Dronarivm has been around since May 2012 with the release of Star Turbines “The Sleeping Land” on cassette. From this auspicious start and with Bartosz Dziadosz (Pleq) acting as curator, the label has gone from strength to strength releasing music from the likes of Celer, Offthesky, Porya Hatami, The Green Kingdom, Caught in the Wake Forever, Guilio Aldinucci and many more. Label boss Dmitry Taldykin kindly answered my questions.

Please introduce yourself. Why did you start Dronarivm?  Did you have experience with music before starting the label? Was there a label prior to Dronarivm? 

My name is Dmitry Taldykin.  I’m from Moscow, Russia.

Dronarivm is the logical continuation of Radiodrone Records, that was focused on the Russian experimental ambient scene. After I had received the first demo from abroad I took thought to work with foreign markets. Radiodrone Records was not very successful and I decided to start Dronarivm-  that’s how it appeared. The first release was reissue on CD of a cassette album by Celer – Rags of Contentment. I just sent the email to Will Long and he gave me authorization…..it was 5 years ago, Autumn 2012.

When I was younger I played the guitar in an alternative rock group, but it was not connected with the label. It was another story from both sides, musical and aesthetic.

From the outside looking in you and Pleq have a close relationship. How did you meet/come across his music? How important to Dronarivm is he?

Continuing the story… When I was ready to take over the world J)) I got the account on Facebook, where I met Bartosz Dziadosz aka Pleq. I sent him one message: – Hi! Do you want to release something on a cassette? And he replied: – Yes, that would be great!

After that I released the split Pleq / Philippe Lamy. It was very limited edition – around 30 copies. I ordered new cassettes from USA, recorded them at home on two-cassette deck Pioneer, that was equipped with digital input. I bought it in Yaroslavl, Russian city located 300 km away from Moscow.

After some time Bartosz decided to become the curator of Dronarivm. He introduced me to many musicians via internet and acted as an intermediary in the publication of many subsequent releases. This partly remains to this day.

What quality do you look for in a release for Dronarivm ? Do you accept demos?

It is very complicated question. It depends on personal preferences. We are trying not to concentrate on one music genre. We can release drone ambient like Chihei Hatakeyama, or piano modern classical like Lorenzo Masotto. We don’t care about the commercial profit in general. We always look for completeness, perfection… Ideally an album should sound as hell from start to end as much as possible. I don’t know how to express the idea exactly… But I hope sometimes we get it 🙂

Dronarivm is interested mostly in fusion of such genres as ambient, modern classical, electronic, field recordings, experimental. Sometimes we release them in pure, but it happens very seldom.

It is possible to send us demos. But unfortunately we can’t release all we get and listen.

So far 2017 has seen 7 releases. What can be expected for the rest of the year and have you got plans for 2018? (Please note I factored in the just released omrr CD, which was wasn’t released at the time the questions were sent and the re-issued /expanded Olan Mill CD)

Frankly speaking nowadays I see only 5 🙂 Elegi, Lorenzo Masotto, Pausal, Pleq, Enrico Coniglio & Matteo Uggeri… We can also consider Omrr – Devils for my Darling as sixth, it will be issued in the end of September. By the time this interview will be published it could be fait accompli

In 2017 we are planning to release Sven Laux – Paper Streets and Aaron Martin & Machinefabriek – Seeker.

Also we have some plans for 2018. I don’t want to give any comments on that. The only thing I would like to say – these will be wonderful albums, as always 🙂 Hope everything will work out fine.

How important is the visual identity of packaging and format to the label? You have done tapes and cds. Have you considered vinyl?

I’m not sure if listener can recognize Dronarivm once looked at it. Many labels create their own aesthetic canons to make their releases appear visually recognizable, identifiable in the general flow. It is very clear desire taking into consideration the volume of music production.

As for Dronarivm, we work individually with each particular release. We don’t have any rules in design. It is absolutely up to the taste of musician and editor.

CD is the optimal format for us now. To release vinyl, I would need to move to Latvia or the Czech Republic, or somewhere else forever. In Russia, to release vinyl costs a lot of money. If sometimes it happen it will be the last release of Dronarivm 🙂 Maybe in future something will change. But while we continue to do what we do. With hope for the best …

Leave a Reply