubstep pioneer Kahn in 2024. Autumns’ work has received coverage in major publications, including The Guardian and NME, with releases championed by leading music platforms such as Boomkat. Alongside an extensive international touring schedule, which has included performances in North America, the UK and Ireland, Europe, and the Middle East, Autumns has curated radio shows for Noods Radio, Kiosk Radio, and NTS, presenting solo work, DJ mixes, and live sets. His music has received airplay from Mary Anne Hobbs, Tom Ravenscroft, and Huw Stephens on BBC, RTÉ, and KEXP.