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Gogan provides live Priku warmup mix
Gogan’s journey into electronic music follows a familiar yet deeply personal path—starting with club nights, listening to sets, and eventually experimenting with mixing at home. What began as casual sessions for his girlfriend soon evolved into club gigs, marking the start of a career shaped by curiosity and dedication.
His early influences came from Wrocław’s underground vinyl scene, particularly Chris In, who introduced him to the inner workings of the industry. As he grew, encounters with artists like Subb-an, Burnski, and Silat Beksi pushed him beyond DJing into production and label management. While Wrocław didn’t provide direct musical inspiration, his creative outlook has always been outward-facing, drawing influence from international scenes.
Today, Gogan juggles multiple roles as a producer, DJ, label owner, and even a construction company manager—all while maintaining an unrelenting passion for music. Whether crafting tracks in his home studio, curating releases for his label Kooky Music, or setting the vibe with warm-up sets for artists like Priku, his approach remains deeply rooted in authenticity and exploration.
In this interview, Gogan reflects on his creative process, the realities of Poland’s electronic music scene, and what it takes to stay prolific in a fast-evolving industry. Gogan recently provided us with a brilliant mix of his (where he played warmup to Priku), so we checked in with him recently to learn more…
Can you tell us about your early days in music—what first drew you to electronic music, and how did your journey as a DJ and producer begin?
My story is similar to many others. It started with listening to sets, going clubbing, then playing at home for my girlfriend. Over time, I started playing in clubs.
Who were your biggest influences when you started, and how have your inspirations evolved over the years?
At the beginning, it was definitely Chris In, who ran a legendary vinyl shop in Wrocław. He showed me the ropes and helped me understand the industry.
Over the years, I met DJs I invited to Wrocław, like Subb-an and Burnski, who inspired me to start producing my own music rather than just playing in clubs. Later, Silat Beksi had a big influence on my approach to the industry—he gave me valuable advice on running my own label. In general, I try to learn from everyone I meet who has achieved something I admire.
What role did Wrocław’s music scene play in shaping your sound and career?
To be honest, Wrocław didn’t inspire me musically. There weren’t many music events I was involved in, and there weren’t many producers I could draw inspiration from. Most of my inspiration comes from other countries.
Tell us about the warmup mix you did for Priku, which we’re hosting on our SoundCloud. What sort of vibe were you going for? Were you nervous beforehand?
It’s funny you ask because I always feel a rush of adrenaline and a bit of stress before every gig, no matter the size of the venue or the artist I’m playing before or after.
For this set, I played a lot of older tracks, focusing more on classic tech house rather than minimal. A week earlier, Priku had played B2B with Dubfire in Mexico, and I think that influenced my direction for the mix.
Do you think Poland’s electronic music scene has a political aspect these days? If so, how do you see it manifesting?
I try to keep politics separate from music. I believe artists should be judged on their music rather than their political views. It can be unfair if we let political affiliations influence how we perceive someone’s art. That said, the only exceptions for me are standing against racism and war.
What motivates you to create music, and where do you typically find inspiration?
I think it’s safe to say I’m addicted to making music. Even during a period when I wanted to step away from the industry, after a few weeks, I felt a strong urge to get back into production. Creating tracks brings me more joy than even playing in clubs.
I also don’t just look for inspiration in minimal or house music. I often find ideas in trip-hop, jazz, or other genres that aren’t necessarily dance music.
Your tracks have been remixed by renowned artists like Lizz and Silat Beksi—what does it mean to you to have your music reinterpreted by such respected names?
When choosing an artist to remix my work, I look for someone whose production I really like but whose style differs slightly from mine. I love seeing how they reinterpret my tracks and work with the samples I provide—it’s always interesting.
You’ve built an impressive release schedule—how do you manage to stay so prolific in both production and releasing music?
It’s not easy balancing being a producer, running a label, DJing, managing a construction company, and raising a 10-year-old son! The key is having a plan. I don’t watch TV series during the week—I dedicate all my free time to making music or working on my label.
Could you walk us through your typical production process? Do you have a specific workflow that keeps you on track?
Whenever inspiration strikes, I try to translate the idea into a project in Ableton as quickly as possible. I don’t produce for more than two hours a day—if I get tired, the tracks become dull and repetitive.
The next day, I test the track in my car on the way to work, then revisit it in the evening to refine it with fresh ears.
What does your studio setup look like? Do you have any favourite pieces of hardware or software?
I have a typical home studio and mainly use software—Ableton, Arturia, and Sub Boom Bass 2—along with controllers like the Arturia Minilab. I love using and modulating ambient sounds, background effects, and unusual FX.
Tell us about your label, Kooky Music—what inspired you to start it, and how do you see it evolving?
I wanted to create a label with its own character. At the time, Poland didn’t have a label that released minimal on vinyl, so that was a big motivator for me.
You’re working with Memoria for distribution—what made you choose them, and how has the partnership shaped your label’s reach?
Memoria was recommended to me by Silat Beksi, whose label Modeight also works with them. They’re great to collaborate with—professional, reliable, and they stick to arrangements and deadlines.
Do you have any upcoming releases or collaborations on Kooky Music that you’re particularly excited about?
Yes! At the end of February, we’re releasing an EP by RQZ, a producer I really respect and whose tracks I often play in my sets. I was thrilled when he agreed to do an EP for Kooky Music.
Another exciting release is an EP from Minube, an artist I’ve followed for years. He’s put together some really heavy-hitting tracks.
How do you balance your various roles as a DJ, producer, label owner, and lecturer while maintaining creativity?
I think my relaxed approach helps. While I take production, DJing, and running a label seriously, they remain hobbies for me. I don’t feel pressure to secure lots of bookings, and I choose artists for my label based on my own taste rather than financial potential.
How do you see the Polish electronic music scene evolving over the next few years? What role do you hope to play in its growth?
To be honest, minimal hasn’t taken off in Poland the way melodic techno or hard techno has. Events are rare, and I don’t think that will change anytime soon—despite the efforts of some great people trying to push the genre forward.
Are there any specific venues, festivals, or artists you dream of working with in the future?
For festivals, definitely Sunwaves—I’ve wanted to go for a while, but work always got in the way. Butik is another one.
For clubs, I need to plan a visit to Club Guesthouse. As for artists, I’ll keep that to myself for now—let’s leave it as a surprise.
What advice would you give to up-and-coming producers and DJs who want to make a mark on their local and international scenes?
If you want to make good music, you have to be patient and persistent. Finish your tracks—don’t get stuck looping endlessly, even if you’re not 100% happy with the sound.
When you first create a track, there’s a rush of euphoria. But after receiving the master, you’ll always think of things you could have done differently. That’s why it’s so important to finish projects and keep creating.