In March 2017, one year ago, while I finished one of the live acts, my Juno DS, with all my drafts and crafted sounds - fell and broke down on a stone floor. (I was sober, to be precise, that's why it was a real bummer).
That Juno DS has a bunch of compositions. I figured once that I cannot rely on recording everything live, I must have some basics prepared, some simple sequences, which I can build up during the performance. It was a very important thing, which took me a lot of time to prepare, and it was all gone. I am not talking about electronic music but my Tothead and my deep house (unnamed) project - all laying in pieces.
If you ask me before March 2017 if I make techno, electronic or club music, I would say - NO! As the Tothead and deep house projects were aimed to be a sophisticated, odd tempo signature melange of ambitious jazz and ethnic music, with modern technology drive and taste. Whatever you call it.
After the accident, I ended up with a monophonic bass synth (TB-3), monophonic synth (Minibrute) and drum performer (TR-8). Of course, I also had some effects and Kaosspad which can work as a looper. Without Juno DS I thought that all is over. I treated all other synthesizers only as accompanying stuff to Juno DS. I did not have money for a new synth and the next one, I would be able to buy next year. After four days of pretending that music does not exist, I decided that I am not going to waste time. I sat down with the abovementioned minimum setup and, with a smart use of Kaosspad looper (It has four tracks, each can have own length, always 4x4, no odd tempo signature) I started making 4x4 music. A simple base with lots of effects, plus a reverbed-to-max synthesizer, delays, Kaosspad effects, some pre-recorded vocal samples - whatever I tried to do with a beat, started sounding as club underground music - all the way.
It was the beginning of Klar Kinelis project. Then in April, I "moved back to Poland from Switzerland". People, who know my story will laugh now, but that is somehow true. I have re-entered Poland and Warsaw in a very different way. Something changed in me. I started to feel that techno is a hidden gem of modern electronic music. It is so powerful and engaged. I can make a deep house track in 30 minutes, but I need at least one whole day to complete a single techno track - and I am not talking about producing and mixing the sequences, but preparing sound patches for every 7 minutes of the live act (my single track average). At the same time, I realized, that the thing I was doing with Juno DS - having most of each track prepared (programmed in the sequencer) to use and expand them during the show - was a disaster to creativity in live situations. Now, I just have an empty canvas, which will not fill for itself. I have freed my mind through techno music.
Understanding electronic music better, I have first played some weird shit, which was often understood as happy, tech house or melodic techno music (no idea why probably because it was not dark, despite minor scales). For me, techno is a resurrection of African music - brought up listening to USA hip-hop music, I am now playing black electronic music - a high tech soul.
I am looking into the future, not past, so if someone says, your music is not this or that or that I am playing crappy shit, I do not care. This year gave me confidence and a feeling to keep on walking on a very narrow path - so narrow that if I lean to the left or right from it if I stop listening to my soul, I will burn out and get frustrated.
You should always make things for yourself.
- Laurent Garnier @ Red Bull Academy