Anastasia Kristensen's high-octane techno is making an Impact

Impact is a series dedicated to profiling raw talent that's about to turn dance music on its head. Next up: Anastasia Kristensen

Anastasia Kristensen’s introduction to dance music didn’t come via 'the underground' – in sweaty clubs pumping repetitive beats – but through ballet, which she practiced as a child and picked up again five years ago.

While the hard-edged, pulsating techno she makes now is a world away from the twinkle-toed elegance of Tchaikovsky, she can still trace a formative line to the involvement of listening to beats, spotting rhythms and identifying harmonics in her classical dance origins, which has organically developed to now inform her floor-primed productions.

Growing up in Russia, Anastasia listened to a “strange combination” of Soviet post-punk rock, French mid-90s pop, which has huge there, and industrial bands such as KMFDM and Nine Inch Nails. After moving to Copenhagen in her teenage years, she got into underground dance music, initially exploring classic Detroit ghettotech, German techno, UK bleep and electro. In time this developed into an obsession with digging through the breadth of the electronic music spectrum.

This passion shines through in her DJ sets, which move through an intoxicating, unpredictable array of records with powerful intent. She’s developing a fearsome reputation as a selector, recently heading out on a debut North American tour and playing regularly across Europe to rave reviews.

Her exclusive Impact mix is filled with high-octane sounds, and is an exhilarating example of just why she is so highly rated. Check it out alongside a Q+A below.

How did you get into dance music? Were there any clubs and nights that you first started going to that were seminal in the development of your interest? Or any particular records?

My interest in music was sort of academic; I enjoyed the intangibles of it all: whether it be the history of genres, who made what and the pseudonyms they used to make it, and what drove them to make the music at that specific time. At some point I had an Instagram profile called @tunesofdetroit, as I simply thought it was kind of fun to provide some audio snippets with a little background information on the tracks I would post.

In terms of going out to parties; that development came much later - the aspect of partying is newer to me than music literacy itself.

One of the releases that really made an irreversible impression on me was Wild Planet’s ‘Headcleaner’ on Warp. It’s blissful in its clarity, yet carries a mysterious bassline and an emotional attachment to this track just never really left my heart.

Additionally, as a ballet enthusiast I became a keen fan of classical and neoclassical works. Among the modern ballet performances, William Forsyth's (an American choreographer and dancer) late 80's production In the Middle, Somewhat Elevated made an especially huge impression on my perception towards dancing and musicality. It's a performance that is somewhat sharp: rough, full of attitude, change and disruption, paired with an equally brilliant score from Thom Willems. I get a serious case of goosebumps every time I watch this in motion.

What was it about hard techno that you were initially drawn to?

I think it is not just the genre itself. I am drawn to emotion, energy and sounds with character. Like, for instance, weird, shuffled percussion or a synth that’s been sent through some complex effects and modifications. The blend of certain percussion with a pitched synth is what rings true to me, and what makes it special. You could call it music with a “statement”, I guess. Whether it’s sassy or calm in its nature, if it has a statement, I’ll naturally respond to it.

How is the Copenhagen scene? Is there a healthy dance community?

It is a small community, but definitely a techno-happy one. There are promoters such as Vortex Community, Et Andet Sted (which means “some other place”) and queer-friendly, progressive party Mainstream, which is shaping the current landscape of various electronic music events with big success. It is nice to see these people celebrate diversity and inclusivity, as well as providing a safe space for it. Lest I forget the central venue in Copenhagen for electronic music, Culture Box, which offers well-curated nights with a space for local growing talents and world-class bookings sharing the stage together.

I haven’t been out much this year in Copenhagen to be honest, as I have been and will continue being away on the weekends myself, or huddled in the studio finishing up tracks!

It’s natural for artists to be influenced by geographic location and the scenes within their hometowns. You’ve lived in Moscow, Copenhagen and Toronto. How do you think each city has impacted upon you differently and what role have they each played in developing your interest in music?

Moving around was definitely a big reason for me to go in-depth with music. I moved from a big city, with tight connections in the communities there, to a small city in Denmark where I didn’t know anyone. I isolated myself with geeking out over music there and eventually found like-minded people. In Toronto I first started to try out mixing and from there it took off for me. Each city has had a very big impact on me and I feel very lucky to have been able to live in each of them.

That said, the internet breaks down international borders and widens influence scopes. Your latest release contribution came about from connecting with the label manager online. How has involving yourself in online communities impacted upon you?

I think I met a few like-minded people online, and also some of them I exchange music with. When I had certain material out, it would be reposted in different media and that’s gained new circles and attention I haven’t met before. I am outgoing and easy to deal with in the same way I am online, so I think the online activity served me with like-minded people out there, which is often a much needed factor when being both a foreigner and an artist in a music field that a lot of people just do not understand.

You work a day job as an IT consultant. It’s a profession that, rightly or wrongly, is not exactly considered glamorous. (In the UK at least!) And especially not in comparison to being a DJ. Does it ever feel strange to be juggling those two lives?

Hey, I happen to think it’s very glamorous! My team has just won an award for the best web page that serves citizens of an elder age – it felt like a mini-Oscars ceremony! I was extremely happy to be a part of it, as it took a whole year to make every stakeholder speak to each other and make it all work.

This sort-of “double life” is possible for now, as I still have energy and inspiration, and am constantly pushing myself to my limits and keeping busy. Sometimes it certainly feels strange, but it is super essential for me to have an active life.

You’ve spoken about how the rigid routine of maintaining a day job has been helpful in managing the spare time you have to focus on music. Do you think that disciplined approach impacts upon the style of music you make currently?

To be frank, I produce in a lot of different directions and I don’t think my discipline impacts which directions I tend to go towards during any given session. However, I am definitely more aware of time management and I make deadlines in my head, just for myself at least.

Is pursuing music full-time the aim?

If this becomes an option, I wouldn’t resist it. I’ve always kept an open mind and I’m good at selecting the right life balance, and I will continue this method.

You recently toured North America to widespread praise. How were the crowds on the tour and how did they respond to your sets? Did it feel different to European shows?

Every show for the tour had great crowds, with people who came for music and exploration naturally losing themselves to dance. I couldn’t have wished for a better debut in North America. It definitely felt different to a European crowd in general – I think the crowd’s excitement and curiosity definitely was easy to notice for me and that was humbling. I also noticed the response to more percussive tracks was appreciated more clearly than the more cold and hypnotic end of electronic music. So to anyone travelling across the pond - take note!

The political landscape in the US is disturbing currently. At times like this it can feel like the underground is needed more than ever. How did you find the mood of the country, and the atmosphere within clubs?

I spent a few days in the cities I played in and had a chance to hang out with promoters and their friends, which definitely gave me a better idea of the current mood in their social circles. From my perspective, I saw people who were pulling their best strengths to try and do the best they can on an individual and small-collective level. Life goes on - falling out of it completely will not change anything for the better. In terms of clubs, those spaces already celebrate marginalised communities and at times these spaces are very illegal. The appreciation and magic of the space itself is already present, whatever precedent (or President) there may be during that time.

Any particular moments from the tour that stand out as highlights?

I would say: Drinks are strong in New York; I became a fan of salty caramel ice cream in Los Angeles; I love Canada and I probably could live there in the future; reconnecting with people I already knew and meeting a whole bunch of new likeminded individuals. Damn, how lucky am I to be experiencing all this?

In your Truants interview you said you’re cautious about recording clubs sets because it’s all about being in that moment. How does your Impact mix differ in style to how you’d play in a club?

I always strive for a narrative flow in my podcasts, whereas at a club night the mood can change on a whim depending on a veritable amount of factors, be it the crowd, the time of the set, the artist playing before or after me. All these intangibles lead to some interesting and unpredictable moments.

This Impact mix contains a carefully considered approach to each selection, woven together to a flow that's equal parts high-voltage, yet slightly deranged in its nature. Some of the selections are what I've been playing during my most recent dates in North America and Europe.

You can catch Anastasia Kristensen DJing in Copenhagen this weekend, at Culture Box on Friday alongside Volvox and a b2b with Ctrls at Club T-Rex on Saturday

Patrick Hinton is Mixmag's Digital Staff Writer, follow him on Twitter

Tracklist
Pan Sonic - Unknown (Thread remix); Unreleased (1999)
RAC - Quexos, WARP
Juniper - Indigo Children, meandyou
Jeffrey Boomhauer - Oenothera, Missisippi Landscapes
Pal+ - The Hentai Cut, One Eyed Jack
Spartak - Double Dub, Perc Trax
Inverspace - Linear (Jackson Ryland DC Warehouse Edit), Unreleased
Anastasia Kristensen - Unreleased
Løt.te - Ausnahmezustand, upcoming New York Trax 05
Ø - Röntgen, Sähkö Recordings
CTRLS - Unreleased
Freddy K - Devo Andare (Original Mix 1997), upcoming Key Vinyl
RAC - 555, Nucleus
Ascendant Masters - Put The Bassdrum On (Mix 1), F**k Off Records UK