Hard-worker, passionate of DIY synths, modular systems and vinyls – it’s DEAS in person, just as he is. The Cracow-based producer is one of Poland’s most recognizable electronic music talents and had his music released on labels like CLR, Dynamic Reflection, A R T S, Planet Rhythm or Materia. In 2024 he’s back with a brand new EP, called “Form & Flux” – and he shared some thoughts and reflections about the passion that became a lifestyle, musician’s challenges or self-appreciation with Underton.
Check the whole interview, listen to Karol’s fresh release and catch his vibe in the club or at festivals!
Agata Omelańska: Hi Karol, pleasure to meet you! There is a lot happening in your life right now and my list of questions seems to have no end, but let’s start in a chilly way. How are you? How is 2024 going so far, what you’ve been up to and what was the most exciting thing, event or collaboration you’re about to experience soon?
DEAS: Hey! Thanks for having me. 2024 has started okay. I’ve been working on many projects in the studio, along with gigs, so I can say it’s been good. As always, there are ups and downs, but I can’t complain. Recently, I made a remix for my friend Ali, also known as Dubfire, which will be released very soon. Additionally, I’ve just finished two new EPs, both released digitally and on vinyl. So yes, many things are happening!:)
I suppose that I know at least one answer, as your new EP has just been released. Can you please tell me what’s the story behind “Form & Flux”? How long have you been working on the material and what was the main source of inspiration for you?
Indeed, “Form & Flux” has just been released, and I was working on this EP for about 5-6 weeks. The most challenging part was “Flux.” I had the entire arrangement, beats, literally everything, but it still didn’t feel right. The main theme was, let’s say, “nothing special”. I spent two days searching for something different, and finally, I recorded them using my modular system. It’s still a very simple record, I know, but now it has the power to touch people on different level. Regarding inspiration, it’s quite simple. I always try to rock in interaction with machines, to create a bond between me and an instrument. As a side effect, I record takes one by one, then I edit them and create a track in its final form.
With this release, did you set any particular goal for yourself? Which moment of your life or career does it represent and what did you want to share with the audience?
I must say, this EP is quite ferocious. It’s groovy, sexy, and not overly fast-paced. It represents techno as I see it and reflects my own style. With this record, I aimed to showcase something a bit different once again. When you look at all my releases on BAUMUZIK, there’s a consistent vision, but each time, there’s a slightly new face to it.
Those positive reactions to my work give me the belief that “this is it”! I don’t focus on myself or seek glory. For me, this “profession” is a lifestyle.
This question might be a bit courageous to ask (but okay, let me risk it): are you satisfied and happy with the material? In general, how do you perceive your own releases and do you feel proud of your achievements as a musician?
I’m never fully happy. Frankly, when I finish something, I can’t listen to it. The audience gives me the confidence that I’ve created something worth releasing when I test it live! Those positive reactions to my work give me the belief that “this is it”! I don’t focus on myself or seek glory. For me, this “profession” is a lifestyle. It shapes who I am. I’m not seeking moments to feel proud of myself. I’m looking for moments to find something interesting that can contribute to my life in any way.
Speaking about production, you’re well-known from your analogue approach to thecreative process, as well as from your attitude towards work. For you, when and where does “making music” start? Which element awakes the whole engine?
I usually start from the beat, take a drum machine and try to make percussion movements as the base of a track.
You prefer the traditional way of producing, vinyls and taking deep care of every single part of the release. And how about the modern tools of production? The Internet has a lot of useful tricks, as well as sound packages to be sampled, but what’s your opinion about it?
Who am I to give anybody life advice? My approach is my own way; it’s the path of my life that I follow, and that’s it. You can agree with it or not. The internet is full of samples, useful tricks, and tutorials, and I make use of them too! I love spending hours watching them and learning new things. I mainly focus on getting to know more about the machines I own. I don’t need to know everything about everything.
When it comes to samples, in every record, the most important aspect is the source of the sound. Most available for purchase are processed. They need to be catchy and attractive to customers. While they sound great individually, many of them are difficult to use solo and may not blend seamlessly into your record.
And how about trends? Do you notice something that inspires, moves or simply keeps you curious in the sound of modern electronic music?
Sure! I never dismiss trends. Perhaps I don’t always follow them, but I always try to extract something interesting to use and create my own vision from them. I’m not interested in “copying and pasting” others. I have immense respect for artists who create trends rather than follow them, and perhaps that’s why I strive not to emulate anyone else. I want to express myself in my own unique way while remaining open to the world around me.
Trends come and go, but – in your opinion – what’s the sound / genre / album or artist that will be eternally remembered?
I believe that artists who create their own trends will be remembered forever. This holds true in every single genre of music, not only electronic. Artists and bands such as Richie Hawtin, Chris Liebing, Robert Hood, Portishead, Depeche Mode, Jeff Mills, Aphex Twin, Massive Attack, and Luke Slater, in my subjective opinion, will be remembered eternally.
Okay, we’ve made a big step forward into future and eternal topics… but let’s come back to the past for a moment. You’ve been creating the career path on your own rules; producing, DJ-ing, playing in the clubs and festivals. How meeting Chris Liebing changed your life? And what did you learn from him in terms of music, production and life, in general?
I have always held immense respect for Chris. His contribution to techno music is invaluable. Working with living legends like him holds a special significance for me in many different dimensions. From one of our conversations, I took a sentence to heart when he told me, “Karol, never change yourself, do what you have been doing, and be patient.” I’ve always had a big problem with patience, but I’m working on it.
For some, releasing on labels like Liebing’s CLR or A R T S seems to be a top dream: once reached, the doors of success are open forever. Hardly ever does it have something to do with reality – of course – but what does being signed to a big label look like?
Firstly, nothing stays open forever. Regarding CLR, it’s a funny story. During the pandemic, Chris had a conversation on Clubhouse. I had heard before that he wanted to relaunch the label, so I joined the room and asked him about it. He immediately said that he was waiting for my demo. So, I sent it:) That’s how it happened. With A R T S, it was different. A friend of mine, Marco – owner of Planet Rhythm, sent my music to Emmanuel, and he expressed interest in releasing it.
Did you face any challenges connected with big labels collaboration? How did it influence your workflow – or maybe it didn’t change it much?
I would say that all the hard work and challenges come before. It takes time and persistence to be a better artist each day at a time. You train your skills, you fall down and get up, until one day you reach the level that allows you to release in these ” big labels” as you called it.
I would love to experience seeing the world and hearing sounds through the mind and eyes of different people, even if it’s just for one day.
Pandemic times streaming boom, TikTok raves, new generation of influencers emerging from Instagram. What happened to the club music (and culture!) due to social media popularity? Are their values still valid among the ravers? And how to teach new electronic music consumers how to behave respectfully – and not only “how to dress to techno”?
I remember a gig I played in Germany shortly after the pandemic. The club was completely packed, although, as you know, I’ve never been playing rave music. I noticed that some of the people there were probably expecting something different, but they were totally freaking out. They would come up to me, asking, “Wow, what’s that music?” It made me realize that maybe they hadn’t had the opportunity to encounter this type of style before.
I don’t blame fresh clubbers for listening to pop remixes and calling it techno. Instead, I blame those who know better and still feed this unawareness by promoting such “junky music” and claiming that’s what people want. For me, as an artist, performer, or DJ, my duty is to show something more. It may not always be easy to digest, but it’s something authentic. I strive to present it in the easiest form to obtain while being completely honest about what I
do.
Perhaps I’m too naive, but this approach feels honest to me.
Okay, we arrived at the very last question – and it will not be related to music at all. Imagine there are no limits in traveling into space & time, learning something new or discovering something that changes the future. What would it be?
I would love to experience seeing the world and hearing sounds through the mind and eyes of different people, even if it’s just for one day. That would be something absolutely incredible and inspiring. Imagine being able to hear the sound like Martin Gore for a day… That would be truly awesome!
Thanks a lot for the interview & time, DEAS! Go big and follow your dreams!
Thanks again for having me, it was pure pleasure !
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