Oleg Puzan’s, Line Spectrum is one of Ukraine’s best kept musical secrets. It is a sound art project created to explore sonic boundaries through sound manipulation, often in the form of severe minimalism using a vast palette of microtonal sounds forming an immersive auditory monsoon. Slowly evolving textures mixed with field recordings and synthesized particles suit as a perfect perception environment for a listener. His works create a state of tranquility blending deep ambiances, musique-concrète, avant-garde elements, and silence. Line Spectrum’s compositions require focused listening. Oleg Puzan lives in Kyiv, Ukraine.

• Line Spectrum – Bruma

• Line Spectrum – Muted Stories

Who is your favorite classical composer? Do you have one?

I would say that classical music is not something I am interested in from a fan point of view. I totally get why people like it and what makes it special but I guess it’s just not my cup of tea. The closest I got to classical music was enjoying an album by Venetian Snares called Rossz Csillag Alatt Született.

When did you start composing electronic music?

I think I started out playing around with music composing software at about 12 years old. My parents bought be Sonar and then FL Studio and afterward, I managed to jump to Ableton in the early years of me making sounds. Making something beautiful and evocative with the least means. I am not interested in the latest gear and plugins. I use what I use only because it makes sense to me, fits my approach.

How did you hear about the 9 Beet Stretch?

Mauricio Reyes was kind enough to contact me directly.

The world is upside down, how does living in the shade of COVID has impacted your creative work?

I don’t think it impacted the sound creating process in any way for me. I also do sound for a living so I’m sort of in the mood all the time. I always wanted to do it and just a simple fact that I can even consider it as a career is on its own a daily motivation for me and no pandemic can do anything about it.

What projects are you currently working on?

I have a few projects that are mostly driven by beats. Hivetribe is one of them. It’s a project together with my wife Sasha (aka protoU) where we explore the more psychedelic type of sound. It’s very chilled and laid back. I also constantly work on ambient music for my Dronny Darko and Line Spectrum projects.

Should electronic music be purely academic (Does an Electronic music artist need to be formally trained in music?)

I have no training in music or production, which may or may not be a good thing. Aesthetic not technique, be true to yourself. I don’t think it’s necessary.

In your opinion, what is the merit of improvisation and experimentation?

To me, it’s a pure stream of consciousness and inspiration. It very often feels very fresh to listen to something like this as it somehow opens the door of creativity for me. When I’m working on something and have these ideas but they don’t usually surface as I planned – improvisation and experimental approaches usually shake the perception and it all becomes clear. I hope it makes sense.

What do you think as an artist about the juxtaposition-fusion of classical and electronic music?

As all music is experimentation – it’s just one of many examples. Mutations are inevitable it the modern world. Not only with music. I think it’s only important that those mutations would not lead to aberrations. Although it’s also very subjective. It’s something that you can’t stop and just a common thing to experience and be inspired by.

How do you envision the future of electronic music?

I think it will further mutate exploring new possibilities with technology. We’re only at the beginning of understanding the sonic possibilities and mediums that sound can be perceived by. It becomes a feeling of how things could be. I’m very interested in how it all will continue and build upon itself. Very fascinating ride!