Danskiy is a Kyiv-based music producer with a global reach, crafting soundscapes for brands like BMW, Puma, & Off-White, and labels such as Universal and Felt Music. A versatile multi-instrumentalist, producer, and sound engineer, fluent in genres from jazz rap, soul, and afrobeat to cinematic scores and commercial tracks. Since 2022 Danskiy has released 6 albums with 20+ artists from around the world. In April of 2023 Danskiy surprised the world with “Holy Vibe” a 9-track album recorded with 9 different artists from across the globe – USA, UK, Kenya, Namibia, Denmark & Nigeria. The album unpacked Afro Soul, R&B, Jazz-Rap, and Hip-Hop flavors.
In July of 2024 Danskiy released the 5-track modern crossover urban EP “Yasmine”, with soul, jazz, hip-hop, R&B and ambient chill elements. Once again he featured different vocal talents on each cut. On October 10, Danskiy dropped his latest 17-track, full-blown cinematic album, entitled “Full Force (Original Motion Picture Soundtrack)”. The album marks the producer’s debut as a full-length movie composer. It’s a blend of cinematic, blues, and contemporary classical sounds, perfect for listening to beyond the film.
Photo credit – Iryna Suldina (IG – @i.suldina)
Danskiy, your work spans a wide range of genres and collaborations. How did your journey into music production begin, and what shaped your decision to explore such a diverse soundscape?
Danskiy: My journey into music production began during my time as the bandleader for INDT. For seven years, we played a mix of psychedelic pop, indie, and hip-hop, releasing four studio albums and playing over 100 shows. Some standout moments include performing at the Champions League final in 2018 in Kyiv, opening for Kodaline and JMSN, and playing at Atlas Weekend, the biggest festival in Eastern Europe, with Kasabian headlining.
INDT – Barcelona (feat. Wavy Dem) https://www.youtube.com/watch?v=dNOnU6wsl8Y
INDT – On Cloud 9 EP – https://music.apple.com/ua/album/on-cloud-9/1458881535
While working with different music producers and engineers in various studios, I realized that the creative process behind the production was what I truly loved. I became fascinated with how sound could be shaped and experimented with across genres. That experience opened my mind to the endless possibilities in music.
The turning point came after our band’s run. We weren’t a commercial success, and I began to explore other opportunities. My first commercial project with the Levi’s brand resulted in a successful payment, and that’s when I realized I could make this my full-time job. From there, I embraced the freedom to explore different genres and collaborate with artists from all around the world, and that’s been my life journey ever since.
You’ve worked with major brands like BMW, Puma, and Off-White. How do these commercial projects influence your creative process compared to your work on albums and cinematic scores?
Danskiy: Commercial projects like the ones I’ve done for BMW, Puma, and Off-White are a completely different experience compared to albums or cinematic scores. They challenge you to think outside the box musically because you’re working with specific client requirements, and often need to make tweaks and edits based on their feedback. Flexibility is key, and so is delivering the music on time.
That said, I approach every project—whether it’s commercial, album-based, or cinematic—with a creative mindset. I learn something new with each one, and I make it a point to apply those lessons to my next project. The more music I create, the more my skills evolve. As Little Simz puts it, “Everything builds from focus and time spent on the craft,” and I truly live by that principle.
Your latest album, “Full Force (Original Motion Picture Soundtrack),” marks your debut as a full-length movie composer. Can you tell us about the experience of composing for this documentary and the emotions you aimed to capture in the score?
Danskiy: Living in Kyiv, Ukraine, the war hit me unexpectedly at 5 a.m. on February 24th, 2022. I was peacefully sleeping in my bed when explosions shook the city, and my family and I quickly realized our lives had changed forever. While we hid in our basement, the brave Ukrainian army aviation forces were the first to face the Russian troops near Kyiv, defending us from the very beginning.
The movie Full Force tells the stories of these courageous individuals. Army aviation, in simple terms, is a helicopter unit, and this film brings their experiences to life. Composing the soundtrack for the documentary over three months felt like a deep, immersive journey. I aimed to create a blend of cinematic blues, contemporary classical, and film score elements, pulling from all kinds of instruments—from electric guitar to flutes. I even used the sound of a B52 bombardier plane as a bassline in one of the tracks.
Throughout the process, I found myself returning to the intense emotions I experienced during those early days of the war. I wanted the score to reflect both the tension and the resilience of those who stood their ground, protecting our home.
How did the themes of the documentary—focusing on Ukraine’s Army Aviation and moments of war—shape your approach to composing the “Full Force” soundtrack?
Danskiy: I’ve always been drawn to movie soundtracks, especially films about the Second World War. When I started composing the Full Force soundtrack, my main goal was to create music that I would love to listen to outside the context of the film, while still aligning it perfectly with the visuals and themes of the documentary.
The themes of war and Ukraine’s Army Aviation resonated deeply with me, especially considering my own experiences. I wanted the music to reflect not only the intensity of the war but also my emotions surrounding it. It was important to capture both the bravery of those defending Ukraine and the profound impact of the war on all of us. I approached the score intending to translate those feelings into something powerful and authentic.
You’ve been described as a multi-instrumentalist. What instruments did you personally play, and are any of these used on the “Full Force “soundtrack project?
Danskiy: Thanks to my band career, I’ve learned to play a range of instruments—guitar, bass, drums, percussion, keys—and I also sing. Right now, I’m adding saxophone to the list! On the Full Force soundtrack, I played many of these instruments myself, especially on the final track, Airborne. It’s a country-grunge song and the only track on the album with lyrics.
For Airborne, I played all the instruments and composed both the melody and the lyrics. To get the right vocal performance, I brought in Sasha Chemerov, a Ukrainian grunge-rock legend who is also a well-known pop-rock artist and producer. His voice really brought the song to life, and I’m proud of how it turned out.
Your previous releases, such as “Holy Vibe” and “Yasmine,” feature artists from all over the globe. How do you choose your collaborators, and what’s the creative process like when working with such an international roster?
Danskiy: It all starts with having a great instrumental track. I never approach potential collaborators unless I feel the track is ready to be shared with another creative mind. Once the production feels right, finding collaborators becomes straightforward. I typically use Instagram and TikTok hashtags to focus on the genre and vibe I’m looking for.
For example, with Yasmine’s track Used to Tell Them, I was searching for a UK-native female rapper/vocalist with a low voice, similar to Sampa the Great or Little Simz. For Holy Vibe’s opening track Holy, I wanted a Nigerian artist who could bring an authentic native feel and deliver the vibe with the right accents. I have a lot of respect for different cultures, and it’s something I try to reflect in my music.
Once I find the right artist, I reach out via email with an offer, then we hop on a video call to discuss the details. Artists usually record their vocals in local studios near them. Meeting new people from around the world and creating music together is one of the most enjoyable parts of this process. The relationships you build through music go to another level, and many of these artists have become friends over time.
Can you tell us about the specific studio setup or equipment that played a key role in the recording of Full Force? Any unique gear or techniques that you found particularly inspiring?
Danskiy: The setup I used for Full Force is nothing special. I’ve got a MacBook Pro, a pair of JBL 305 monitors, a Komplete Audio 2 interface by Native Instruments, a couple of MIDI keyboards, a Fender Stratocaster, and a Fender Precision Bass. In terms of software, I relied on plugins like Kontakt and Omnisphere.
What I find inspiring is how accessible music creation is nowadays. You don’t need an expensive or complex setup to create something meaningful. The key is mastering your skills, experimenting with the tools you have, and staying in a creative mindset. The biggest obstacle is often in your head, not your gear, so I always try to push myself to use what’s available to its fullest potential.
What challenges did you face in recording and producing a full cinematic score compared to your work on more traditional albums or commercial projects?
Danskiy: I’d say there were three main challenges. First, the sheer amount of work—17 soundtracks is a lot to handle. Second, the variety of genres. One day I’d be producing deep, horrifying contemporary ambient, and the next day I’d be switching to world cinematic blues. Balancing those shifts creatively was demanding. And third, the timeframes. Initially, I thought I could finish the project in one month, but it ended up taking three months to complete.
Despite all that, I truly enjoyed the process. The journey itself is often more rewarding for me than the destination, though I’m really happy with how the final result turned out.
Did you use any field recordings or live sessions to capture specific atmospheric elements in the soundtrack, given the documentary’s war-driven narrative?
Danskiy: As the music composer for Full Force, my primary goal was to create music that enhanced the film, highlighting the events depicted on screen. The sound recordings captured by the team during real war footage were integrated into the film during the editing process. While I did incorporate some sound effects on my own, the team’s recordings were extensive, so it wasn’t my main focus.
Instead, I concentrated on crafting music that I love and that resonates with the film’s narrative. I intended to support the emotional weight of the story through the score while allowing the raw sounds of the footage to speak for themselves.
Photo credit – Iryna Suldina (IG – @i.suldina)
Are there any sound engineering techniques you’ve mastered or invented during your career that were essential in creating the unique sound of Full Force?
Danskiy: During the creation process of Full Force, I mainly applied techniques I had previously mastered throughout my career as a producer, such as panning, EQing, compression, and arranging. These skills were essential in shaping the unique sound of the soundtrack.
However, I believe that this project has also helped me discover even more about myself and my abilities than I realized before diving into it. Each project is a learning experience, and Full Force was no exception.
“Holy Vibe” and “Yasmine” are both examples of your versatility in blending genres like Afro Soul, Jazz-Rap, and R&B. How did those projects prepare you for the emotionally charged, cinematic scope of “Full Force”?
Danskiy: I truly love my work as a music producer and composer because of the variety it offers. Music is my passion, and I can’t spend a moment without it—just as I’m writing this response, I’m listening to “Lightworks” by Summers Sons. I always look forward to starting a new project, whether it’s transitioning from the happy, easy vibes of Afrobeats to a deep and moving cinematic experience.
Just as people experience a range of emotions daily, creating music works the same way for me. It’s like cooking; I love making pasta bolognese, and every time I prepare it, I switch up the ingredients to bring out different flavors. Similarly, projects like Holy Vibe and Yasmine have taught me to explore various emotional landscapes, preparing me for the emotionally charged scope of Full Force.
Looking back at your still young career so far, what are some of the key milestones that have shaped your growth as a producer, and how does “Full Force” compare to your previous work?
Danskiy: At this point in my career, I would rank Full Force among my top three milestones, alongside producing music for Universal Production Music UK and a BMW commercial. Each of these projects is unique, but they all contribute significantly to my growth as a producer.
Full Force is particularly special because it’s the first project that made it to a real cinema halls, allowing me to showcase my music on the big screen. I’m forever grateful to my close friend and brother in arts, Oleksandr Stratienko (@ stratienko.alex on insta), the director of the movie, and our project leader, Timur Fatkullin (@aerotim on insta), for believing in my skills and providing me with opportunities like this. I’m excited about what we can create together in the future.
Can you share some insights into the studio environment and equipment used to record “Full Force”? What was unique about this project from a technical standpoint?
Danskiy: During the production of the Full Force soundtrack, which took place from April to June 2024, Kyiv faced significant challenges due to the ongoing war. At that time, Russian forces bombed the city multiple times, resulting in blackouts that disabled one of the largest electrical stations in the region. This meant that while I was working, there were periods without electricity.
When the lights went off, I often had just one hour to work before waiting three hours for power to be restored. This situation pushed me to adapt and make the most of the limited time I had. Fortunately, we don’t experience those issues anymore, but those challenges made this project particularly unique from a technical standpoint. It taught me the importance of resilience and creativity in the face of adversity.
What do you envision as the next step in your career as a film composer after the success of Full Force? Do you see yourself taking on more movie projects in the future?
Danskiy: Absolutely! Composing music for movies has always been a goal of mine since I started producing. I hope to take on more film projects in the future and am always open to any opportunities that come my way. If anyone is interested in working with me, please reach out to me at danskiybeats@gmail.com, and let’s discuss it!
Photo credit – Iryna Suldina (IG – @i.suldina)
Having worked with artists and brands globally, are there any particular countries, regions or styles of music you are hoping to explore in your future collaborations?
Danskiy: Yes, absolutely! I still haven’t had the opportunity to work with the Japanese and South Korean music markets, and I feel that collaborating with artists and labels from these countries would be a fantastic experience. I’m excited to explore their unique sounds and cultural influences in my music.
Are there particular any music producers, sound designers or composers that you draw influences or inspiration from?
Danskiy: One of the most influential figures in music for me at the moment is the UK producer Inflo. He has worked with artists like Little Simz, Michael Kiwanuka, Adele, and Jungle, and co-produced the SAULT and Cleo Sol projects. His music and sound ideas offer an unforgettable experience that keeps me coming back to discover something new each time. I highly recommend checking out Sometimes I Might Be Introvert by Little Simz and Gold by Cleo Sol.
In terms of movie scores, one of my latest absolute favorites is Killers of the Flower Moon, composed by Robbie Robertson. This score was his final completed work before he passed away in August 2023, and the film is dedicated to his memory. It represents a perfect blend of composition and production—mixing blues, world music, and percussion—making it a masterpiece that stands strong even without the visuals.
With six albums released since 2022, your output has been prolific. What drives your creative momentum, and how do you avoid burnout while juggling multiple projects?
Danskiy: One of my favorite books is Richard Branson’s Screw It, Let’s Do It, where he emphasizes the importance of work-life balance—essentially, you have to work hard and rest hard. This philosophy helps keep me focused. I definitely put in the effort, but I also prioritize planning my weekends and activities to ensure they are varied and enjoyable. I play football (soccer) on Wednesdays, attend exhibitions, play poker with friends, and take long walks. These days are dedicated solely to myself, and I consciously avoid touching my MacBook or any music projects during that time.
Learning to rest properly is crucial for staying happy and motivated during work hours.
Additionally, having a routine is really important to me. I don’t start my workday until I’ve completed my morning workout and spent ten minutes reading a book. This structure helps me maintain my creative momentum while preventing burnout. And I do have some goals in life that drive me.
“Full Force” isn’t just an album but also a significant contribution to a documentary about Ukraine’s Army Aviation. How does the personal connection to the subject matter influence your perspective on this project?
Danskiy: About 70% of my projects come from the Western market—specifically the US, UK, and Europe. Through these projects, I’ve become something of a Ukrainian diplomatic force, sharing our stories and helping to enhance the image of Ukraine. People get to learn about the talented individuals who live here and create world-class products. They also gain insight into my lifestyle, just as I’m sharing it now, allowing me to fulfill my mission even when the narratives in the media may be skewed.
My work on “Full Force” contributes to this narrative, showcasing our resilience and creativity. The personal connection I have to the subject matter deepens my commitment to the project, as it allows me to express my feelings and experiences through music. This project is not just about creating a soundtrack; it’s about telling a story that reflects the realities and struggles of my country, and I am proud to be a part of that.
What has the reception been like for “Full Force” so far, both within Ukraine and internationally? How do you hope this album resonates with listeners outside of the film’s context?
Danskiy: Since its premiere in Ukrainian cinemas on October 10th, the reception for “Full Force” has been incredibly positive. I’ve been receiving warm messages from viewers, which fills me with joy and motivation. It’s been surprising and gratifying to see so many people engaging with the music, listening to it online, and even reaching out to share their thoughts. I am truly grateful for this support.
Ukrainian media have hailed it as ‘the best war documentary,’ noting that it transcends traditional documentary formats. It combines exclusive, interviews with the philosophical vision of director Oleksandr Stratienko, action, and extreme footage and is complemented by the music I’ve composed for the film.
While I can’t provide specific dates, the Aerotim crew is currently working on the English dubbing and preparing to present the film to international audiences soon. I hope that the music resonates with listeners beyond the film’s context, allowing them to connect with the emotions and experiences conveyed in the score, as well as the broader narrative of resilience and creativity in the face of adversity.
Looking ahead, what’s next for you as both a producer and a film composer? Are there any new musical or cinematic challenges you’re excited to explore in the near future?
Danskiy: Currently, I’m working on several brand commercial projects, continuing my journey in music production. Additionally, we’re preparing a vinyl edition of the “Full Force” album. This special edition will not only include the music but also feature voiceovers from the movie, creating an audiobook-like experience.
I’m also excited about my upcoming album, “Santa Cruz,” which is set to be released on October
25th. This 4-track jazz-rap album features collaborations with rappers from San Diego, San Francisco, New York, and New Jersey. It blends old-school hip-hop vibes with world music and alternative abstract hip-hop, released by Universal Production Music. Creating this album right after “Full Force” was refreshing and a fantastic experience, as it allowed me to explore different sounds after three months of composing deep cinematic music. I hope to hear from you on my socials and streaming platforms!
Connect with Danskiy on Instagram at Instagram – https://www.instagram.com/danskiy/
Check out the Danskiy website at https://danskiybeats.com/
