Marija
Marija Paškevičiūtė is a Lithuanian composer whose work moves freely across genres – from music for theatre and contemporary dance to the club floor. Her sound has been shaped in equal measure by avant-garde composition and electronic music, with these influences meeting in the development of texture, form and musical flow.
Behind the decks, Marija is known for dynamic, unpredictable sets that fuse different genres into a sharp, coherent whole. Techno, trance and acid collide in selections strongly influenced by the early ‘90s – a time when electronic club genres were still taking shape and DJ sets thrived on the collision of different sounds.
Her most prominent work on the classical stage is the score for Martynas Rimeikis’ ballet Days, Minutes, which premiered at the Lithuanian National Opera and Ballet Theatre. The composition earned her the Golden Stage Cross, Lithuania’s highest theatre award.
Marija has shared line-ups with some of the most distinctive names in contemporary club music, including Jeff Mills, Ben Sims, Anetha, Metaraph, Young Marco, Courtesy, Hector Oaks and KI/KI.
Mirror Slave
Mirror Slave stands as a key force within Vilnius nightlife – not as an observer, but immersed in its very core. He is one half of an academic music duo with Golden Stage Cross laureate Marija Paškevičiūtė, a ride-or-die back-to-back partner of Marijus Klimaitis (one third of the legendary SMALA collective), and the mind behind the first four years of Elastica’s artistic direction, rise, and musical identity – the first two alongside Interiors, his mentor and the man behind the now-mythical Kablys club.
Mirror Slave has performed everywhere from the National Opera House to the city’s darkest sweat lodges, as well as at venues such as Virage in Paris and Jasna 1 in Warsaw. As a DJ, curator, and one of the driving forces behind one of Lithuania’s most influential underground institutions, his impact has become an ongoing chapter in the country’s electronic music scene.
Behind the decks, he is first and foremost known for his extended closing sets. His approach is fluid and unrestrained, moving between electro, techno, acid, and experimental sounds, guided by instinct, crowd awareness, and emotional momentum rather than a rigid structure.