J: 創立唱片廠牌與發行對你來說，是否有特別的意義或目標？
V: 這是一個隨著時間發展的矛盾週期，但我真的很享受這個過程，不會太過嚴肅看待。但同時，它也是我必須持續滿足的需求，我希望盡可能地持續進行下去。有股能量驅使我持續運作唱片廠牌；發行的唱片愈多，我愈能感受到啟發與動力，完成更多音樂創作。
J: 你的個人創作透過不同化名發行，這些化名各自有什麼故事與特色？
V: 哈哈！揭開我秘密的時刻終於來臨了。其實化名背景很簡單，「BLUNT」是我在塗鴉時期的綽號。那時候，我是HP塗鴉團隊的成員，音譯就是「ASHPPE」；我對這個系列充滿特別感情，尤其這個化名的第四張作品，應該也快從壓片廠完成了。「THE CRUISER」則是更個人的化名，意義上它像一艘大船，總是能夠在經歷風暴後安全返回港口。「B+A+D」則是 BLUNT、ASHPPE 和 DESMONT三個角色的綜合體。使用不同的名字和風格讓創作保持新鮮，我也不覺得單調。
J: VDR似乎與柏林的Hardwax之間有著獨特的關係，你與柏林/Hardwax之間有何特別故事？
V: 第一張唱片發行時，我大概壓了300張專輯，當時我想：「該怎麼銷售這些唱片呢？」我翻遍所有唱片收藏，留意到一些唱片發行資訊，隨後發出幾封電子郵件，其中包括寄給總部位於法蘭克福的 DBH Music，他們同時也經營知名廠牌 RAWAX。我不僅收到回信，還成功透過他們發行，最後在柏林的傳奇唱片行 Hardwax 上架。有一天，我在Hardwax 店裡發現，他們為我設立了一個 VDR 廠牌專區的唱片立牌，至今讓我難以忘懷！另外，如果你是藝術家想發行唱片，記得去柏林找 Object Manufacturing，他是我的好友，歡迎聯繫他！
J: 除了柏林的 Hardwax 之外，還有其他你推薦的唱片行嗎？
V: 首先是潮電Bar&RecordStore！開玩笑的，說實話，我並沒有特別偏愛的地方。經營一間唱片店需要極大的奉獻、犧牲和堅持。無論是柏林知名的 Hardwax，還是克拉科夫某家亂堆唱片的小店，每家店都有自己的故事，對我來說，它們的價值都一樣重要。
J: 對你而言，創作與廠牌之間如何取得平衡？
V: 最初幾年，我試圖對自己的聲音創作進行標準化處理。以前我對每一首創作都反覆雕琢，花費相當多的時間才完全掌握聲音的平衡和流動感。但現在，我會根據不同的情況作出不同的判斷，有時可以在兩三天內完成一首全新創作。完成創作後，我開始與各個團隊進行溝通，例如封面設計、壓片廠、發行商、提供給特定 DJ 的宣傳片等，這些都是發行的前置行政工作。但每一次的發行都有它獨特的故事和背景；對一家自營的 Techno 廠牌而言，工作流程中根本沒有空間去實現大規模生產模式（福特主義），每件事都得自己完成。
J: Does founding VDR, a record label, and releasing music hold any special significance or goals for you?
V: It's quite a paradoxical process that evolves over time—I genuinely enjoy it and don't take it overly seriously, yet simultaneously, it's an essential need that I'll continue satisfying for as long as possible. There's an energy driving me in this activity; the more records I produce, the more inspired I am to create even more.
J: Your personal creations are released under different aliases. What are the stories and characteristics behind these aliases?
V: Haha! The moment to reveal my secrets has finally arrived. It's fairly straightforward—BLUNT comes from my nickname during my graffiti days. Back then, I was part of a graffiti crew called HP, which, if spelled phonetically, sounds like ASHPPE. I'm particularly attached to this series; opus number 4 should be leaving the factory shortly. THE CRUISER is more personal—it represents a robust vessel, always capable of returning safely to port after weathering a storm. B+A+D is simply BLUNT, ASHPPE, and DESMONT combined. Adopting various names and styles keeps things fresh—it's far less monotonous.
J: VDR seems to have a unique relationship with Hardwax in Berlin. Do you have any special stories related to Berlin or Hardwax?
V: When I pressed 300 copies of my first record, I thought, 'How on earth am I going to sell this stock?' I browsed through my record collection, noted the distributors on the sleeves, and sent several emails—including one to DBH Music in Frankfurt, who run the RAWAX label. They took my record, which eventually found its way into Hardwax. One day, visiting Hardwax, I stumbled upon a dedicated VDR section—I couldn't believe my eyes! Another special tip: Press your records at Object Manufacturing in Berlin—a friend of mine opened it!
J: Besides Hardwax in Berlin, are there any other record shops you would recommend to us?
V: First and foremost, ChaoBar&Recordstore! Jokes aside, I don't really have any specific favourites. Running a record shop demands immense dedication, sacrifice, and resilience. Whether it's the iconic Hardwax or an obscure store in Krakow where records lie chaotically stacked, each shop carries its own story and, to me, they're all equally valuable.
J: How do you balance your creative work with the label?
V: During the early years, I attempted to impose a standardised template on the sound of my tracks. It took quite some time for me to master equalisation and dynamics fully—I used to labour intensely over each track. Nowadays, although it naturally varies, I can produce a track in two or three intensive days. Following that, I dive into correspondence with various teams (artwork, pressing plant, distribution, promotional copies for selected DJs)—all of which are essentially administrative tasks. Every release carries its own distinct narrative and context; there's simply no room for Fordism within the workflow of a self-managed techno label.
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