Be sure not to miss the latest instalment of our podcast series mixed by Pleq.
Pleq is widely known in the ambient and downtempo community for his anything but run of the mill production. And releases on such esteemed labels as Mille Plateaux, October Man Recordings, as well as U-Cover go a long way in proving that he is one talented producer. And so, we decided that he would be the perfect choice for the next edition of our podcast series. Pleq specially for Muno.pl, enjoy the next installment of the series.
When music became a big part of your life, was it by any chance electronic music?
That is a difficult question to answer, as I have listened to many a genre in the past. With time, however, you begin to perceive things as one whole. Sure, you are able to distinguish between what you hear, but the sheer amount of it more often than causes your first contact with a certain musical style to become sort of lost. But if I wanted to be precise, the first music I listened to passionately was probably something along the lines of hardcore guitar music.
Can you play any musical instruments?
Almost surprisingly, no. I can improvise, which very often leads to the creation of the samples I use in my music.
You are known for your many collaborations with artists from all over the world. When you work with others, do you share files via the Internet, or do you sometimes have the chance to meet up in the studio?
Most of the time it is just a matter of file sharing. And the reason for this is the fact that very often we live on opposite sides of the world. Such geographic distances mean that there are limits to what, where and how you do something, if only for the reason to be in direct contact with the artist that I happen to be making something with. As far as being in the studio with someone is concerned, on the other hand, I unfortunately have never had the opportunity to collaborate live and in person.
On 'Good Night Two' you invited eighteen artists to work with you on the record. Most of them were Japanese, and they all produced eighteen versions of the title track. Were there any remixes in particular that surprised you in any way?
Of course there were some favorites of mine. What's more, one interpretation in particular made an enormous impression on me, namely, Boris Snauwaert aka Haruki's, whose remix is based on field recordings and beautiful acoustic vibes.
You seem to be the type of artist that makes a lot of material and has a tendency to work fast. Nonetheless, work on your album 'The Seed' took two years. Who was responsible for organizing the general work schedule, Pleq or Seque?
Well, to be honest, aside from music, I don't actually do anything else, so that is probably the reason why I tend to work fast. The making of 'The Seed' was not easy, and I actually believe that I spent too much time working on the project. Oh, and to answer your question, it was Pleq who was responsible for coming up with our schedule.
Did you enjoy your trekking and field recording trip in Iceland?
Are you asking about the record I made with Natalia? I wasn't actually in Iceland at the time. The whole concept was more of an idea that came to be from something that was imagined. Natalia and I kind of wrote a little background story, which we later decided to use to record the EP. They were recorded in Warsaw by me, while Natalia did her share in Radom. You could say that the music is a kind of Polish perspective on Iceland.
What can you tell us about the charity work you do…
Well, to date, I have been lucky enough to take part in two projects. Harry Towell and I, for example, made a compilation and later released it on his label, Audio Gourmet. All the proceeds went to the Japanese people hit by the disaster of the tsunami. The other project I took part in was in cooperation with the Soundfjord Foundation from London. And again, we recorded a compilation, the proceeds of which went to victims of the recent riots in the UK.
Is there any reason why you decided to release you music on a different label every single time? And why is every release you make so limited?
I think it is a matter of me not wanting to limit myself. That, and the fact that I have yet to come across a label willing to offer me exactly what I would like a label to offer me. Oh, and I also love beauty, minimalism and esthetics, which is also why I so very often choose to release limited editions..
You very often say that experimental electronica isn't all that welcome in Poland. Nonetheless, you have yet to decide to leave our country. What makes Warsaw so special that you choose to work there?
It isn't all that easy to just leave. Besides that, I like being here. I like my surroundings, the people I come in contact with, in particular the people associated with the fashion industry. And let's not forget that packing your bags and moving to Tokio is far from an easy feat and requires very long preparations.
Any plans for the near future?
I'm flying to 'Space'.
What can you tell me about the mix you recorded?
Well, specially for Muno, I recorded a mix that is somewhat more dance floor oriented than the stuff I would normally do. I wanted to show everyone that I don't limit myself to the ambient and experimental side of things. Around fifty percent of what is on the mix is unreleased, and will in the future come out on vinyl or CD.