Oles Stepanov: “Music Is The Most Subjective Form Of Art, And You Can Never Truly Predict What Feelings a Particular Track Will Evoke”

Oles Stepanov is a Ukrainian composer, singer, and multi-instrumentalist known for his three music projects, including MY EX I and a new, yet-to-be-revealed project. He works in the genre of electronic-orchestral music, where piano lines and guitar riffs form the foundation of his sound.

The artist has released three albums to date, including a standout EP titled Challenge, born out of a friendly competition with a fellow musician — the idea was to create a 5-track mini-album in just 5 days.

In this interview, Oles opened up with Drive Music Media the story of how his musical journey began, explores his three solo projects, and opens up about his creative process.

Interviewer: What were your first steps in music? Tell us why you chose the electronic-orchestral direction specifically.

Oles: Music has always been something special to me — mainly because I'm quite a rational-thinking guy, and music is almost the only thing that can pull some of my emotions out.

And it came naturally. I never struggled with learning music theory or how to play. I’ve always been a quick learner when it comes to music.

As a kid, I would memorize music from cartoons, TV shows, or whatever my parents were listening to at the time. My first musical memory goes back to when I was five or six — I heard the Titanic soundtrack, memorized it, and tried to recreate it using my voice and a toy piano.

When I was eight, I asked my parents to send me to music school.

Around the same time, they showed me how to use our old record player, and I started exploring the big vinyl collection we had at home.

That’s how the journey began.

One day, I found a small vinyl in a white envelope with no label.

I set it up, hit «Play» — and it completely blew my mind. It was a piano instrumental, so beautiful and so sad. Despite its minimalism, it was a complex composition. I didn’t just listen and feel — I started thinking about it.

On the other side of the vinyl was another surprise.

The track started quietly and slowly, then gradually built up in dynamics and tempo until it exploded in an intense and powerful culmination. It was beautiful — dynamic, melodic, emotional, and complex.

And perfect.

I replayed both tracks 10 or 15 times. I couldn’t believe what I was hearing.

Later, I found out the first piece was Polonaise in A Minor by Michał Ogiński, and the second was In the Hall of the Mountain King by Edvard Grieg.

So it was the first time I dealt with classical and orchestral music.

Since then, I’ve listened to tons of music — first on vinyl and cassettes, then CDs, and eventually digital players and streaming services. But no matter the format, I noticed the same pattern: I love sad music, and I love music that’s packed with layers and elements.

Ideally, both.

So when I started writing my own music, it was natural for me to bring those elements in.

As I dove deeper, I began analysing movie and video game soundtracks, trying to understand how classical music could blend with modern instruments, drum machines, and synthesizers.

And I got hooked.

That’s how I kind of found my genre — mixing electronic and sound design with orchestral elements. Since I play piano and guitar, I often start new tracks by jamming on one of those instruments. So you’ll usually find my music built around a piano melody or a guitar riff.

But you’ll probably also hear string or brass sections, along with modern synths and samples from vintage drum machines.

Interviewer: Each of your albums has its own atmosphere and story, but among them, there must be some that will always hold a special place in your heart despite the passage of time. Which ones are they, and why? What meanings did you put into those albums?

Oles: So far, I’ve released one EP and three albums, and I’m currently working on the fourth one.

«In My Head» is a compilation of tracks I wrote between 2021 and 2022. It’s mostly orchestral and has a cinematic vibe. And it means what the title says, it represents music I think through — internal, reflective, and emotional.

In "You're Not Alone" I wanted to bring more guitar and sound design into the mix. It’s still mostly orchestral, but with a much stronger electronic edge and more guitar riffs, which make it sound more aggressive and punchy. I was working on it during 2022–2024, with missile attacks and blackouts in the background, so it reflects my anger, frustration — and also hope.

«Headache» is an experiment. I wanted to satisfy my - let’s just call it - ‘heavy metal issue' and make an album of hard rock music with lots of guitar solos. It sounds exactly like it's named.

The «Challenge» EP has a fun backstory. A friend of mine had this Japanese-made 1984 Fender Stratocaster. I asked to borrow it, and somehow we ended up in a friendly competition: each of us had to create a five-track mini-album in five days — me with this Fender, him with electronic gear. The winner would get a burger. That’s how this EP came to life. It’s electronic with orchestral elements built around the riffs of that beautiful Strat. The burger was good.

I wouldn’t say any one album holds a special place in my heart — in a way, they all do. But certain tracks definitely stand out emotionally.

«Exaltation» is one of those. I wrote it in the winter of 2022, when it became clear that war was inevitable. It was my way of reflecting on what was coming.

«The Whale» is another one. I wrote it after watching The Whale by Darren Aronofsky. That film crashed me in an "emotional damage" way. So after several days of sad thinking, I let those feelings go with this track.

«Mountains» was written for a special occasion. Before the full-scale invasion, I was about to travel, and I wanted to visit Oregon to see its beautiful nature. Pictures of the mountains, lakes, and forests in that part of the USA somehow make me feel like home in a way I can’t explain. So I wrote this track to express that feeling and planned to listen to it when I got there. War changed this plan, unfortunately.

Then there are the four tracks — «Water,» «Fire,» «Air,» and «Earth» — each of them represents what I feel and think when I engage with these elements.

Right now, I’m working on a new album, and I’ve already released a few singles from it.

One of them, «Leaving Earth,» reflects my deep desire to leave this planet and the sadness that humanity is still so far from becoming a spacefaring civilization.

There are also some romantic tracks, like «Spring in Kyiv,» which paints how nature awakens after winter, and «I Miss You,» which — well — says it all in the title.

I’d highlight these tracks because they carry both emotional depth and a rational background that is deeply personal to me.

Interviewer: What is your music creation process like? What comes first — the title of the track or the melody?

Oles: Sometimes, I come up with a melody while doing something during the day; other times, I dream that I’m playing or hearing certain parts.

Sometimes I just want to experiment — I’ll open up an instrument library I’ve never used before and start jamming, like I did with the koto in the track «Rise and Shine, Samurai.»

But usually, it starts with guitar or piano. I’ll play something, jam around until I find an idea I like. Then I take that idea and develop it further. Once it feels right, I record it and start layering other elements. It’s a pretty intuitive process.

The title always comes last — when the demo is ready or the full track is done, I listen back and try to understand what I was feeling or thinking while making it. It’s kind of like a little self-psychoanalysis session.

Interviewer: In addition to creating original music, you also run a YouTube channel where you explain the music production process in different genres. How did the idea come about to not only produce your own tracks but also teach others? What’s your approach to those videos?

Oles: Yes, I started doing that recently.

I thought: since I’ve built up some musical skills, experience, and creative approaches, why not bring it to another level and explore a new niche?

I usually start planning a video if a track has an interesting background — like the singles «I Choose to Be Scary» and «Shiver», or a narrative, like «Spring in Kyiv» and «Rise and Shine, Samurai.»

Sometimes I also create videos about mixing and production techniques — comparing compressors, EQs, guitars, and so on.

But I wouldn’t call it teaching. I’m mostly just sharing my workflow and creative mindset. If someone finds it helpful — that’s great.

It also helps promote my music and me as an artist, composer, and songwriter.

Interviewer: How difficult is it to promote music now, in the context of the full-scale russian invasion of Ukraine? What challenges have you faced as a composer? Where do you draw inspiration from?

Oles: It really depends on the genre, and I can’t speak for all of them.

From what I see, some Ukrainian music has definitely become more popular — not only locally but also in other countries. I think this is partly because so many Ukrainian refugees are now living abroad, and as they integrate into new societies, they naturally bring and spread our music with them.

However, the kind of music I create under the name Oles Stepanov has always been difficult to promote, even before the invasion — simply because the audience for instrumental orchestral electronic music is much smaller than for pop songs with vocals. So in terms of promotion, I haven’t noticed a huge change in numbers, but there’s definitely been a shift in the creative process itself.

Because the war is the biggest challenge of all.

And when you're a civilian, it doesn't really matter if you’re a composer, a driver, a developer — you live under constant stress from nightly missile attacks, blackouts, anxiety, and relentless news updates during the day.

They say people eventually adapt — and to some extent, that’s true — but staying focused and productive in these conditions can be extremely difficult.

So you have to learn how to deal with it: memorise ideas and feelings in case something interrupts your music process, optimise your equipment and workspace, and notice small details that can put you in the right mood or inspire you.

I remember at the beginning of the invasion, we would shelter in the subway during russian rocket attacks. I had already finished writing a track called “Alarm”, but it still needed to be mixed. So I brought my headphones, sat on a bench in the subway, mixing it at night and trying to work fast before my laptop battery died.

Also, music is a form of escapism that comes with a time machine. When you’re truly immersed in creating, you forget everything around you, and time just flies.

So I’d say it helps to live through these strange times.

Interviewer: What projects are you currently working on?

Oles: I’ve got a few.

Myself, as a composer.

Another is my artist project MY EX I, where I release pop, rock, and indie songs I make.

My YouTube channel, where I share music production videos and some aspects of mixing, mastering, and sound design.

Also, I’m working on another project that would cover my, as I mentioned before, “heavy metal issue.” Sometimes I write heavy music, and when I released “Headache”, I realised it wasn’t a good idea to put that album together with my orchestral ones. So now I want to separate these genres under different artist names.

Sometimes I collaborate with other artists as a music producer or mixing engineer.

Interviewer: Tell us about your recent release "I'M OK." How long did it take to create this track? What inspired you during its production?

Oles: Well, it’s a simple indie instrumental track with a repetitive structure — one of the guitar-based ones. And it sort of reflects the current reality of mine, some of my friends, and their friends.

If you look at life in Ukraine retrospectively, there’s a clear pattern:

you wake up → go to work → get bad news → hear about new victims → donate → sometimes have brief joyful moments with the people you love → try to rest → can’t sleep because of drone or missile attacks → wake up again… and repeat.

But if you ask someone, “How are you?” you’ll usually hear, “I’m fine,” “I’m good,” or “I’m OK.”

When I started working on this track, I just picked up a guitar and started randomly jamming while rewinding some thoughts in my mind.

Eventually, I realized I was playing the same part over and over — the one that starts on the left at 0:12 — and I liked the mood it created through repetition.

So I recorded it, playing it again and again until I felt it was enough.

Then I added drums, bass, and layered in other guitars — all while holding onto the image of these repetitive days and weeks, with that familiar phrase “I’m OK” floating above them.

That’s how this track came to life.

Interviewer: If you could go back in time, what advice would you give yourself at the start of your musical career? Why those words in particular?

Oles: First: Go to the USA — it has always been the biggest market, full of opportunities for composers and musicians.

Most major film and game studios are based there, as well as many of the world’s top artists and composers.

Even if you work remotely, at some point it becomes clear that it’s not the same as being physically present and having real conversations.

These days, it could also be Europe or parts of Asia, but in any case — this industry runs on networking.

So, if you want to grow — both professionally and personally — you need to be closer to the people and places where those opportunities exist.

Second: Work and learn harder.

This should be your mantra — the foundation of your work ethic.

The music industry evolves as fast as everything else, so you should constantly be learning: new tools, new libraries, new instruments, new AI solutions.

Always aim to do your best work, and listen carefully to as much music as you can — across all genres.

Third: Don’t save money on equipment.

Sooner or later you’ll need a good audio interface, guitar, or microphone.

Sooner or later you’ll find yourself needing professional monitoring, a certain library, or a specific plugin.

So, if your budget allows you to get something better — just do it.

It will save you time, protect your mental health, and improve the quality of your work.

I wish I had understood that a bit earlier.

Interviewer: What mission do you have as a composer? Why that one?

Oles: I think all composers share the same mission — to create music.

And I don’t believe in talent or natural gifts.

Like baking, coding, engineering, or any other skill, making music is a craft.

If you enjoy it, if it makes you a better person, and if you see that it brings you money— then it’s your craft.

You can keep doing it, improving your skills, expanding your abilities, and creating better and more meaningful work over time.

That means my mission as a composer — or, let’s say, as a craftsman — is simply to write music and make it the best I possibly can.

Interviewer: What emotions do you want people to associate you with?

Oles: Any of them. I don’t mind — in a good way.

Music is the most subjective form of art, and you can never truly predict what feelings a particular track will evoke in someone. It depends on too many variables — from how they woke up that morning to what their mother ate while they were in the womb.

Sound is just air vibrating.

It only becomes music when it reaches someone’s brain.

We still don’t fully understand how sound waves of specific frequencies, passing through the ear and transforming into electrical signals in the brain, become emotions within the complex palette of personal experience we call music.

And since it’s all subjective, I don’t want listeners to feel anything specific. Once a track is released, my job is done. That’s when the relationship between the music and the listener begins — and I have nothing to do with that relationship.

Interviewer: If your music could be described with one word, what would it be? Why that word?

Oles: Interesting.

I believe that’s the right word.

At least, I do my best to make it that way.

I always fill my music with layers, textures, and detailed sound design — so you can focus on the left speaker and find one thing, then shift to the right and notice something you missed before. You can listen to the same track five times and suddenly realise, “Wait — that trumpet line was there the whole time.”

When I get feedback like that, I know I did everything right.

Pictures were provided by Oles Stepanov