Hace poco hubo en el Perú un cargamontón contra el secretario general de la Sociedad Nacional de Radio y Televisión , un ex ministro llamado Alfredo Ferrero, por unas desafortunadas declaraciones acerca de la calidad del rock en el Perú, manifestando que "mucha música peruana no suena en las radios nacionales porque no logra
hacer un “clic” con el oyente, mientras que en otras circunstancias, no
posee la calidad adecuada para ser difundida de acuerdo a estándares
actuales". Si bien considero desafortunadas dichas declaraciones , tampoco puedo obviar el victimismo de algunos músicos y el figuretismo de dj's, empresarios involucrados en los medios, etc., que aprovechando la circunstancia tratan de promover una iniciativa ("Haz que suene tu música, Perú) que exigiría a las radios locales programar música peruana. Me parece que, como empresa privada, la radio puede poner el producto que le de la gana, porque ellos eligen el producto que más ganancias les va a dar ya que es, al fin y al cabo, su inversión. Estamos en la época del internet en la que todos , de una u otra manera, pueden acceder a cualquier tipo de música, compartirla, crearla, venderla de manera directa ,etc. Desde hace mucho tiempo la radio ha dejado de ser el referente para acceder a la música, y no es algo que suceda solo en Perú, ni tampoco es una situación extraña, siempre ha sido así con respecto a los productos considerados "para minorías". La radio siempre ha apuntado a la masa, y de acuerdo a ella moldea su producto. Quizás estamos acostumbrados a que nos resuelvan siempre el problema, a que la pongan fácil. Ahora existen herramientas como el streaming, los blogs, los foros, etc., para que una banda se de a conocer. Es por ejemplo el caso de Ahura Mazda, proyecto del polaco Marcin Krakowiak, que se marketea a través de Facebook (con ayuda de su novia) y en el Soundcloud compartiendo su trabajo. Al igual que él, muchos artistas buscan compartir de manera creativa su trabajo, a través de internet, sin necesidad de alguna bien intencionada iniciativa. Y si no hay click con el público, pues a seguir trabajando para lograrlo (si es que te interesa hacer click), o en todo caso seguir definiendo tu identidad como artista, para lo que no necesitas un click. A continuación una entrevista en inglés con Marcin Krakowiak, el hombre detrás del interesante proyecto Ahura Mazda.
Ahura Mazda
1 - What are your influences ?
I find inspiration in many ways. I should mention here a huge number of music pieces I’ve had heard. But in this very moment when I start to create something new I rather do not focus on any music style or genre. In my case I rather isolate from other sounds and focus on making my music. I’m experimenting with sounds, colors, sometimes I do have all the construction in my head sometimes it grow up during the process. There is no single thing that I can call an inspiration. My influence is the mixture of sensuality, musical awareness and discipline supported by regularity that can give me the progression – one of the most important element I think.
2 - How would you define your sound ?
My sound is a mixture of a lot different elements. I try to combine so many things. It may sound like a truism nowadays because we are living in times when all the styles are crossing over. So I do. There are no borders between the styles for me, there is always the connection.
I think that instruments I use could be the common element that define my sound. I often use cello which is the main instrument I am able to play. I try to change a bit the way that people usually deal with cello. It’s used often to play simple, melancholic melodies or token from guitar style power chords ( played by one finger often ) or some avant style which is not supported by any knowledge. I try to give You a full sound of possibilities that slumber into this mysterious instrument. In this case I am inspired by XX century composers’s cello solo pieces or jazz violinists like Jean Luc Ponty.
I play a guitar also and all the synthesizers and electronic stuff. In all of my tracks all the lines are played by me – I only do program the drums, do not using loops. So You can call my sound very personal.
What do you think - do you have a sound that defines you as an artist?
The listeners will judge, I think. I do not like such definitions. I simple tend on making music. I know that people need to have some leaning points when are inclined to call someone an artist. But it’s not important to call yourself an artist I think. More important is to work on being better each day, play better, make better music and know more about it.
Tell me about the alternative scene in your country? Do you feel yourself a part of it?
To be honest, I am only a part of it because I am a Pole. I do not belong to any scene. Apart from Ahura Mazda I play in some musical projects. I play the guitar in Radical Children and cello in Fancy Demiurg Disco for example. But I do not thing there is such straight connection between those projects that somebody would call it a typical scene. They are two totally different groups.
Alternative scene in my country is strange I think. I don’t know it even well. Must say that there is a huge number of talented musicians I know in Poland, but mostly these are not beneficiaries of being stars of alternative or even popular music. There is a long way before every polish group to success in Poland. And I think the length of that process impacts on freshness of music.
5 - Tell me about your projects
So as I said I play in Radical Children. It’s three piece band formed in 2012. We are inspired by synth pop, nu disco, dream pop. We try to mix it with many other elements more and more. Apart from me, there are two girls in this project - Yumi Kaneko with her beautiful voice, great musical style and ideas and Natalia Krzyżanowska who plays the synths very creatively and also is a great musical character. We are very close to run our first EP, it’s a matter of days, I will let You know for sure
I also have a project called Fancy Demiurg Disco. It has a very original line up, also a three piece band. A connection of great female voice by Joanna Solarska, my cello and very talented beatboxer Paweł Jaśkiewicz. So many influences stands behind our music. In the matter of beat structures we are inspired by dubstep and disco. I try to expose all the possibilities that stands behind such instrument as cello, and Joasia’s singing turns her voice into equivalent instrument in the band. Some could name it avant pop, anyway…
And finally Ahura Mazda. I started this project about late 2011 when I just bought new stuff and at last had an opportunity to record some tracks in a complex way. Why I called it Ahura Mazda – just because it sounded good to me, I’ve had heard all the legends that stands behind this name but there is no ideological connection between myself and Ahura Mazda. It’s Iranian/Persian divine’s name. Musically Ahura Mazda is a mix of everything I like. All the instrumental parts are played by myself, I also program the drums and make a production ( if You can call it production, I have too poor stuff to make it professional but one day…) It’s straight electronics but it has such different elements like jazz, progressive rock. There are no limits for me in the case of music genres. I also do not put any attention on the matter of music genres.
Can you live only for fee from your music? Is your music in demand in your country?
Rather not. Especially from the music I make and from playing in bands. There are no chances to get any profits from this kind of music activities. You know I am also a classical musician, sometimes I play in philharmonic orchestras, I go on tour for couple of weeks and I can bring some money but it’s a rare thing. You must get the regular job. Poland is still a strange country, with strange people I think. But it’s continuously better and better here I think. I rather try to focus on the future. I know it would be bright anyway.
