The DJ Playing Over 10 Instruments: Long Arm Is Coming To Dubai

by Barbara Yakimchuk

The DJ Playing Over 10 Instruments: Long Arm Is Coming To Dubai

4 Feb 2025

Long Arm is a DJ with a truly unique musical journey and an even more distinctive sound. As a child, he would mimic his sister playing the piano and collect old vinyl records. He grew up to become a global name, sharing his signature sounds across Europe, the CIS countries, and China. While his love for jazz has undeniably influenced many of his tracks, his music is not limited to just one genre. It is a rich blend of everything, shaped by his mastery of over 10 instruments. And now? Long Arm is heading to Dubai. Let us dive deeper into his musical path and explore what to expect at Sikka on the 8th of February.

Normally, I would start with the interview itself, but this time I want to put it in a little different way. Kito Jempere, Creative Director of Sandy Times, has shared a few words about Long Arm, offering insight into why he is worth paying attention to.

Long Arm is more than just a friend — he has had a profound influence on me. His shows are not just performances; they are one-man symphonies, with every piece of music unfolding through his literal long arms. In most electronic live shows, you hear the music, but the artist’s movements are often reduced to random knob turns, leaving you wondering what's going on. But with Long Arm, everything is different — every movement, every shift directly connects to the sound. You can trace it all back to the music, and that is what makes his performances so special and understandable. And the music... Go listen to "Branches" now — it is an instant classic, and still holds that title today.— Kito Jempere

— First of all, thank you for sharing your story. Let us talk about your musical journey. Did you start playing music as a child?

— My older sister went to music school, and I used to tinker on the piano we had at home from time to time. My parents noticed it, and that is probably why they enrolled me in music school right after her. Looking back, I see that it was a great experience that helped me throughout my life — though it did not go so smoothly. It took me three attempts to finally complete it.

My real passion for music came later when I was at university and more conscious of my creative direction. I played in various bands and experimented with different styles, including rock, hip-hop, and electronic music. But in 2007, I left all of them to focus on my own music. I would mark this as the official start of my own project — Long Arm.

— How did your stage name "Long Arm” come about?

— Quite spontaneously, really — it did not carry any particular meaning at first. I was simply looking for a name to mark the beginning of my new musical journey. And now, over time, though, it took on meaning of its own.

— So, you attended music school. How do you feel about formal music education? Does it help when composing, or does it sometimes get in the way?

— Yes, I did. To be honest, I believe studying music gave me a solid foundation. I cannot imagine writing music without at least knowing the basics. Even when I want to improvise or go with the flow, I find that the more I understand music theory, the better it goes.

Some people say music education restricts creativity, but I do not see it that way. To me, it is like getting behind the wheel without knowing how to drive. Would it affect your creativity? Probably, if you even manage to stay alive (but I do not recommend you even trying). Music works the same way. As someone who teaches, I can tell you that without at least a basic grasp of music theory, it is almost impossible to make any real progress. That is why having a minimum level of knowledge is crucial to start with. After that, it is up to you whether you want to dive deeper into music theory or not.

— I have noticed you play a lot of instruments. Which one do you use most when composing, or is it always a mix?

— I have more than ten different instruments in my studio, most of which are acoustic. Many of the instruments I use have a piano keyboard in some form, such as the melodica, metallophone, xylophone, and taisho koto. I also have a ukulele, acoustic and bass guitars, a kalimba, a few recorders, and a bamboo flute — a Bansuri. And, of course, a whole range of percussion instruments. This variety is the result of my love for the live sound that comes from instruments interacting with each other. There is something truly unique about a live instrument — you can capture it in countless ways. I rarely use virtual instruments or synthesizers, except for my old Roland SH-101. So, everything you hear in my music is either carefully sampled or played on my studio instruments. However, to be honest, the only one I can play properly is the piano. For the others, I just pull out whatever sounds I can manage.

As mentioned, I love mixing different instruments, but more often than not, I find myself at the piano or electric organ. Those are probably my favourites, and I believe you can easily create a fully developed piece using just the two.

— This might be a random question, but I noticed on your Instagram that you have two synthesizers positioned at right angles to each other. Is that some kind of life hack?

— Actually, those are my piano and electric organ — the two favourites I mentioned earlier. There is no life hack involved — it is just the only way they fit! By the way, it is also pretty easy to use both at the same time. I do not have to move much — just swivel around in my spinning chair.

— You have a very distinctive and recognisable sound. How long did it take you to find it?

Sandy Times Comment: Long Arm’s sound often gets compared to artists like Bonobo, Nujabes, and Flying Lotus. He mixes live instruments with electronic beats, creating a blend of trip-hop, jazz, and experimental electronic sounds. With piano, drums, and a variety of acoustic instruments, his music has a raw and emotional quality.

— I think I am still searching, and I always will be. I came up with the idea for the Long Arm project in 2007, but it was not anywhere near what it is now until 2010. As of now, every time I start a new album, I begin from scratch. It is the only way I can create something that feels fresh — at least to me.

— What do you think about copying other people’s music while creating your own?

— I really believe that, in the early stages of your music journey, copying is actually one of the best ways to find your own sound. I had to write a lot of music before anything really clicked. The important thing is to keep searching. It is a bit like love — you will never miss something that is meant to be yours.

— You often perform in grand and beautiful venues. How do you choose the music for such spaces? Does your preparation depend on the location, or do you always play in your signature style?

— Well, first of all, I have several concert programmes depending on the mood, instruments, and the intensity of the music. Alongside my electronic set, which I will be performing in Dubai, I also do acoustic concerts. This photo, for instance, is from one of them — a performance at St. Andrew’s Anglican Church in Moscow. It was the first time I presented my new concert programme, White Noise, which is centred around my two favourite instruments that I mentioned earlier.

So, to put it simply, I have a general framework, but I always discuss the concept of the event with the organisers first. It is important to me that the music aligns with the setting and creates a harmonious atmosphere.

— You recently toured in China. Why China? How did that come about?

Sandy Times comment: Long Arm has teamed up with the Chinese label Space Circle, known for its focus on post-rock, post-punk, and experimental electronic music. His latest project brings together a mix of ethnic sounds, IDM, trip-hop, and rock.

— My first tour in China was back in 2015. It was quite an extensive one, starting in Beijing and ending with a solo concert in Hong Kong. I got there the same way I have gotten to all the other countries — simply because there were people who liked my music and wanted to hear it live. As a result, I gained not only listeners but also good friends, and all our future collaborations were built on that. Since then, I have maintained a strong relationship with the Chinese music label Space Circle. In 2021, they released my record Darkly: B-Sides & Remixes, and I am currently working on a new release with them. The Chinese music scene has been a huge source of inspiration for me recently and, to be honest, I am really thrilled to be part of Space Circle, as I feel we share a very similar vision of what true music should be.

— Have you ever been to Dubai? What are your expectations for this trip?

— I had tours in China and Europe, but never have been to Dubai before. I am afraid I will not have much time to explore it around, so I will just go with the flow. But in any case, it is exciting — I always look forward to visiting new places.

— What are your expectations for your performance at Sikka?

I do not usually set expectations for my performances — that is the beauty of it. It is always an unpredictable moment. I just play what resonates with me the most at that time.

— Will you be preparing anything special for this event?

— Yes, there will be a lot of new material. I will be including some tracks I am currently working on for an upcoming release with the Chinese label Space Circle, known for its post-rock, post-punk, and experimental electronic music. These new tracks blend ethnic influences with IDM, trip-hop, and elements of rock, and they can’t be heard anywhere else — only in my live performances. I will also be including some of my earlier releases.

by Barbara Yakimchuk