WWD 076 welcomes none other than Berlin-based producer and performer Jan Blomqvist, a talent that has been captivating audiences with his electronic meets live ensemble during the last few years. The German artist mixes an exclusive sixty minutes for our central series as he also takes time out from a busy schedule for an in-depth discussion. Topics include the execution of 2016 LP ‘Remote Control’, the intricacies behind his live set and the lasting value of electronic music.

WWD: The high level of creativity behind the project is very evident. Can you give us your play by play for your current approach to getting in the mood to create?

Thank you. This is a really good question because it is indeed difficult to find a good way between working creatively and working constructively. For me it’s actually more difficult to finish a track than to come up with new ideas and melodies. My brain is some kind of idea machine such that the problem is that I have too many ideas coming up or coming in however you see it, so the question becomes how can I turn my creative mind off and focus on the technical parts of the production. To work focused and productive I need quietness and time. I can not work when I know that I have a meeting or something in some hours. I need no distractions, no emails, no phone calls. Since the studio I have been building over the last two years is now complete and super cosy, it is way easier for me to disconnect from the rest of the world.

WWD: Your LP came out to great reception early this year but there’s one thing we’d like to know – If you could go back to the very beginning, is there one thing you would do differently?

Of course. Actually, there are many things. This is normal I think when you reflect your work from another perspective after a while. But as a producer you always have to come to the point when you need to let your baby go.
One thing I will definitely do different on my next album is to use less vocals. It took me too much time and effort to finish this book of lyrics for ‘Remote Control’. I mean I am really happy with this work but to be honest I wanna save my energy for the studio production.

And I will definitely work with less pressure from now on. Stress never ever leads to happiness and satisfaction. It can work for a period of your life for example the first ten EPs and the debut album like in my case. But there must be a breakthrough in your life when you come back to your easy passionate way of working without stress and sleeping problems. I am sure this step now will again develop my work and produce new and interesting results.

WWD: You made the trip to tour North America recently. How were your performances received? was it what you expected?

I always try to not have any expectations because you never know what happens and too high or wrong expectations often kill the vibe. All-in-all I can say that all the gigs on the tour were totally satisfying, but the one in San Francisco was absolutely perfect. The people were so happy and freaking out on the dance-floor and so was I of course. San Francisco and New York are my favorite cites in the USA as every tour they were the highlights. But maybe that is obvious to North Americans that San Francisco and New York would have the best parties. Two amazing cities there for sure.

WWD: The reputation of your live sets precedes you. We had the pleasure of catching you at A’dam Toren at ADE with live vocals. How many forms does your “live set” take?

It depends on what the promoter wants from me. I can play between 45 and 160min. But as I am always playing my own tracks when I play without my band only with a live vocal performance, my style will not be much different from gig to gig. Whenever I am close to finishing a new track, I play it in my sets to see how it sounds, how it works on the dance-floor and how people respond. This is one interesting point for the audience, to listen to the new stuff for the very first time. So my live show changes step by step every month.

And of course my live concerts with my band are a bit different from my solo gigs, because the analog instruments we use on stage never sound the same. I am so close with my bandmates, as we have been playing together for many many years, we can communicate well on stage and extend certain parts and freestyle a bit. However when I play solo, I am more free to adapt the live set to the current mood of and energy of the dance-floor because I am in full control of every sound.

WWD: In terms of content and diffusion, is the live element something you’re continually trying to develop?

Yes of course. That’s what I am. That’s what I do. Live performing is what makes me happy and what distinguish me from other acts in electronic music. It is not that bad to have a unique recognizable sound, so yeah I am aware of this and try to improve it. I need it, I am addicted to it. So I need to care about it. Therefore it is important to improve it all the time. You can see this in my arc my live set has taken since the first Jan Blomqvist EP. The biggest step was to bring my drummer on the stage, then my pianist. On my album tour we finally brought our 4 favourite synths from the studio and performed every sound live with the original analog instruments we used to make the album. This was pure happiness for me. I would love to play like this more often in the future. This is what my whole team is working for. Of course the club gigs are still part of my vision but the live band performances are now the main focus.

WWD: The lasting value of a track or a composition in electronic music seems to be diminishing by the second in terms of the pace of listener consumption. Is there any solution to reverse the process or re-creating that value in the eyes of the end listener?

This is actually part of my vision. I want to create music, which touches the listener like a Radiohead song for example touches me. Which is sometimes something that grabs you instantly and other times something that feels a bit uncomfortable at first, but after repeated listens, the depth of sound design and melody layers are revealed, giving the music longevity and the listener enjoyment after repeated listening. I want to bring this feeling to the dance-floor. Most dance music today is just too easy and too quickly made and therefore cheap and uninteresting. I want my music to make the people feel, think and reflect as it leads them from melancholic vibes to happiness during the arc of my set. I am convinced that it is definitely possible to make productions remarkable enough to stay in peoples mind. It is not even necessary to make a hit for this. Just keep it authentic and tell a story. Music is story telling in the end. It starts where words can not go further. Or. It is there behind the words, before the words and after, going further and deeper than words can take it.

WWD: What is the one memory from 2016 that will stay with you?

My sunrise set at the Robot Heart bus at Burning Man. The Mayan Warrior bus came next to the robot heart bus and they connected their sound systems. I was honored to play this great spot. I am still happy and thankful. You can check out the set here:

WWD: From all the music across the scene this year, What’s been the defining dance-floor track of 2016 in your eyes?

To be honest, I never know exactly from which year my favourite tracks are from. I am not a dj. I listen to music as it comes to me and with my work I am constantly surrounded by big tracks – in the clubs from the acts before and after me, and from my friends sending me stuff. So luckily I don’t need to spend time digging for fresh sound. But also because I produce and play only my own music I don’t need to spend all this time to be so up-to-date and remember all these tracks names from the great new and old artists out there. So my eyes are not best suited to answer questions like that. My eyes are more focussed on my own music and how to evolve it and how it moves the audience. Maybe i would say one of my own songs, but again I not in the business of answering narrow questions like that.

WWD: Who was your standout performer live or behind the decks?

This question however I can answer because for me it’s clear. Stephan Bodzin and Moderat are my personal heroes. I am always honored and excited when I am playing with them. Also they are really nice, polite and smart guys. That is so important in a music scene where many djs behave like princes, divas or stubborn babies. And of course I still adore the work of Björk.

WWD: Now that the album is behind you, what’s the next big project/goal in your eye-line?

I am working on my new album already, but I don’t want to tell you anything more than that right now. I learned to not talk about unfinished work or ideas. Best to make a product first before you talk about it, I think. Also I like the element of surprise, especially with a big project like an album. But I can tell you about some of my other upcoming releases. After the first Remote Control Remix EP with Me & Her, Budakid and DeVante there will come three or maybe four more Remix Eps. And right now I am working on my own remix of the track Same Mistake from the album which will be released with a beautiful remix from Felix Räuber better known as the former singer of ‘Polarkreis18’

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