Blending myth, ritual, and modern bass music into a singular vision, HAUK is emerging as a rising force in the midtempo and dark-electronic space. That evolution comes into full focus with his new EP MYTHOPOESIS, a major turning point that sharpens his artistic identity and expands the world he has been building over the past few years.
Released on October 24, MYTHOPOESIS marks HAUK’s debut release with Rezz’s label HypnoVizion and introduces a sound rooted in Slavic mythology, dark production, and ritualistic tension.
For HAUK, this project is more than production. It is a continuation of mythmaking, guided by ancestral symbolism, personal philosophy, and the cinematic edge that first drew him to artists like Rezz and Gesaffelstein. Across the EP, he layers traditional pagan textures, overtone vocals, and ritualistic energy into a sound that feels both ancient in spirit and forward-leaning in execution.
We sat down with HAUK to talk about the origins of MYTHOPOESIS, how a message from Rezz shifted his artistic trajectory, and channeling myth and nature into sound.
Check out the full interview with HAUK below.
DF: Thank you for talking with us! You just released your new EP MYTHOPOESIS, marking your debut with HypnoVizion. How does it feel to not only put this project out into the world but to do it with a label like HypnoVizion?
HAUK: Mutually! Thank you too!
Well, my dream came true. At the dawn of 2019, the midtempo genre was just beginning to emerge in Russia. Cyberpunk trends were resurfacing. I was so captivated by this style that I immediately realized it was my thing. I was writing music and observing producers in the field. Looking back on that time, several names come to mind that launched my immersion in the music and sound that touches me so deeply: Rezz, Gesaffelstein. It was happening when I was struck by Isabelle and Mike’s music that I dreamed of sharing the most fascinating art form, music. “It would be crazy to get on Rezz’s label, even if she had one, let alone a feature…” that’s what I would say to my friends all the time. I remember that moment vividly. Be careful of what you wish for, HAUK.
DF: What first inspired you to connect the worlds of Slavic mythology and modern electronic music on MYTHOPOESIS?
HAUK: There is no doubt, the first thing that inspired me was myth. Fairy tale. Philosophy. Antiquity. It was in 2021 when I realized that simply performing DJ sets wasn’t enough for me. I wanted to create a full-fledged ritual in the moment of writing and in the moment of performing. It was during the ritual that the idea of futurism, my beloved aesthetic of the future, came to me. Then the first works of ROD and PERUNE were born, in that very sacred impulse of the soul toward the Divine.
DF: The title itself means “the making of myth.” How does that idea reflect your creative process and identity as an artist?
HAUK: I believe that myth and fairy tale must live on. For myth and fairy tale to live on, they must be conveyed with warmth and understanding. I want to tell stories about myths, nature, and fairy tales with the same warmth we received from our parents. In my way, With music.
DF: You’ve mentioned that Rezz reignited your passion for music during a time of apathy. What was it about her artistry that sparked that shift for you?
HAUK: Oh, it’s a wonderful story. So much so that six months have passed since then, and I’m still captivated by its simple yet captivating words. That your musical dream writes to you every day and tells you how crazy your music is?
Sit back and make yourself comfortable.
I feel sorry to confess that electronic music isn’t particularly successful in my native land. However, this nuance has further fueled the creative fire. Who am I to give up so easily?
With the idea in my head that I wanted to talk about my native tradition and myth in the language of electronic music, I set out on my journey. I wrote a lot and experimented with sound, which ultimately led me to the conclusion that chasing what people want to hear from you is not what you really want to say. I’m at a dead end. The way I want to speak isn’t very successful, and ethnic music isn’t what my story is about.
At that moment, I realized that this internal and external struggle was only draining my energy. And then… I saw Rezz’s message to me on Instagram. Honestly, at first I thought it was fake, like someone with a similar name was writing… but then I realized. I realized I was in complete shock. I remember, as if it were yesterday, Isabelle requested some works for HypnoVizion, and I sent her the preparing release Death of Yarila. However, it didn’t fit the label’s theme. So I promised her I’d write three new works in three weeks. And so, three wonderful fairy tales emerged.
DF: Each track on the EP feels like its own ritual, from On The Buyan Island to BLOOD RITUAL. What story or emotion ties these pieces together?
HAUK: This is a ritual that connects you with the understanding and wisdom of your ancestors. MYTHOPOESIS points you toward understanding and seeing the afterlife as your ancestors perceived it, from first word to last phrase in this sound.
DF: When you’re producing, do you imagine visual scenes or environments, or is the process more about following sound and instinct?
HAUK: It’s a ritual. When I produce music I turn off my head and turn on my heart and just speak with the language named sacred music.
DF: Russian folklore often explores the balance between light and darkness. How does that duality appear in your music?
HAUK: The answer is — we are above this duality!
In fact, it’s just a human concept to divide into black and white. Is there black and white in nature? If the answer is yes, how can we know what is black or what is white? The sun in the sandy dunes is absolutely fatal. By the way, it gives life as well. It fills the plants with ultraviolet. It presents warmth and happiness to humans even when it’s the cold period of the year.
My task is to reflect nature through personification. Reflect the essence of faces. However, everyone will decide for themselves which qualities they will emphasize in certain images.
DF: What was it like joining HypnoVizion, and how has being part of Rezz’s label influenced your creative vision?
HAUK: I have started to work harder. It’s a big opportunity and of course it’s a huge responsibility. New sound, new vision, updated image. A lot of ideas about video clips and ideas about coming shows!
DF: Were there any traditional Russian instruments, textures, or cultural sounds you experimented with while shaping this project?
HAUK: Yes, I have some interesting things there. First of all, I think, vocals and traditional Russian Pagan spells with whispering. Overtone singing — which sounds in Russian like Гудьба, Gud’ba — shamanic tambourine, it’s massive, big, and bass. Warhorn, it’s a gift from bighorn sheep. Ritual doll, that sounds like a shaker. Of course, it’s not all that I have in my small collection, but it’s probably the main one!
DF: MYTHOPOESIS feels both ancient and futuristic. How do you strike that balance between heritage and innovation in your sound?
HAUK: Nature whispers, ancestors help, the Divine supports.
DF: As your debut on HypnoVizion, what message do you hope MYTHOPOESIS sends to the global bass community about Russian electronic music?
HAUK: The myth, history, and nature in our hearts and minds. It’s just the beginning of our exciting journey. Praise the Sun! Praise the Earth!