Ukrainian producer and sonic explorer Vakula returns to Oath with ‘Times,’ a deeply immersive four-track journey that blurs the lines between deep house, ambient, dub techno, and broken rhythm experimentation. Known for his hypnotic, hardware-driven approach and emotionally rich productions, Vakula has spent decades carving out a singular identity within electronic music, one rooted in intuition, analog warmth and constant evolution. From legendary clubs like Berghain and Fabric to labels including Dekmantel and Firecracker Recordings, his journey has remained unpredictable and deeply personal. We caught up with Vakula to talk about ‘Times’, his analog gear obsession, spirituality in sound and the evolution of his creative process.
WWD: ‘Times’ feels incredibly fluid and alive, almost like each track is constantly transforming while you listen. What was the core idea or emotional state behind the EP?
This EP was created during air raid sirens and before bombs started falling near my home. The idea was to fill the space with positive images embedded in the sound – in this case, celestial images. To have birds flying in the sky, not rockets.
WWD: The release moves through deep house, ambient, broken beat, dub techno and jazz-like textures very naturally. Do you consciously think about genre when producing, or is it more instinctive for you?
These transitions are connected to my musical upbringing, my sense of sound, and my true nature. I consciously create such a form – where randomness is almost eliminated. I know the result I want to achieve.
WWD: Your music has always had a very human and organic feeling despite being built with machines. What is it about analog hardware that continues to inspire you creatively?
A synthesizer is an instrument like a guitar – and in my view, even more interesting. Analog equipment inspires me with its pleasant sine wave, soft sound, and wide space. The amount of analog gear in my studio motivates me to continue conscious sonic experimentation.
WWD: Can you talk us through your production process for a track like ‘Atmos Time’ or ‘Soul Time?’ Where do these pieces usually begin?
It depends on my mood, the situation, and the instrument that is turned on – synthesizer, sampler, drum machine, or microphone. It is hard to remember exactly, as this music was created about 3–4 years ago.
WWD: You’ve spent years collecting studio gear. Is there one piece you feel especially connected to?
I think it is the Minimoog Model D. Sometimes it feels like I could create an entire album using only this instrument, with additional effects.
WWD: There’s a strong sense of introspection and atmosphere throughout your work. How important are philosophy, nature or spirituality in shaping your sound?
My brain tends to philosophize too much. I use self-analysis as a tool to understand who I am in the present – in music and in life. After returning from India, my views on spirituality changed. I no longer want to speculate about such concepts, as I have not met truly spiritual people in today’s world.
WWD: You’ve been DJing since the late 90s. How has your relationship with dancefloors changed over the years?
I have become calmer about certain destructive aspects of nightlife.
WWD: A lot of modern electronic music feels fast and disposable. Do you think the culture has changed?
Yes, it has changed due to technology and accessibility. Now anyone can call themselves a producer and present it on social media to attract attention. Regarding my records, I try to remain a diligent student of the artists who inspired me, treating them with respect. Lack of respect is one of the reasons for today’s disposable music.
WWD: ‘Drum Time’ has a hypnotic rhythm. How do rhythm and repetition function for you emotionally?
Rhythm is the foundation of everything. It all begins with rhythm. In ancient times, rhythms helped shamans enter expanded states of consciousness. For me, creating a hypnotic feeling means forming a spiral in space for the expansion of awareness. Music is my main practice – my religion.
WWD: Looking back at your career, what moments feel most important and what remains unexplored?
The albums ‘Metaphors’ and ‘In Search of Ancient Civilizations,’ as well as my recent releases from 2025 and 2026, are important milestones. Soon I will deeply explore drum and bass and fully study my AKAI S-1100 and S-5000.
WWD: Are there any non-musical influences that shaped ‘Times?’
Yes – the heavens, good mood, and sampler-based sound combined with analog synthesizers.
WWD: If you could spend a week in the studio with any artist, who would it be?
Jon Hassell, Steve Reich, The Orb, Bill Laswell, Laika, Depeche Mode.
WWD: Amazing choices! Thanks for the chat 🙂
The ‘Time’ EP is available here