VTSS on Protecting Yourself Online, the Anti Dolphin Community and Working on New Music

Words: Lauren O’Neill

If you’ve ever worried about online döppelgangers, the new video from VTSS might hit you a little close to home. The promo for “Can’t Catch Me” (co-produced by Hudson Mohawke) is directed by duo Shadrinksy, and shows the techno DJ and producer going about her work day in an office, though she slowly finds herself joined by figures who look exactly the same as her, also acting out her life.

It’s all part of a new campaign from VTSS and Deutsche Telekom which seeks to increase awareness of online identity fraud, and especially wants to encourage young people to be aware of protecting themselves online. We caught up with VTSS to hear about the campaign, “Can’t Catch Me”, and why the anti-dolphin truther community is her favourite internet black hole…

Polyester: Hey VTSS! The Deutsche Telekom campaign you’re part of is all about protecting yourself online. What was your relationship to the internet in terms of building your identity as an artist?

VTSS: The internet was everything for me in the early days. It gave me a platform to shape VTSS on my own terms, without asking for permission. I had access, visibility, and a way to connect: it let me build something out of nothing. But over time, I realised how easy it is for parts of that identity to be taken, copied, or twisted, often without you even noticing.

That’s what made this campaign hit home for me. There’s a growing anxiety a lot of us feel, like your digital self is slipping out of your hands. The idea of being doppelgängered without consent? Terrifying. My partnership with Deutsche Telekom and Telekom Electronic Beats is about helping people – especially younger generations – understand how to protect their digital space. Being online should mean connection and creativity, not losing control of who you are.

Do you think the internet is still a helpful tool for new artists? Should they be trusting it more or less? Where else can they look for inspiration?

I definitely miss how we used to discover music when I was coming up, though I know that’s just nostalgia. Back then, we were limited by our access: to the right blog, the right record shop, the right forums. You had to really dig.

Now, everything’s available at once. It’s amazing, a kid in the middle of nowhere can discover some obscure scene or weird experimental film from the other side of the planet. But that access came at a cost. It made us a bit lazy. Our attention spans shrank, algorithms got smarter, and suddenly even creativity became something to optimise.

Brands, musicians, politicians – everyone learned how to game the system. It’s still a powerful tool, especially for new artists trying to break through. But I’d say: don’t give it more of yourself than necessary. Protect what’s yours.

#OwnYourWorld is about that. It shines a light on how your data, your online identity, can be used against you – in ways you don’t even see. It’s crucial to know that the internet is a tool, not a mirror. Use it, but don’t let it use you.

What’s your take on AI? Something to embrace or be cautious about?

I try to embrace technology and move with the times – it’s part of what I do. But what worries me is how easily people stop pushing themselves. Things start to feel lazy, soulless. So many shortcuts.

I’ve failed so many times to get to where I am, and honestly? That’s where the magic happens. There’s strength in failing, in figuring things out the long way.

AI is creatively exciting, no doubt. But we also need to stay alert: your voice, your face, your work can be duplicated and used in ways you never agreed to. That’s one of the invisible threats we’re trying to highlight through the campaign. So it’s all about balance. Play with tech, but know when to hit privacy mode.

What’s the best internet rabbit hole you’ve ever fallen down?

I’m kind of obsessed with the anti-dolphin community in that they’re the true villains of the ocean. Sharks get a bad rep just because of their underbite – which, let’s be honest, a little Invisalign could fix – but dolphins? They’re the mean girls of the sea!!

The aesthetic of your new video is giving serious ‘office siren’ energy – was that deliberate? What were your inspirations?

Definitely. Even before I could afford what I now call “archive Tom Ford” (as the song says), I loved wearing office wear, even to the club. I’ve never been into the typical rave look. Maybe it’s me cosplaying a version of my life where I didn’t drop out of law school after a year.

Even my birthday last year I had a “CEOs and office hoes” theme, so this is definitely a long-standing fantasy. We wanted the video to show this very mundane daily routine: going to work, running errands, going on a date – but then slowly that routine gets infiltrated by digital versions of me.

Shadrinsky’s signature color palette, mixed with the office-core vibe, really helped bring that eerie, surreal twist to life. It’s about how even our most ordinary spaces can be invaded by our online personas.

What was the process like working with Shadrinsky, and how did it feel seeing all those VTSS doppelgängers on set?

I’m such a fan of Yuliya and Marita – they’re both brilliant and we connected immediately, maybe because of the Eastern European roots. I honestly don’t think I said “no” to a single idea. If I could afford it, I’d have them design my whole visual world.

The doppelgängers were wild. We shot over five days, and on the first day of fittings, I started seeing all these women walking around in black wigs, dressed like me… it was so weird. Even the crew kept tapping extras on the shoulder thinking they’d found me.

There was one girl who, once she had the wig on, looked so much like me I couldn’t stop staring at her – I felt like such a creep. It was funny, but also unsettling. Seeing all these versions of yourself acting out your life? It messes with your head.

Musically, how does the new track expand the VTSS universe? Is this a direction you’re continuing in?

This one definitely expands on the direction I started with “Steady Pace” with Boys Noize. This one is co-produced by Hudson Mohawke, who I’ve been making a lot of music with this past year. So yes, it feels like a sneak peek into where the VTSS sound is going — big energy but more detail, more storytelling, more identity.

What’s exciting you musically outside of your own work right now? Any tracks that keep making it into your sets?

Honestly, I’ve been overwhelmed by how fast everything’s moving in the techno scene – artists, tracks, even trends have such a short shelf life now. It made me want to go back to listening to full albums and band music again.

I’m most inspired by things that feel like they could live on past the moment – not just 3-minute DJ tools made in a day to fit an algorithm. Lately I’ve been going to a lot of metal and hardcore shows. It’s raw, it’s honest, and it reminds me why I started making music in the first place.

You’re playing in London soon – what makes UK crowds special for you?

I’m playing Maiden Voyage in August. It’ll be my third time there. Even though I’ve been living in NYC for a bit now, I spent 3-4 years in London and still think of it as my most important place creatively. It’s where I really found my identity as VTSS, as a producer, a DJ, and just as a person.

UK crowds are amazing because they’re super tuned in but don’t take themselves too seriously. That’s such a rare combo. Even the cool, pretentious kids are less snobby here somehow. The vibe is smart, but fun, which is exactly the energy I love.

What can we expect from you for the rest of 2025?

Definitely new music. Things were delayed for a bit while I dealt with some chaotic behind-the-scenes stuff – classic artist burnout, bad team structure, all of that. But I’ve come out the other side, and I’m making music again.

So yeah: new music, lots of gigs (obviously), and maybe a little fashion moment or two. You know me – I can’t help myself.