Who I AM
My name is Oleksandr Vasylkivskyi, but I go by Sasha — a common Ukrainian short form. I’m a music producer from Kyiv, now based in Berlin after relocating because of the war in Ukraine. This journey shapes my work: I understand what it means to rebuild, reinvent, and turn raw experience into art.
I specialise in guiding musical ideas from their roughest forms — voice notes, demos, vague sketches — into fully realised tracks. My production style is dynamic and continually evolving: sections never repeat identically; each moment introduces fresh textures and emotions to keep the listener engaged.
A graduate of BIMM Berlin’s Music Production programme, I refined my own sonic identity and artistic voice through practice-based research and experimentation. Previously, I studied Sound for Film at Kyiv National University. Although my studies there were interrupted, this experience immersed me in the avant-garde heritage of both music and cinema, drawing inspiration from pioneers like Pierre Schaeffer, Karlheinz Stockhausen, and John Cage. These influences still echo in my work through my affinity for texture, sonic experimentation, and structured innovation.
My production approach relies entirely on cutting-edge digital technologies — I look forward, not back. Leveraging current industry standards, combined with custom-built production tools designed in Max/MSP, I can produce seamlessly from anywhere in the world. Inspired by Jonny Greenwood’s creative processing, the guitar remains my primary instrument and sonic voice. Beyond traditional playing, my skills in sound design and music programming allow me to transform the guitar into a flexible sonic synthesiser, making it my most expressive creative tool.
I work at the intersection of modern rock, experimental pop, and cinematic electronica—genres that value impact and atmosphere in equal measure. My benchmark sound sits somewhere between Paul Meany’s punchy, vocal-driven productions (Twenty One Pilots), Dan Lancaster’s widescreen rock mixes (Don Broco, Bring Me The Horizon), and George Lever’s dense, textural low-end (Loathe, Sleep Token). In practice, that means big drums and guitars that morph into synths, hooks that detour into unexpected harmonic spaces, and arrangements that refuse to sit still. Each track aims for the immediacy of a great pop chorus, the weight of modern rock, and the detail-rich depth you’d expect from a film score.
My philosophy balances emotional depth and subtle irony, never undermining sincerity while still acknowledging complexity. In the end the goal is for the listener to feel something real, be it a gut-punch or a quiet smile that lingers after the song ends.