Electronic duo Third Culture, comprised of Sian and Sacha Robotti, are carving out their own lane in the LA underground with a sound that’s equal parts sleazy, cerebral, and unapologetically fun. Their latest single “Camera Lens With Vaseline” with Captain Mustache and Victoria Rawlins channels the golden era of electroclash with a voyeuristic twist, proving that the duo’s creative partnership thrives on chaos, personality, and zero ego. We caught up with them to discuss their collaborative process, the influence of labels like Gigolo Records, navigating solo careers alongside their joint project, and why the future of music belongs to those who get weirder, not cleaner.
1. Your new single “Camera Lens With Vaseline” just dropped on Iptamenos Discos. How did this collaboration with Captain Mustache and Victoria Rawlins come together, and what sparked the idea to work together on this particular track?
We’d been talking with Captain Mustache for a while—he’s one of those artists who sits in his own weird, wonderful lane, which we’ve always loved. We were trading ideas, and one day we landed on this lo-fi, sleazy arpeggiated groove with a slightly voyeuristic vibe. It felt like the kind of track that needed a character to bring it to life, not just a vocal.
2. The track reminds me of the golden electroclash era and labels like Gigolo Records. Was that aesthetic something you were drawing from, or where did the inspiration come from?
Absolutely. Both Sacha and I grew up on music that was unapologetically bold, trashy, sexy, minimal, and stylish—Fischerspooner, Miss Kittin, Peaches, Tiga, Adult., even early Metro Area in the deeper moments. That era blended performance art and club culture, and it didn’t take itself too seriously. We wanted something that had grit and humor, not just polished “tech house perfection.”
We know that Captain Mustache loves this era as well, and both our tracks with him, “Camera Lens With Vaseline” as well as our collab “Vertigo” on Mobilee lean heavily in that direction.
So yes—Gigolo, Turbo, Output, BPitch days were definitely sitting on our shoulders in the studio for this one.
3. How would you describe where you are sonically right now compared to when you first started collaborating as Third Culture?
In the early sessions, we were still figuring out what parts of our identities to bring into the project. Now we’re leaning into the chaos and personality more. There’s less “let’s blend our sounds” and more “let’s exaggerate who we already are.” The music has become more punk, more tongue-in-cheek, more analog and emotional, and less about chasing a trend or a genre lane. We’re trying to make tracks that feel like a night out with danger involved. The process of making these records is a fun one.
4. Are both of your solo projects continuing alongside Third Culture, or has the duo become the primary focus? How do you navigate that balance?
Both solo careers absolutely continue. Third Culture isn’t replacing anything—it’s amplifying everything. We come into this as two artists with strong identities, and the project works because we keep those alive. We switch hats depending on the gig or studio session and don’t overthink it. Some ideas clearly belong to Sian, some to Sacha, and some only make sense under Third Culture.
We treat it like a creative playground where neither of us has to compromise our solo vision—we expand it.
5. Are there any plans to perform together as Third Culture?
Yes. We’re building a show concept that’s more than “two guys behind Decks in black t-shirts.” We want performance, visuals, character… something slightly theatrical, but still a rave. When the timing is right, we’ll launch it properly rather than rush a couple of random club sets.
6. Do you work in the studio together or remotely? What does the workflow look like? Do you have defined roles, or is it more fluid and collaborative?
We do both. Some tracks start online, and some get built in-person with synths everywhere and snacks that are terrible for us. There are no fixed roles. One of us might start a bassline, the other jumps onto drums, then someone grabs a mic and whispers something absurd… and suddenly it’s a song.
The rule is simple: no ego, no “producer versus DJ” roles, and nothing leaves the studio unless we’re both laughing, dancing, or a little confused in a good way.
7. AI is becoming increasingly present in music production. What’s your perspective on it—tool or threat?
It’s a tool like any other. You can give two people a drum machine and one will make magic and the other will make grid noise. AI might make things more “efficient,” but music isn’t about efficiency. We’re more concerned about a lack of personality than about technology. If AI pushes more humans to be bold, flawed, and expressive, then it’s a good thing. There’s a fear that AI will “replace” the human element in art, but let’s be optimistic.
The future belongs to people who use tech to get weirder, not cleaner.
8. You’re both deeply embedded in the LA electronic music scene. How has that environment influenced your work, and how has the scene evolved in recent years?
LA nightlife is a paradox—oversaturated yet constantly reinventing itself. The community has shifted from big bottle-service clubs to underground collectives, warehouses, pop-ups, and cross-genre parties. There’s more identity, more risk, more weirdness than ever.
But LA also teaches you survival instincts. You have to stand out or you disappear. That pressure fuels our music—if it’s not interesting, it’s dead.
9. For producers and DJs just starting out, what’s one piece of advice you wish someone had given you early in your careers?
Stop trying to sound like everyone else. Chase personality, not perfection. And be patient—authentic careers are slow burns, not viral fireworks.
10. Any other exciting releases or plans for the near future?
We have more collaborations coming, some club-focused weapons, and a couple of vocal tracks that feel like late-night pirate radio from a future where nightlife has banned smooth edges. We’re also working on something that blurs DJing and performance art. Expect noise, sweat, and a little theater.