Muno.pl Podcast 34 - An On Bast

Anybody who has ever come across music by An On Bast knows that there is no denying the fact that she is one hell of a talented producer. Celebrated for her anything but run of the mill productions, excellent live sets, as well as never shying away from a challenge or two, one of Poland’s finest kindly agreed to record the next installment of Muno.pl’s podcast series.

Muno.pl Podcast mixed by AN ON BAST



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Muno Podcast 34 - An On Bast by muno.fm

INTERVIEW: AN ON BAST (POLAND)

Before you decided to work on music full time, you studied both law and philosophy. Did your studies in any way have an influence on your general understanding of music?

Well, my understanding of music wasn’t in any way formed at school, but rather by way of me frequenting events and meeting with friends. In hindsight, I can safely say that it was the musical experiences from my formative years that opened my eyes to new sounds, how sound can actually be created, and if need be combined. And to be honest, my time at university did not in any way affect my current music making process. What my studies did teach me, however, is that what is most important in life is doing what you feel you really want to do. And my time studying philosophy gave me ample opportunity to get to know myself, and how I best express my inner thoughts and feelings. Sound always has been my medium of choice in this respect, regardless of whether I’m on my own in the studio, performing in front of an audience, or collaborating with other musicians. So, in a way, you could say that the lesson I learned at school had more to do with getting to know what really makes me tick and gets me excited.

You released your debut album after having produced music for a little more than six months. Looking back, what do you think of your early material?

‘Welcome Scissors’ has a very special place in my heart, as the only reason I ever recorded it was to try my hand at making a concise album. And seeing as how it was my first such venture, it may not be perfect from a technical standpoint, but, in my opinion, is nonetheless solid. My much lesser knowledge of music production was in a way actually a godsend, as the trial and errors I went through on that record went a very long way in shaping the style I can now call my own. But this in no way means that my style and knowledge have no chance of ever changing, because the truth of the matter is that I try new things, ideas and solutions all the time. Nevertheless, I do feel that my first album opened up a world of musical opportunities, so to speak. I also have to admit that, from time to time, people tell me that that record is one of the most complex things I have done to date, which always puts a smile on my face because the album was the beginning for An On Bast.

How do you manage to reconcile your two artistic incarnations – the artist known for her energetic, more dance floor oriented tracks (like those on ‘Pinwheel’) and live acts, and the An On Bast who experiments, reinterprets classical music and makes music for short animated films?

Well, the fact of the matter is it’s still the same person. Seriously, though, when I read some reviews of ‘Pinwheel’ I was very happy to read that some reviewers noted the dual nature of the album, which consisted, on the one hand, of many more dancey elements, with things deeply rooted in IDM, on the other. I always try to do things that give me a thrill, and go places where I can learn something new about myself. And if you think about, genre is something that actually does not have to exist, and the most important thing when sitting down to make something is the person and idea you happen to be working on. Thus, working in such a wide spectrum gives me great joy, and the diversity fully represents me as a person. I’m very happy to have the opportunity to work on new ideas and face a variety of artistic challenges, which to a large extent is due the fact that I have many great people not only around me on a daily basis, but also have many great people to work with.

Your last album ‘Pinwheel’ got a very warm reception.  What was the production process like?

Firstly, I worked on the tracks over the course of a few months. After that, I worked on an interesting concept for the release, the end result of which was a fluent mix of all the tracks, as suggested by the head of La Folia Records, Jamie Crowley. I jumped at the idea, because a nine track mix seemed like a good idea. And, as it later turned out, it ended up being a great idea because the feedback has been enormous.

What are the biggest challenges an artist faces when reinterpreting music by the likes of Chopin, Wieniawski and Strawinski? After all, many have tried, and many have failed…

Personally, such projects are always an amazing adventure. It’s almost like directly connecting yourself to the abovementioned artist’s energy and compositions. At times it’s almost like chatting with them in person and jamming in the studio together. Yes, such projects, in my mind, go a long way in making such experiences almost possible. At the same time, you can also learn a lot while doing such things, thanks in the most part to the fact that you are mining the imaginations of such great minds.

One of your latest projects is a collaboration with the prolific Polish jazz musician, Maciej Fortuna. What can you tell our readers about this project?

Maciej called me at the beginning of the year and told me about his idea – a collage of trumpet sounds with experimental electronica. And that was what we had to start with. Some time later, we met in my studio and the concept sort of expanded on its own. Working with Maciej is an amazing experience, we musically get on very well with each other, despite the fact that we come from two different different worlds. And that is probably also why we manage to come up with many fantastic and surprising compositional moments. We also happen to have the fact that both of studied law in common. Both of us are also Virgos, which means that both of us aim at being precise at all time. In short, we can’t wait until our collaboration sees the light of day. 

You are also a member of the group Inside Story. Can we expect any releases in the near future, or do you plan on remaining a strictly live show only act?

Inside Story is a combination of electronica and live instruments. It is also a blend of seven different personalities, every one of which comes from a different musical background. Working together is a treat, and sometimes I can’t help but have the impression that we are a sort of musical group perfectly suited for special missions. Our last show as part of the Wieniawski Remix event was very well received, and quite a few people asked whether we were planning to release anything. Everything is pretty much ready, so all that is left to do is to take the next natural step by releasing it. Only time will tell if that actually happens.

Does collaborating with others have an influence on your solo projects?

Of course it does. Working with others is always inspiring. At the very least, it gives you a new perspective on an instrument, or discovering a new trick you can use in your own productions. Collaborating also gives me ample opportunity to fine tune skills like listening to others, talking to each other by way of sounds, as well as jamming, which is an all important skill when playing with others.

In 2006 you went to Melbourne to take part in the Red Bull Music Academy. Recently, you have also been taking part in RBMA’s Info Sessions as a guest speaker. In your opinion, do you thing that there is a lack of musical education in the Polish scene?
 
There is no such thing as too much education. And I think what RBMA is doing is fantastic for both the development of musicians, as well as for all those who want to give making and mixing music a try. I actually think people here are getting smarter and smarter every day, and that the Polish scene as a whole is developing rapidly. Currently we have many new producers, DJs, promoters, club owners, as well as booking agencies, so I truly believe that everything is heading in the right direction.

Care to divulge your plans for the near future?

My main priority at the moment is putting the finishing touched on the An On Bast / Maciej Fortuna collaboration. I’m also currently working on a remix of a track by the Italian duo We Love from BPitch Control. Also, my newest EP ‘More Cigarettes’ is ready and waiting to be released on We Are Your Music. But before that happens, an EP by Seraphin will be released on the same label, featuring a remix by myself. I also have to mention that my collective City Inside Art will soon release its debut album, which is interesting to say the very least. Also, I am currently in the process of negotiating the release of my interpretations of Strawinski. So, lot’s is happening at the moment!

What can you tell me abort the mix you recorded?

Well, I wanted to share my recent live set, which was more on the experimental side of things recently, from Krakow’s Unsound Festival. The majority of the live set is made up of unreleased and new material. Enjoy!

Text: Magda Nowicka Chomsk