Originally published on metropolis.co.jp on October 2013
Ahead of his Japan debut, KiNK tells Metropolis how his Bulgarian upbringing shaped his distinctive approach to live performance—and why he isn’t as deviant as his name suggests.
What does the name KiNK signify?
My good friend suggested the name as it means a bend in something, which totally fits my sound and the way I perform, regardless if it’s a live show or a DJ set. I also loved it as it’s short and simple and already looks like a logo, when it’s written in the way I do, with capital letters and a little “i.” I didn’t know there was also a sexual aspect when I picked the name. Maybe I’ll disappoint some people, but there is nothing kinky in my private life!
Your music has a lot of jazz and improv influences. Tell us about the tension between “live” and “electronic” music in your approach.
I used to play piano when I was a little kid, but I was not very promising. When I switched to live performances, I was struggling to deliver the amount of improvisation I could do in a DJ set. I tried different things and the solution was to organize my pre-programmed sounds as loops and to have more instruments, which I play and record live, like drum pads and a keyboard. I might not be able to play Eric Satie on the piano, but I can hit two chords, record them, create a beat and even incorporate the audience in producing the bass line. Sometimes I fail, but sometimes I create a special rhythm or a melody, which will never be repeated.
As you gig around the world, where is the dance music scene going off?
I play most often in Europe, but I’ve been to North America, Australia and Asia, so I would say—everywhere. In the USA they are talking about EDM, which I guess is the commercial version of what I like, but this is pushing forward the more interesting music as well. What makes me really happy is that I see more and more young people on the dance floor. But I’m a bit scared if what we have now is the peak—what will happen afterwards?
What is currently “right” and “wrong” with the scene?
On the negative side, the first thing that comes in my mind is that it’s hard for the upcoming DJs to learn how to build up a night, the time slots are often too short. I guess the crowd demands that. Also I would like to see more talent on stage and less posing, but on the other hand, there are many young DJs that impress: Ben UFO, Kyle Hall, Benny Rodrigues, Danny Daze, just to name a few.
Tell us how coming from Bulgaria shaped your sound.
Growing up in Bulgaria, I had big limitations, very little information about electronic music and no access to vinyl, DJ or electronic music equipment. But I believe that affected me positively. The little electronic music that I could find in the early ’90s was a bit of everything – from techno through breakbeats and jungle, to experimental, ambient electronica. I couldn’t specialize in one sub-genre of a genre and it made me a more diverse artist. The technical limitations also made me think how to be creative without having any real music gear and now I find those abilities really useful!
Has the equipment you use changed over the years?
Yes it changed. In the ’90s I hadn’t got access to any proper music machines, so I was experimenting with cassette deck and a cheap turntable. I started to produce music more seriously in the year 2000 and the only gear I could afford till the late 2000s was a slow computer. However, in 2009 my financial situation improved, at that time I visited a remarkable synthesizer store in Berlin, called Schneiders Buero and I bought my first new analog synthesizer by the German brand MFB. Later on I bought a lot of their machines, because they are affordable, but interesting. I developed a taste in contemporary, weird, semi-modular analog boxes, as Leploop and Knas Moisturizers.
Can we expect an album from you soon?
I recently finished an album project, which is very experimental compared to my other released works. It’s based on live sessions with my MFB synthesizer collection, a delay pedal, an acoustic piano and the voice of my girlfriend and recent collaborator Rachel Row. The project is very stripped down, well produced, but raw and doesn’t fit the frame of House or Techno. I hope it will be released in the beginning of the next year, but there are still question marks, like which imprint could be a good home for it.
What are your favorite tracks of 2013?
I quite liked the recent James Holden – Illuminations 12”, also Interstellar Funk – House Train on Rush Hour and Mark Pritchard – 1 2 3 4 feat. Ragga Twins on Warp.
When are you happiest?
Always when I spend quality time with my girlfriend, or jamming with friends in the studio.
What is your most treasured possession?
My ideas.
What is your favorite book?
Stanislaw Lem’s Cyberiada
What is the worst job you’ve done?
Everything I did so far is related to arts and music and I love it, but I hate the stress and the non-creative part of my work. One of the worst situations I had was going to the Chinese embassy to apply for a visa at 7am, after 3-4 days of constant touring in Europe and literally no sleep for that time. One document was missing and going there was pointless.
What is your guiltiest pleasure?
To play around with my music machines, when I have something more urgent to do.
Whistlebump Halloween Adventure 2013 feat. KiNK@Xex Nihonbashi, October 26.
