Nevelskiy

How years of studio work with Etman built 'Oysya Ty Oysya' into a million-stream record — 500K+ on Spotify and 500K+ on Yandex Music. Nevelskiy on producing, arranging, mixing and mastering the original version.

Before F.I.69, Konstantin Nevelskiy had already spent years producing music and performing as a DJ. The project he formed with Igor “M.I.P.” Maksimenko became the first to carry his work from southern Russia into the international electronic-music market.

How Nevelskiy turned a Los Angeles ghosting story into 'I Think He Died' — a sharply paced pop record that stays funny past the first listen. Inside the composition, arrangement and mastering.

From Vietnam Idol to a West Hollywood premiere: Nevelskiy on producing Lê Khoa's 'SPIT,' a bold house record built for voice, movement and image across a multi-release collaboration.

JULES! believed in “Mediocre Paradise,” but its original arrangement did not express what she heard in the song. Nevelskiy explains how they rebuilt the production and created the music video together.

Lê Khoa wrote and performed his own anthem for Vietnam Idol 2023. Nevelskiy gave it a sound built for national television — and Khoa kept building on it. Inside producing "I Won't Give Up," and why the collaboration continued.

After discovering an independent game in development, Nevelskiy contacted its creator and offered to help. He went on to compose the complete original score and build the sound world of “Dead World Heroes,” now downloaded more than 100,000 times on Google Play.

“Грумер” is one of the releases created during my ongoing collaboration with singer-songwriter Vadim Etman. Vadim came to the project as the author of both the lyrics and music. My role was to take that material through sound production and shape it into a finished recording while preserving the character of his songwriting. This distinction matters to me. Production is not about replacing the artist’s identity with the producer’s signature. It is about understanding what alr

A cold message to a Lithuanian singer turned into her most-streamed record — and an on-air interview at Dash Radio in Los Angeles.

Records made with Alina Granovskaya (Ma) over several years — an EP, singles, and a track that ended up in a national series and became the most-played of her catalogue.

My track was licensed into START's series "Жиза," in a soundtrack with Mumiy Troll and Svidanie — credited on screen and on IMDb.

Original music and sound design created by Nevelskiy for a short STREPSILS promotional video.

"I Don't Want to Wait" is out — my third release with Deep Tone. Across the three, the roles change each time, and that's the point.

"Old Jazzman" is out — a record I wrote, produced, mixed and mastered end to end, with Phillipo Blake.

The music video for Etman's "Kazak" stands out as a vivid example of how artistic collaboration can bring a song to life visually and emotionally. This project brought together talents from different creative fields, resulting in a compelling piece that resonates with viewers and listeners alike. Understanding the teamwork behind this production reveals how music, poetry, and visual storytelling combine to create a powerful artistic experience.

Nevelskiy created the arrangements for two songs by The Voice Russia finalist and songwriter Margarita Pozoyan. Their collaboration began with “Не обещай” and continued with the evolving production of “Без остатка.”

Before Nevelskiy remixed Iakopo’s “What I Need,” he worked on another Iakopo track that never reached release. The production nevertheless earned the artist’s trust and led to an official collaboration.

A song made in a small Krasnodar studio ended up in prime time on Rai 1. Nevelskiy on producing "Leave a Tip" with Masha March — and why restraint and clean rights are what let a track travel to Italian national TV.

For several scenes in “The Perfect Script,” Nevelskiy composed the music directly on set. A string quartet then performed it live while the cameras were rolling.

Nevelskiy’s interpretation of “Lost at Sea” began on a four-track remix EP, returned on Rebirth Remixes and was later selected as the first track on Pavel Khvaleev’s Figura X‑Mas compilation.