Deeplomat & Dublatov is everything about -and around- Production, Technology, and Creativity. An elastic palette of sounds including from gut-punching 4/4 beats, tingled House music, IDM, funky synths or quirky Electro, with a very original focus on positive energy and melodic grooves. Perfect material to make up future developments over the horizon. Improvisation, frenzy, and expansion to achieve proper grooves. They once again reimagine timeless genres like electro, synth-disco, new wave, techno, and leftfield house. The duet just released a new album, ‘AmbiDextros’ on Dream Dome Records, ideal timing to have a nice chat with both of them.
Can you tell us about the origins of Deeplomat & Dublatov? How did you two come together as a duo?
Max Deeplomat: It’s a pretty interesting story. We came together as a duo, but initially it was actually a trio. We started with a real estate business. The business didn’t work out. It turned out that we were both into music, so we decided to try recording a few tracks together. And that’s how it all started.
Rost Dublatov: Yeah, that’s exactly how it happened. Nothing to add really. We just smoothly transitioned from one thing into another.
We understand you’re both from Russia but based in Valencia? Please can you tell us a little about the things you miss from back home and the things you love about the Mediterranean city? Spain?
Max Deeplomat: Yes, we’re both from Russia and currently based in Valencia. That’s actually where we met. In fact, our whole music project started in Valencia. From my side, I can say that I really like the city overall. It’s super comfortable and has a rich musical history. It’s considered to be the city with the highest number of musicians in Europe. There’s also a Berklee College campus here, which is well known. After living here for 8 years and being deeply involved in the local music scene, I can say there are a lot of very talented musicians in a wide variety of disciplines.
Rost Dublatov: I’m originally from the far north, so I really appreciate the weather here. It’s a beautiful city with great people and great food. What I miss sometimes is the northern nature that I grew up with and love. It’s also beautiful here, but the northern landscape is closer to my heart.
What are the main influences that shape your sound? Any artists or genres that inspire you?
Max Deeplomat: Of course, there are artists and genres that inspire us. Personally, I went through a period where I hardly listened to any music, especially when we were developing the project and recording our first album and performing live for the first time. The focus was entirely on the music we were creating ourselves. That process was shaped by getting to know the instruments, learning how to compose, build patterns and combine them. We play with hardware, no computers — it’s a completely different workflow. I’d say the sound is shaped by old loops and vinyl samples. I really like fragments from vintage records with high noise levels — super raw and old school. Stylistically, I try to combine elements from very different genres and reinterpret them through our instruments and moods at that moment of composition.
Rost Dublatov: Yeah, I can add that part of the diversity in our project comes from the fact that we both listen to a wide variety of music. Personally, I’ve always been inspired by IDM, especially artists from Warp Records. Also Ninja Tune — those early pioneers of electronic experimentation from the UK. But really, I listen to everything from bluegrass and country to jazz and classical music. It’s just a general love of music in all forms.
Your approach to live performance is quite unique, avoiding computers as much as possible. Am I right? What led you to make this choice?
Max Deeplomat: Well, “avoiding computers” isn’t quite the right phrase — we simply don’t use them. We bring our instruments, connect them together and send everything to the master out. What led to it, for me personally, was boredom. When we first started making music together, we produced our first 8–10 tracks using a computer. At the same time, we had a lot of hardware. But clicking with the mouse started to feel boring. I remember that moment — it was the transition from plugins and screen monitors to purely working with instruments. At first, diving into hardware was unfamiliar and uncomfortable. But now I honestly can’t imagine working any other way than physically touching the gear and getting to know it — building rhythmic and harmonic structures hands-on.
Rost Dublatov: Yeah, I agree. I also can’t really write music on a computer. Post-production — sure, but actual composing? It doesn’t work for me. Too many distractions — a big screen, the internet… you start wandering. Plus, there’s no tactile feedback, no feeling that everything is under your hands. With hardware, you’re physically manipulating sounds. On a computer, you’re always switching stuff, and with controllers you have to remember what does what. I feel like if you know and love your gear, it’s just more intuitive. I’m not saying it’s better — some people are super fast with a mouse — but we love our machines. That’s a fact.
Your new album AmbiDextros is out now via Dream Dome imprint. What can listeners expect from this release?
Max Deeplomat: Listeners can hear AmbiDextros and get a sense of our live program — the one we’ve been performing over the past year. That’s what inspired us to record this album. Essentially, AmbiDextros is a recap of our live shows from the past year, turned into a record.
Rost Dublatov: For those who might already know our work, you can expect the same diversity, but with more focus on individual elements. There’s a reduction in the number of instruments, more prominent use of particular parts. I’d say the music overall has softened a bit.
What’s the meaning or circumstances behind the album title AmbiDextros? Does it reflect a particular concept or message?
Max Deeplomat: Great question. AmbiDextros means the ability to use both hands equally — ambidextrous. Since we perform on live instruments without a computer, and we play four-handed, the way we divide instruments between us is very organic. So the album title is like a reflection of us being like two equal hands — right and left — working in sync to create music.
Rost Dublatov: Nothing to add. Someone once asked us if it meant a connection between man and machine — maybe, but that’s secondary. It’s more about the fact that it’s the two of us, composing music together, four hands on the machines.
How does AmbiDextros differ from your previous album Dream Dome in terms of sound and composition?
Max Deeplomat: I love that we’re two people — we can have different views. From my perspective, Dream Dome was also a compilation of live performances from that time. But stylistically, it’s different — almost all tracks had broken beats, polyrhythms, were compositionally denser, and overall more complex to process than this new record. That earlier work came from learning the instruments and experimenting. AmbiDextros feels more deliberate, with clear intentions. We used fewer instruments, but each one was modulated more deeply, kind of lived its own life. For example, in the track “Acid Sunshine,” the bassline evolves over the course of the piece. It’s about reduction — less is more.
Rost Dublatov: Exactly — I said something similar earlier. I agree with Max: the first album had more sound searching, more experimentation and exploration. The current stage is about simplification — fewer timbres in each composition, but more depth with each. We approached it more like a traditional band, with a fixed set of instruments. And that’s not a bad thing at all — less is more.
Were there any unexpected challenges or surprises during the production of AmbiDextros?
Max Deeplomat:
I don’t remember any big surprises or difficulties. What I really liked was how our workflow evolved — we now record our live sets track-by-track, and later assemble tracks from those recordings. For example, the track “Veles Vents” was recorded live and then edited for the album. Honestly, sometimes our live takes come out even better than studio ones — the energy of the dancefloor, the crowd, it influences everything.
Rost Dublatov: Yeah, I wouldn’t call them surprises — more like an evolution of our process. We started recording music directly from concerts. Some of the album tracks are live takes, sometimes even compiled from several shows. We never did that before — we used to do only studio sessions. So I’d say our approach has become more organic.
How do you typically create a track? Do you start with rhythms, melodies, or improvisation?
Max Deeplomat: Lately, we don’t meet in the studio to start tracks together. Usually, I sketch something — a melody, rhythm, or a base loop around a minute long — and send it to Rost. He adds his instruments, and like that, we might build 5–6 sketches. Then, before a show, we meet in the studio for about an hour to test how they sound, plan a rough structure, and then perform them live. The dancefloor decides which tracks have potential, based on audience reaction.
Rost Dublatov: Yes, I completely agree. This new workflow actually helps — if you’re in the mood, you can create without needing to plan a session. It’s very convenient. Still, we always meet before performances to rehearse and shape how the tracks will be played live. After that, we analyze: what worked, what didn’t, and adjust for the next show. Simple as that.
What are some of your favorite pieces of gear or instruments that define your sound?
Max Deeplomat: My standard setup includes a sampler, drum machine, synthesizer, and sometimes Roland’s electronic percussion. In terms of sound, again, I really like old loops or vintage recordings — old African or ethnic sounds, that kind of texture.
Rost Dublatov: For me, it’s the Eurorack modular synthesizer. I’ve been into it for over 10 years — building, deconstructing setups, even soldering some modules from kits. I love how modular lets you create your own synthesis chains instead of relying on preset signal paths. Mine includes analog, digital, samplers — but overall, Eurorack is the most exciting for me.
If you could collaborate with any artist, past or present, who would it be and why?
Max Deeplomat: I’d love to work with Aphex Twin, specifically during his 90s era — before computers took over — just to see how he approached workflow and hardware.
Rost Dublatov:
That’d be amazing. I’ve said this before — also from the Warp label, I’d love to collaborate with Autechre. Their journey is fascinating — early on, their music was melodic, but now it’s more like a sonic storm. I have no idea how they even make those sounds — it’s like some kind of cosmic knowledge. I’d love to peek into that black hole of creativity.
What are your favourite 3 albums of all time? Please tell us a little about each and why they’re special to you guys.
Max Deeplomat: One would be Left Behind by Dinox & Bakers (2007). That album had a huge influence on me — one of my first real entries into electronic music. Of course, Aphex Twin — I think it was the Classics compilation, 1986–1994 — still sounds super relevant today. And Deadmau5 — I haven’t listened to him in a while, but his early work really influenced me when I was diving into melodic electronic music.
Rost Dublatov: For me — again, Autechre from the 90s — albums like Tri Repetae or Amber. Also Boards of Canada from Warp — Music Has the Right to Children, Campfire Headphase, Tomorrow’s Harvest. I also love the group Plaid. Outside of Warp, I’m a huge Thom Yorke fan — especially his later solo work, but also the last Radiohead album, A Moon Shaped Pool. And Anima or Suspiria by Yorke. Music that fuses electronics with guitars and vocals, with complex rhythmic structures and analog arpeggios — that’s my thing. I admire composers who truly know melody and craft it in unexpected ways.
What’s next for Deeplomat & Dublatov? Any future projects or new directions you’re excited about?
Max Deeplomat: From our recent sketches — we’re playing with some dub reggae textures translated into electronics. Also some Eastern-Asian folk melodies — remember that Turkish one from a recent live? Overall, we’re continuing to experiment and find new sonic directions.
Rost Dublatov: Agreed. I’d also say — follow our label. We’re releasing music not only from ourselves but from local Valencian artists. Each one brings a unique style. Also, remixes for AmbiDextros are coming soon, made by friends and collaborators.
Max Deeplomat: Yes — and of course, listen to AmbiDextros! We’d love to hear your feedback and connect — reach out on Instagram, Bandcamp, wherever. Let’s talk.
Rost Dublatov: Awesome!