09/04/2026
DJ, producer, comedian, and rapper known for psytrance memes and catchy melodies, as well as his energetic (and slightly chaotic) event organizing. He has performed across Europe and built a strong presence in Poland’s rave scene, helping grow the PRIV crew and its underground forest and bunker parties. Musically versatile, he blends house, dubstep, psytrance, and acid techno, while also supporting and booking notable artists. His key projects include Tribe In The Forest festival, years of work with Slot Art Festival, managing Surowiec club, and co-creating Zion Club. He now runs his own venue, Privnote, and is also active in the Polish underground rap scene, collaborating with artists and leading the Tumult collective.
❓How did your journey with electronic music start? How did you become a DJ?
Electronic music has been with me since I was a kid, thanks to my dad - DJ Jazzovah - although back then it was mostly the more chillout side of things. I, on the other hand, was really into guitar-driven sounds, especially those rooted in goth culture. Through projects sitting somewhere between industrial and metal - like Nine Inch Nails, Ministry, Marilyn Manson, or Laibach - I got more deeply interested in electronic music. The first acts that really opened my mind were The Prodigy, The Chemical Brothers, and Juno Reactor.
Whenever my dad wasn’t home, I’d secretly teach myself how to use the turntables - no plan, just going by feel. Only when I felt ready did I finally show him what I could do, and that’s when he started giving me pointers on what to do next.
At the same time, I was bingeing anything with rave culture in the background - and *Human Traffic* is still a defining, game-changing film for me to this day.
I went looking for the real underground rave scene, ending up in places like Niskie Łąki in Wrocław or Lab in Poznań. But the real turning point was a Morfogeneza party I got invited to by a friend - that’s when I discovered Wrocław’s psytrance scene. After that, I was completely hooked.
I played my first public set thanks to a friend at the Museum of Contemporary Art in Wrocław, during an afterparty following some event aimed at 16-year-olds. Later on, with my dad’s support, I made my debut at Slot Art, and Atom, Wudec, and Artur Korwin were the first promoters who really believed in me and started booking me for their events.
❓How has the scene changed over the 10 years you’ve been active?
It’s hard to say, because I kind of operate within a bubble where we try to stick closely to the patterns we developed about 10 years ago, despite everything around us moving forward at full speed. I think that in recent years the mainstream has really absorbed techno and hard techno, much like it did with drum & bass and dubstep a decade ago. At the same time, that slightly “elitist” rave aesthetic has become quite marketable, which means it often lands in contexts where the core values of the culture don’t necessarily have space to exist.
❓Did your experiences abroad change the way you approach DJing?
I always play the way I enjoy the most - in a raw, heavily improvised style. At the same time, I love observing how other DJs do things and trying to take something for myself, even if they play in a completely different genre.
One particularly interesting experience was playing in Ukraine, where - despite the festival being quite large - they had old-school CD players with no USB inputs, so you had to play from CDs. Back then, that format wasn’t as rare as it is today, but now you almost never see it. I decided to turn that into my signature - I often play sets built from old electronic compilations released on CD. I collect these old-school compilations and play straight from the original discs, which people nowadays tend to see as pretty hipster.
❓What does it take to build a rave from scratch? What’s the hardest part: logistics, people, or something else entirely?
Sound system, lighting, a DJ setup, and access to power - that’s really all you need.
For the kind of events I aim for, though, it definitely helps to have a bit of courage, a thing for urbex and wandering through the bushes, and a crew of dedicated weirdos ready to make sacrifices - people who truly share your passion.
❓How did PRIV come about, and when did you realize it was becoming more than just a crew? What sets you apart from other collectives?
Priv was founded in 2017. It all started with the first outdoor party I organized in Wrocław - *Prywatka u Pana Hoffmana* - which is actually where the name came from: “Prywatka,” later shortened simply to Priv.
In the first year, I was running things on my own, with help from friends who were down to support me. After about a year, I brought in two fresh DJs - Kobaian and Gafer - along with a DJ who was performing at the time as Medium. These days everyone’s doing their own thing, and only Kobaian still plays regularly, but I’m really glad I could give them a platform back then to grow musically and creatively. We’re still in great touch.
As of now, besides me, the Priv crew consists of Biały, S***m 303, and TenRudyBaloniarz. It’s hard to say we see ourselves as anything more than just a crew, honestly - but the real breakthrough for us came after the COVID pandemic. During that time, we were basically the only crew in the city consistently throwing illegal rave parties. Back then, everything had that pure underground energy, similar to what the scene felt like decades ago when it was just emerging.
I think that period really built our reputation around the city. Once the pandemic ended, we started seeing record attendance at our events, and it was clear people were connecting with what we do.
What sets us apart from other collectives is definitely the atmosphere. We try to surprise people with new locations instead of sticking to overused spots. We’re also really into digging into the past - learning about the city’s cultural history and trying to recreate that same vibe. That’s why we often book artists who were part of the local scene 20–30 years ago and put them side by side with the new generation of DJs.
Vinyl plays a big role in our sets. We mix styles freely - we never do single-genre events. At our parties, you can hear everything from dub, chillout, and house, through techno and acid, all the way to tekno and hardcore.
We also usually set up more than one stage, and we strongly believe rave should be accessible to everyone - that’s why we keep ticket prices affordable, and quite often even throw events with free entry.
❓Slot Art Festival — what did managing a stage for so many years teach you?
Slot Art taught me a lot of patience and openness when it comes to working with people completely outside my usual bubble. Being part of such a large and detail-oriented event often meant stepping out of my naturally wild and chaotic comfort zone and sticking to clear guidelines and deadlines.
Through Slot, I also had my first experience booking bigger artists - the kind for whom a rider is more than just decks and a mixer, and a deal involves more than a handshake. That’s been a huge plus when it comes to bringing bigger bookings to my own events later on.
❓Do you still have any “organizer dreams” you haven’t accomplished yet?
I’ve got loads of spots around the city where I’ve been dreaming of throwing parties for years, but for various reasons they’re still out of reach - at least for now. There are also a few DJs and producers I’d really love to invite to one of our events someday.
I’m also dreaming about getting back to organizing my own multi-day festival - something that goes far beyond just electronic music. I’m really hoping we’ll be able to make that happen again in 2027.
