The Mix 050: dogheadsurigeri

In the come-up of Poland’s nascent new era of techno, Warsaw-born DJ and producer dogheadsurigeri – real name Paulina – is proud of the place where she made her start. Now tipped as one of the best clubbing destinations in Europe playing host to emergent parties, collectives, clubs, and artists, Poland’s capital granted Paulina the license she needed to break out in the hubbub of today’s techno scene, and transfer her artistry overseas.

Though she now calls London home, the foundations of Paulina’s music career were originally built in Warsaw, where she earned her credentials as part of queer collective and “feminist artist platform” Oramics. Before a short stint living in The Hague, Paulina co-founded her own club night, MESTIÇO, an inclusive event taking place across Warsaw’s most loved clubs, booking international artists from object blue to TSVI, aya to LCY.

Two years after settling in London, Paulina has sharpened her sound – one that’s laced with a feeling of nostalgia. Old-skool trance with euphoric builds, techno imbued with hypnotic, swirling leads, and sweat-inducing hard dance – the dogheadsurigeri sound is ever reminiscent of times gone by, from Warsaw’s ‘90s rave era to Ibiza’s noughties heyday. “Nostalgia always sticks with you,” she smiles, sitting back at home. “I think the ‘90s and ‘00s were a golden era – I wasn't on the planet back then, or I was really little, so this music sounds fresh even though it was made 25 or 30 years ago. It's also cool to bring a bit of that heritage back as well.”

After the release of her debut single, ‘Fluid Matter’, in 2024, Paulina was tapped by trance trailblazer KI/KI to produce the second release on her slash imprint, due to land this month. ‘Silver Current’ is inspired by ‘00s trance and the originators who brought the sound to the fore during that period, including Tiësto, Paul van Dyk, and Armin van Buuren, its sound described as a “hybrid of the vibrant underground club scene and iconic trance anthems”. The four-track EP marks Paulina’s first crack at a longer-form production project, one seen through the artistic lens of a visual art and design graduate, piecing together “collages of sound”.

Ahead of the release of her debut EP ‘Silver Current’, we sat down with dogheadsurigeri to chat about her first foray into production, Warsaw’s new generation of techno talent, and the nostalgic undertones of her musical palette. Check it out below alongside a cathartic hour-long mix spanning trance, techno, and emotional rave.

It’s only been a year since you put out your debut single, ‘Fluid Matter’. Things have moved quickly for you since then, has it been a bit of a whirlwind?

Yeah! I must say, I didn't really expect it. I moved to London two and a half years ago from the Netherlands, and when I moved, I just felt like it was a really good moment to start making music and being connected in this scene, because it's the epicentre of the music industry and a lot of different sounds and genres. I released my debut single and it just suddenly caught wind, which I'd never really expected. It was a self-release, I didn't hire anyone to help me with it, and I didn't have a publicist back then, so it was all very DIY.

I was positively overwhelmed and surprised with the reaction, and that's how it led to this new EP that I'm releasing on KI/KI’s slash label. I was at home in my room and had just released this debut single, and I was like: ‘Okay, maybe I can send it out to some other producers so they know that I make stuff’. But when you send out a promo to people who are so big or have so many followers, it almost feels like you’re sending it into the abyss, and that they're never gonna be read or responded to. When KI/KI came back to me, she was like: ‘This is a great tune, do you want to release it on my label?’. I was shocked, I'd literally just released one single and she was asking me to release on her label! Like, what if I don't even know how to make music?! She really trusted me with this, which was absolutely incredible. It’s really snowballed now.

How and when did you first learn to produce? Are you self-taught?

Yeah, I'm self-taught. I graduated from art school, but in visual art and design. I was a DJ first, then at some point, I had this idea to actually make music, exploring how to put a composition together, what an arrangement is, and so on. For a long time, I had this barrier or obstacle in my mind. For some reason I had this thought that production is very technical, it’s more about frequencies and physics and sound engineering, and that it was extremely difficult. But when I graduated from art school and I was already doing creative stuff, I thought: ‘If I can make a painting, I should probably also be able to make something in Ableton’. I knew it was my time to start doing it.

It takes time of course. It's not like you just open a software and immediately make bangers, it’s a learning curve definitely, especially when you’re self-taught. I feel like you have to just pursue it, and you have to be a bit delusional and believe that your next track is always gonna be better than the last. You're gonna see the progression. A friend of mine gave me some really good advice once, they told me that you just have to mix one track after another, and you always have to finish them. Then you eventually arrive at the point where you make something and you'll be like, ‘Oh, I like that, I can release it’. After a year of making tracks, I arrived at ‘Fluid Matter’, and I knew it was something I could actually release.

Your debut EP, ‘Silver Current’, is out next week. How are you feeling about it?

It feels very unreal because when you make music, you release it in a different chapter. You wait six months or sometimes longer for it to be released. It’s a weird comparison, but it’s like being pregnant and waiting for the child to be born! I'm really curious about who I’m going to be after the release both as a DJ but also as a music producer. Will there be new opportunities? There's a lot of unknown areas, and I'm very happy to explore them all. It’s exciting, but also a bit stressful.

Can you talk me through the production process on this one, how did it come about?

So when KI/KI first reached out to me, it was just after I released my debut single. I was working on new music, gradually producing new tracks and trying to develop my sound. Then at some point, a few months later, she reached out to me again asking if I had any new material to show her. I showed her what I had already, and she gave me a deadline to show her the rest. I’d never worked to a deadline on music before, so it was a new experience, but also good because it helped me to focus.

In terms of production, I don't really work with any hardware, I'm very much an internet Ableton kid. I like dropping things out and in, having lots of sample packs connected, almost like a collage. It's like piecing a lot of things together, my music production leans toward trance, making melodies the main aspect. I dedicate most of my time to shaping the synth lead. I don’t limit myself to hardware, and that might change in the future, but at this point, I love the fact that you can just find a sample of a bird singing and quickly place it in.

The EP is out on KI/KI’s slash imprint, what’s your relationship like? Are you close? She’s sung your praises in the past!

Yeah, we first met in London at The Archives when she was headlining the show. It was really nice, because sometimes you just talk with people on Instagram, but you don't really know what they’re like in real life. Obviously she's very busy and it's not like she has time to have the deepest conversation at 2:AM in the green room, especially when she's touring quite a lot, but we had a great chat. She's just very welcoming and has a positive energy which I really liked. The entire atmosphere was really positive, good vibes, you know. She later invited me to her Club Raum residency in Amsterdam, curating a night in December where I had the chance to open for her.

What I really admire about artists like KI/KI is that, despite already having an established position in the scene, she actively supports emerging talent, giving them a platform and space to thrive. She plays their music, boosts their careers, and gives them a spotlight, and I think that's really important. I'm very glad and grateful for that opportunity as well.

Your style is quite nostalgic, you’ve really nailed that ‘90s trance and techno sound. Is it something you grew up with and pin a lot of sentimentality on?

Actually, that's funny, because I do and I don’t. Obviously nostalgia always sticks with you. I remember sitting in the car with my parents, listening to the radio, a Tiësto tune playing in the background. It follows you to some extent. But when I started DJing, I was into weirder experimental stuff and club sounds, things I still love to this day, but I was playing different things. It took years to refine my sound – I was more exploring fast techno, hard dance, all of that. Then at some point, I just landed on trance.

I always used to mix stuff like Tiësto and Paul van Dyk, even like seven years ago. Back in the day, if you would play Tiësto in a club, people would think it's really cheesy and commercial. I think the ‘90s and ‘00s were a golden era, producing incredible music from countless great producers. The scene was absolutely insane, but there was a little bit of shame to it, you know?

Two years ago, I released my first 2000s Ibiza Trance Mix for TANK Magazine, and it quickly gained traction. It was even named one of The Best Mixes of 2023 by Mixmag. Last year, I revisited the concept with a ‘Vol. 2’ mix for Free From Sleep, and both mixes received great feedback. People really loved it. It's great music, so of course it defends itself, but sometimes there's this weird, almost pretentious approach to music – what’s fun and what’s not, and what’s acceptable to be played in the club. I want to go against this. So, to some extent, this trance sound was always around, but now I'm really happy that I can spend more time digging into it. There's plenty of compilations where people combine all of these tunes and play weird radio edits and pirate versions, there’s thousands of remixes. The digging process is great, because I wasn't on the planet back then, or I was really little, so obviously now for me, this music sounds very fresh even though it was made 25 or 30 years ago. It's also cool to bring a bit of that heritage back as well, I think that's how I arrived at this trance and techno nostalgia.

You’ve said before that your move to London felt welcoming, and that the dance music scene here is diverse with lots of movement between styles. Has that move informed the way you play and perform music?

Definitely, yeah. I always tailor my sets, I'm not a person who sticks to one genre. For me, trance and techno are umbrella terms that open up endless possibilities for exploring what these genres can really be. For example, last Saturday I played in Leeds for the first time thanks to Planet Fun. I focused on euphoric, faster, and bouncier sounds, mixing in elements of gabber, hard trance, and even some hard dance classics. Then when I went to play in Kyiv at K41, which is a well-known venue for techno, I catered to that. It always depends on the party you play, and on the audience – you can never fully be prepared for your set. It means that you're a good DJ if you can arrive at a party and take it in a different direction than you planned. You might have a certain idea of what that party is, but you never know until you’re there. For instance, I played in Barcelona for the first time in January at a big venue. I had some previous ideas of what it would be like, but when I showed up, it was completely different, and I needed the room to wiggle because we’re both in it together, you know? It's not just me, it's also about the crowd, and we’re there to have a good party. I love how diverse London is and how many genres you can cross. For example, at FOLD, where my studio is and where much of my creative process happens, especially during Sunday’s UNFOLD event, you can play techno, drum ‘n’ bass, broken beats, and the crowd loves it all. Overall, I feel that Londoners are much more open to a mixture of sounds, something I've never experienced in any other country I've lived in. It's definitely something that makes the scene stronger and more innovative, too.

The dance music scene in Warsaw has been called one of the best in Europe, with a lot of young emerging collectives and DJs and heightened energy for hard and fast sounds. Do you feel that when you visit home?

Definitely. Especially right now, it's a really good moment. Obviously the dance music scene is still struggling after the pandemic, but I get the feeling that it's really picking up in Warsaw right now, especially at clubs like Jasna 1, a venue in the centre of Warsaw. It’s one of my favourite venues in Poland, it’s beautiful with amazing sound and a great interior. But what really stands out is the overall club experience, where you can truly lose yourself. They offer great programming across two rooms, with a range of sounds from techno and hard groove, house and bass. MKO, a resident DJ, also runs his own event series called Shadows, where he focuses on deeper, more hypnotic and driving techno sounds. On the other hand, Jasna 1 also hosted artists like Varg, who I had the chance to share the decks with. Their approach is truly diverse, and I’m excited to see such a strong venue thriving in my home country. There's a lot of stuff happening outside of Warsaw too in places like Poznań, there’s a great scene there – really diverse. I would definitely say Poland is a good clubbing destination.

You’re often known for platforming new Polish talent, is there anyone we should be keeping an eye on at the moment?

Definitely worth a shout out is Some Guest, a resident at Jasna 1. His productions span multiple genres, like Latin influences with bass, breaks, and techno. On top of that, I'd love to shout out some amazing female producers. There's a talented producer from Gdynia, Gosha Savage. She plays more experimental, clubby sounds – fast, noisy, and gritty, and also performs live sets. There's also rising female producer TOHA, who’s making waves in the groovy, booty-shaking house scene, and DJ Zamocno, who’s bringing new life to speed garage and techno. Now that I'm thinking about it, it's quite crazy how diverse the scene is in Poland.

You played at Kyiv’s K41 just a few weeks ago, what was that experience like?

It was the best gig of my life so far, and I'm not even kidding! Obviously because it’s an active war zone, it was a long trip – it took over 25 hours to get from London to Kyiv. There was a mixture of anxiety and excitement. Russians are shelling the city quite regularly and unfortunately, when I arrived there on the first night, there was a ballistic attack at around 5:AM near my hotel. I was sleeping in a bomb shelter, and I woke up to the sound of explosions. You could feel the shockwaves in the ground, and I thought, ‘This is it’. But that’s just the reality in Kyiv right now. I was there for the first time, and obviously for most Ukrainians, they’re desensitized – they don't react to the alerts or air sirens, because they're so used to it. It's a really weird space to navigate through in your head.

I played my gig on Saturday, and the party happens during the day because there’s a curfew – they have to finish before 11:PM so everyone can get home safely before midnight. The venue is absolutely beautiful, it’s really big with different rooms. I can't even describe it, the way it's designed. It's very brutalist, located in an old brewery. I've never seen a crowd like it in my life, they were so enthusiastic and in the moment. When I got to the venue, I had a drink and spoke to people, and I felt so good to be there and safe knowing we were all in it together – you can forget about what’s going on outside for a little while. I think that's why there’s such a strong community there.

When I was playing, there was another ballistic threat. We had to actually stop the party, which I’d heard has never happened before at K41. The sound engineer came up to me and asked to stop the music immediately, he got the mic and said to about 600 people in front of us: ‘Everyone go to the cloakroom area and hide there’. We had to stop for around 20 minutes, and when the alert was cleared, we resumed the party, and the energy after was absolutely crazy. There was only around half an hour left, but I've never seen such an enthusiastic, reactive crowd. Also, the crew behind K41 are amazing, it was the best hospitality ever. Everyone is so friendly, showing you around, taking you on trips, telling you the story, showing you the city. I just can't wait to be back already.

What’s coming up next for you?

I’m going on a short tour around China at the end of February, playing in Beijing, Shanghai, and Taipei. It’s my first time going to Asia so I’m really looking forward to it. Then after that, I have a few gigs lined up in London and other places still to be confirmed, but I’m also going to really start working on new material. I’m also starting singing classes, which is something I hope to use in future productions in some capacity.

Can you tell us about your mix?

This mix is a journey through trance where the past meets the present, legendary pioneers collide with the new-wave of producers, and the result hits hard. It’s a fast-paced, euphoric ride packed with dramatic highs, intense energy and two tracks for my debut EP ‘Silver Current’.

'Silver Current' is out via slash on February 20. Buy it here.

Tracklist:

1. Atlantis - Fiji (Trance Wax Remix)
2. Evian Christ - Ultra (Hard Duck Remix)
3. dogheadsurigeri - Silver Current
4. The Thrillseekers - NewLife (Extended Mix)
5. Tiësto - Lethal Industry (Rose Ringed Remix)
6. Yra:Gael - Planeswalker
7. Pureblast - Half Faces (Lachhesi Remix)
8. Hard Target - Echoes
9. Art Of Trance - Madagascar (Ferry Corsten Remix)
10. Newa - Acid Baby
11. Nitromethane - Time To Die (Silvester Remix)
12. dogheadsurigeri - Garner
13. Mac Declos - Rage Against The Dying Of The Light
14. Merca Bae - Cucaracha
15. The Thrillseekers - Synaesthesia (Club Mix)
16. Matty Ralph - Dreaming (Extended Mix)