Olga Korol is an artist that needs very little introduction in recent times. Co-owner of BodyParts Records and currently based in Berlin 2021 is looking to be an exciting time for the artist. We sit down and catch up with her to see how things are going, learn the origins of her Body Parts label, delve into the scene in her home country and get to hear about her plans for the future.
She’s also graced the decks to supply us with our 301st Podcast. Deep and plenty of groove just how we like it!
This period has really been an opportunity for us to try new things and reconnect. How have you spent the pandemic? Are there things you have rediscovered?
For me the lockdown wasn’t that hard! Finally I’ve got a proper rest and dedicated time to myself. I’ve been thinking much about humanity and life in general. Obviously we are extremely dependent creatures in nowadays society, but this period showed us this never before. How fragile everything around is. It’s a good time to evaluate and to catch some hidden meanings. Like who surrounds you and who you are without your normal daily routine, gigs and travels. It’s not an easy discovery, but brings you to a level up I guess.
Many have spoken about this “corona-situation” has the perfect chance to re-invent the clubbing scene? Do you believe it? What are your thoughts for 2021?
I believe there is a chance to recover the clubbing scene. People get hungry for the music and dancefloors. When it’s possible, clubs and projects will restart their activity, artists will show all the skills and new material they’ve been collecting during this period. In lockdown many things have happened, like riots and demonstrations which united some people and brought divided others, this can rearrange the clubbing landscape.
Endless online streams gave a chance to see how some artists act in critical situations, how big names shamelessly were asking for donations when regular people were helping each other from the last resources. But I think a new wave is coming that will shape a proper selection of people and talents in the scene.
Looking back at your career, can you pick a moment that wraps it up a little?
Moving to Berlin definitely helped my career in a good way because I’ve got an opportunity to travel more and easier. There were not many direct or affordable flights from my hometown that every club could pay, as well as the visa situation. I had to collect a mountain of papers from the embassies almost every time I traveled somewhere. Once I joined my first booking agency I decided to make a step up and to get the artist visa and move to Germany. As well as I met many artists and promoters personally who contributed not only to my DJ career, but also developing the label.
How’s the idea of BodyParts born? What exactly does the name mean?
The idea was born when I was living in Moscow around 2010. We were learning music production with Denis Korablev under the guidance of my old friend from Ukraine, Alexander Sancho. We noticed how many young talented producers in Russia and Ukraine there were, as well as among our friends. They couldn’t reach foreign labels and show their music to the world. So we just made a platform first of all for them and us.
Since then we released a bunch of unknown artists on BP Digital who have subsequently got vinyl releases on the other labels. The imprint has been growing with time and eventually we are running four sub labels: Body Parts vinyl, BP Digital, Mind Series and Tooloop. The name “Body Parts” doesn’t mean anything particular, but it can be attached to our collective relations. After a few years we launched the sub label “Mind Series” which contains an alternative sound, that’s more dark and deep than BodyParts vinyl. The latest one, “Tooloop”, is a nice game of words. It’s a white label imprint where the tracks sound like tools, moreover Tooloop in Russian means a winter jacket which is embodied in its logo 🙂
You’ve not been very prolific (as a producer) over the last couple of years. Why? how did you prefer to spend your time?
I have never been a producer who spends all the time in a studio. I love studio jams, collaborations and experiments but never had the goal to release my own music much, I don’t even think it deserves to be released. I do around one release per year though. Mostly I dedicate time to the labels I’m working on every day alongside my dearest partners. Searching for new artists, remixers, combine releases, working with distributions. Might to confess a few bombs were born during the lockdown in a lovely collaboration that I would like to announce soon.
How do you see the scene in your home country?
The scene in Ukraine is on a very good level in the world. It has developed pretty fast over the past 10 years. The first events in Odessa was started by FEELEED project. It was a completely new format around that time with another kind of music and prolonged parties in different locations. The project educated and built our own audience which has grown big and after years of work the Port club has been built by the same community. Now it is one of the best event platforms for electronic music and concerts in Ukraine, alongside Closer club in Kiev. Port constantly hosting world famous artists and showcases. Nowadays I can admire the new generation on the dance floors. It’s super cool to see young people dedicated to the music, how many nice producers appear and how they can dare to play with sound.
Any particular festival that you’ve really enjoyed (as a dancer or DJ) and/or upcoming talents you’re looking for?
I started to follow the festivals in Ukraine in 2002. My first one was the legendary Kazantip festival in Popovka, Crimea. That year it lasted for more than one month. I went there every summer for 10 years in a row, and stayed the entire festival. I stayed in a small village near the festival, enjoyed music and the Black Sea coast every day. It was a wild life, no conditions and amenities, only electronic music makes you stay that long and keeps happy all the time. I opened up a new world of music the first time I got there in 2002, and after three years I played at Kazantip for the first time. It was changing and developing and I observed every year how it became bigger and popular world wide. Last time I was there in 2012 I played with my BodyParts crew. After that year I switched festivals, so my favorite and permanent one I visited became Sunwaves in Mamaia, Romania. In the same pattern I’m going there every single year. It makes me inspired and charged for a long period after, no matter if I play or just raving.
You had any gigs in the second part of 2020? How did it feel to be behind the decks again after a while?
I had a few shows, one of them was in Summer at Port club in my hometown. Don’t really remember the first track I dropped in, but the feelings at the decks were like at my first set, almost. The party was super nice, with a packed dance floor and people were dancing like it was their last time! It brings the energy on a high level and you value this job even more.
How about future plans. What do you have planned for 2021?
It was hard to make plans in 2020. That was the most unexpected and unpredictable year I remember. Many plans have been cancelled or postponed indefinitely. But I’m really focusing on bringing a couple of releases on 2021, as I made some music during quarantine. The first release has been planned on this spring on Dirty Hands in a collaboration with the imprint boss. I keep on working on my labels and have got pretty interesting release plan on this year for BP recs. Follow it up!
Lastly, thank you so much for the podcast it is a great pleasure to welcome you to the Mix series.
Thanks Meoko for having me for the Mix series and the opportunity to share some thoughts in the interview. Cheers 🙂
Words by Francesco Quieti
‘A platform initially housing producers from all over the world and their own musical vision – giving way for the trio’s ODY arts moniker and label showcases around Europe.’