A producer’s job is to find the sound that belongs to the project.

Since beginning his professional career in 2011, Konstantin Nevelskiy has worked across several sides of music: international electronic releases, artist and live projects, radio, independent labels, record production, and composition for visual media.

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His early projects — including F.I.69, JetLoud, Stellar Pride and Sorry4 — gave him direct experience as a producer, DJ and performing artist. Working with vocalists, instrumentalists and other established musicians shaped an approach that considers not only how a record sounds in the studio, but also how it connects with an audience, translates to the stage and develops as part of an artist’s catalogue.

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Nevelskiy later expanded into full-scale production for artists working across different genres and markets. His credits include internationally distributed releases, charting records, music licensed for prime-time television, and advertising campaigns broadcast across multiple countries. He continues to work with artists and creative teams in the United States, Europe and Southeast Asia.

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From Artist and DJ to Record Producer

Nevelskiy’s career began in the electronic music scene of Southern Russia, where he worked simultaneously as a producer, composer, DJ, and performing artist.

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His early work included F.I.69, a bass-music project formed with Igor Maksimenko, also known as M.I.P. — one of the formative figures of the bass scene in Novorossiysk. The project released music through international electronic labels, including Rub-A-Duck, part of Black Hole Recordings, giving Nevelskiy some of his first experience producing records for an international market.

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He later created and performed with projects including JetLoud, Stellar Pride, and Sorry4. These projects moved between progressive house, vocal electronic music, deep house, UK garage, EDM, and trap, combining studio production with live vocals, saxophone, electronic instruments, and DJ performance.

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JetLoud and Stellar Pride became recognized names within the music and festival culture of Southern Russia. Their lineups brought Nevelskiy together with performers including vocalist Liubov Kotrovskaya, multi-instrumentalist Nikita Dudarenko, vocalist and songwriter Jeyma, and acclaimed saxophonist Yuri Krasilnikov. Sorry4 continued this development through club-oriented production, live performances, remixes, bootlegs, and radio programming.

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Alongside these projects, Nevelskiy performed and released music under his own name and collaborated with a wide range of artists and producers. Selected collaborations included Nevelskiy & March and work with Ivan Starzev, founder of the electronic group Mars Needs Lovers.

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These projects were not separate from his development as a producer. They gave him direct experience of how music functions in front of an audience: how an arrangement translates to a live setting, how electronic production interacts with vocals and acoustic instruments, and how a record can retain its identity across clubs, radio, festivals, and visual media.

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Explore selected artist and live projects 

Records that moved beyond the studio

By the late 2010s, Konstantin’s work had expanded into film, television, advertising and international artist collaborations.

He composed music for the short films “Shoes” and “The Perfect Script,” worked with performers associated with “The Voice,” and produced records for artists including Margarita Pozoyan, Pavel Khvaleev, MARLEN and NyBracho.

His production of NyBracho’s “Lanterns” went on to become the artist’s most-streamed Spotify track, surpassing 6.4 million plays.

For the Ukrainian band MARLEN, Konstantin rebuilt the song “Promeni” as an electronic remix, handling its arrangement, production, mixing and mastering. The remix reached No. 1 on MusicBox’s “Svoy” chart and remained at the top of Kiss FM’s “Dance Top 10” for three months.

One of the defining commercial projects of this period was “Summer Is Here,” composed and produced for an Anadolu Efes advertising campaign broadcast in Russia, Ukraine and Turkey during the 2018 World Cup season. The music generated an unusual level of public interest beyond the campaign itself, with listeners searching for the track through Shazam, forums and social media.

Another independently created record, “Leave a Tip,” written and produced with vocalist Masha March, later crossed into European television. Italian production company Bibi Film licensed the track for important scenes in the RAI 1 series “Vivi e lascia vivere,” directed by Pappi Corsicato. The series reached an average audience of more than 6.5 million viewers per episode.

“I used ‘Leave a Tip’ in two very important scenes, and I would play it on set every day. He is a great music producer—so original.”

— Pappi Corsicato, Italian film director

Los Angeles and a new international chapter

Konstantin relocated to Los Angeles in late 2022. The move expanded the geography of his work without interrupting the international career he had already built.

In Los Angeles, he began working with Vietnamese-American artist Lê Khoa on “I Won’t Give Up.” The production required more than refining the artist’s demo: it involved shaping an arrangement and sonic identity capable of carrying Lê Khoa’s theatrical performance style onto a national television stage.

Lê Khoa performed the song during Vietnam Idol 2023 and completed the season as a Top 10 finalist. Their collaboration continued across subsequent releases, including “Nobody Like You,” “All Killer No Filler” and “SPIT.”

“Since Nevelskiy became my producer, I’ve found my true sound.”

— Lê Khoa

Konstantin also collaborated with Lithuanian vocalist Neringa Šiaudikytė and Italian producer Phillipo Blake on a new version of “Echo.” The remix received California radio rotation and coverage in New York Weekly and Los Angeles Wire.

His 2023 release “Caliente,” created with Franklin Dam, was released by Tâino Music and distributed by Virgin Music Spain, a division of Universal Music Group. Konstantin is credited as producer, composer, arranger, mixing engineer and mastering engineer.

During the same period, he composed music for the video game “Dead World Heroes,” joining its international audio team and receiving an IMDb composer credit.

His more recent Los Angeles work includes original music and sound design commissioned through Park Fragrance LLC for promotional projects connected with Banana Republic, TUMI and Mind Games, as well as productions for American artists Jàlâl and JULES!

How he works

Konstantin’s production process begins with the identity of the artist or project.

Before deciding on genre, instrumentation or references, he looks for the element that should remain recognizable when everything else changes: the character of the voice, the emotional tension of the song, the rhythm of a scene, or the idea an artist has not yet been able to express clearly.

From there, composition, arrangement, vocal direction and sound design are developed together. Rather than dividing a record among disconnected production stages, Konstantin can remain inside the project from its earliest demo through recording, editing, mixing and final master. This continuity allows musical decisions made at the beginning to survive into the finished release.

The process changes according to the project.

With an artist such as Lê Khoa, the work centered on translating a highly visual and theatrical performance identity into a record that could hold a large stage. In his long-term collaboration with Etman, the task has been different: creating a recognizable production language that can develop across an entire catalog without making every release sound identical.

For film, television and advertising, Konstantin works backward from the function of the music. A scene may need tension without becoming melodramatic; a campaign may need an immediate hook that remains effective through repeated exposure; a visual edit may require music that creates movement without competing with dialogue. The production is built around that specific job.

This ability to work across the full production chain—and across very different formats—is the result of a career formed through records, radio, live events, advertising and screen music rather than through a single genre or role.​

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