Intervju s nadarenom glazbenicom, koja umjetnički djeluje u Berlinu pod imenom Karolina Bnv, produkt je suradnje našeg RatCat izdavača s akterima scene u njemačkoj elektroničkoj prijestolnici i prvi u seriji takvih članaka koje ćemo objavljivati dvojezično, na hrvatskom i engleskom jeziku. // The interview with the talented musician, who performs in Berlin under the name Karolina Bnv, is a product of our RatCat publisher’s collaboration with key figures from the scene in Germany’s electronic capital. It is the first in a series of such articles that we will publish bilingually, in both Croatian and English. //
Karolina Bnv poznata je po jedinstvenom spoju italo, new beat i EBM stilova kojima se spretno poigravala na svom prvom izdanju na labelu Wrong Era, a onda nas skroz ‘kupila’ kad smo čuli rani master njezina nadolazećeg EP-a prigodnog naziva ‘Yet to come’ za istu uglednu etiketu. Svojim držanjem, pojavom i stylingom, a posebno muzikom koju vrti u video dj setovima po YouTubeu i na SoundCloudu postajala je sve privlačnija i na kraju se putem Instagrama uselila u kadar zanimanja pa je intervju bio neizbježan. Otkrila nam je ime omiljene Korgove mašine i kako nastaju njezini urnebesni samplovi, što je radila u Engleskoj, zašto je u Berlinu i otkud suradnja s glumicom Karinom Jilaz, tko je inspirira i koliko voli 80-te.
Karolina, čestitamo na nadolazećem izdanju ‘Yet To Come’ na Wrong Era! Rekli bismo da je taj EP ozbiljan korak naprijed u tvojoj karijeri; može li se uopće u evolucijskom smislu usporediti s ‘Lessons On Good Behaviour’?
Hvala vam! Opisala bih evoluciju ovog EP-a kao duboko putovanje moje svijesti. Počela sam raditi na ‘Yet To Come’ baš kad su se početkom 2022. počele događati određene stvari. Nisam imala izbora nego prenijeti svoju bol kroz umjetnost. Zato su ove pjesme dublje, a istovremeno i mračnije.
Ovo je sad već drugi EP koji izlazi na renomiranoj etiketi Wrong Era. Kako je krenula ta suradnja i što vas je privuklo k njima?
Prvi put sam čula za momke iz Slow Motion i njihovu drugu etiketu, Wrong Era, kad sam naišla na album ‘Mondo Della Notte’ Franza Scale u tjednim novim izdanjima. Izašao je krajem 2020. godine na Slow Motion i Bordello A Parigi i sjeo mi kao savršena mješavina Itala, New Beata i EBM-a – upravo onih stilova koji kao da su stvoreni za mene. Taj vinil me pratio na putovanjima i nastupima diljem istoka Europe. Kada sam završila svoje pjesme, Slow Motion je bio među prvim etiketama na čiju adresu sam ih poslala. Pozitivan odgovor od Franza Scale stigao mi je dok sam bila na satu vožnje.
Uvodna pjesma ‘Unforgivable Decisions’ ističe se svojim sablasnim vokalima i industrijskim zvukom. Možete li nam reći više o suradnji s Karinom Jilaz na toj pjesmi?
Vjerojatno zato što je to bila prva pjesma koju sam napisala u ožujku 2022., kad su se počele događati one grozne stvari diljem svijeta i krenule restrikcije. Karina je moj partner u zločinu, moj oslonac i podrška dugi niz godina. Profesionalna je umjetnica i glumica, pa sam znala da trebam njezin vokal za ovu pjesmu. Taj glas savršeno se uklopio u industrijski osjećaj pjesme, čineći je dubljom i življom. Volim uključivati vokale u svoju glazbu jer dodaju određenu živost zvuku.
Postoji li neki specifični hardver ili softver korišten u stvaranju pjesme ‘Yet To Come’, a da je bio ključan za oblikovanje zvuka u njoj?
Obožavam koristiti sampleove! Sampliram vlastiti glas, pretvarajući ga u čudne efekte, a volim i uzimati fraze iz intervjua ili vijesti, kao u pjesmi ‘1988’. Taj konkretni isječak iz vijesti bio je o štetnom utjecaju Acid House zabava na mlade. U pjesmi ‘Germany Calling’ ima dosta sampleova iz jedne od mojih najdražih ploča, Bassline Boys – Warbeat, koja je izašla 1989. godine. Moj omiljeni hardver je definitivno Korg MS-20, kojeg koristim u gotovo svakoj svojoj pjesmi. Taj sint daje hladan zvuk 80-tih koji obožavam.
Kako izgleda proces Karolinina stvaranja glazbe?
Proces obično počinje pronalaskom glavnog zvuka koji me inspirira ili samplea koji mi privuče pažnju. Zatim dodam drugi lead i počnem eksperimentirati, prilagođavajući instrumente dok ne postignem savršeni zvuk. Kad sam zadovoljna, prelazim na bas, a udaraljke ostavljam za kraj. Inspiracija je ključna! Često pronađem ideju čak i u pjesmi koja mi se ne sviđa. Osim toga, obožavam povijest, umjetnost iz 20. stoljeća, kazalište i operu.
Otkud zanimanje za glazbu – DJ-ing i produkciju? Kako je sve to počelo?
Interes za glazbu probudio se kad su mi roditelji dopustili da sama istražujem grad. Ubrzo sam otkrila dućane s CD-ovima, a to mi je otvorilo novi svijet. U Engleskoj sam počela učiti nove žanrove i imati prve DJ setove, a ubrzo sam kupila i Technics gramofon. Kada sam krenula s produkcijom, imala sam jasnu viziju i solidnu osnovu.
Kako je vrijeme provedeno u Engleskoj utjecalo na glazbenu viziju?
Zahvalna sam roditeljima što su me poslali na studij u Englesku. Bila sam gladna novih zvukova i obožavala sam odlaziti na različite partyje. Taj spoj zvukova i atmosfere oblikovao je moj glazbeni ukus.
Nakon Engleske slijedi preseljenje u Berlin. Kako je taj grad utjecao na tvoju glazbu i karijeru?
Berlin me privlačio jer je magnet za glazbenike. Fasciniraju me povijest i kultura Njemačke. Volim dokumentarce i muzeje, a posebice me inspiriraju kasne osamdesete, kada se techno-trance i acid house razvijaju u najautentičnijem obliku.
Tko te inspirirao ili utjecao na tvoj zvuk?
Moj popis utjecaja ostaje prilično dosljedan i uključuje umjetnike poput The Hacker, Miss Kittin, Curses, David Carretta, Boy Harsher, Jensen Interceptor, I-F i Intergalactic Gary, koji me stalno inspiriraju. Također volim pratiti novosti od etiketa kao što su Pinkman Records, Bordello A Parigi, Gooiland Elektro/Enfant Terrible, Digital Tsunami, Viewlexx, Creme Organization, Italo Moderni i Red Laser, među ostalima. Ipak, moja istinska strast leži u istraživanju glazbe iz 80-ih i 90-ih. Često naiđem na skrivene dragulje kod Zyx Records, a Technodrome International uvijek će mi biti omiljen!
Što fanovi mogu očekivati od tebe u bliskoj budućnosti?
Još novih izdanja, nastupa, suradnji i turneja, uz mnoga iznenađenja koja zasad ne mogu otkriti. Da ne ureknem!
INTERVIEW with Karolina Bnv: She Loves Samples, Korg, and the ’80s. This may be a ‘Wrong Era’ but her is ‘Yet to Come’
Karolina Bnv is known for her unique blend of italo, new beat, and EBM styles, which she skillfully showcased on her first release with the label Wrong Era. She completely won us over when we heard an early master of her upcoming EP, fittingly titled Yet To Come, for the same renowned label. With her presence, style, and especially the music she spins in video DJ sets on YouTube and SoundCloud, she has become increasingly captivating. Eventually, she entered our radar on Instagram, making this interview inevitable. She shared with us the name of her favorite Korg machine, the process behind her fantastic samples, her time in England, why she’s based in Berlin, her collaboration with actress Karina Jilaz, the artists who inspire her, and just how much she loves the 80s.
Karolina, congratulations on your upcoming release, Yet To Come on Wrong Era! This EP feels like a bold step forward. How would you describe its evolution compared to Lessons On Good Behaviour?
Thank you guys! To start with, I would describe the evolution of this EP as a profound journey of my consciousness. I started writing ‘Yet To Come’ right when the occurrences of early 2022 began. I had no other choice but to channel my pain into my art. Therefore, these tracks sound deeper and, at the same, darker.
This is the second EP you release on the renowned label Wrong Era. How did your partnership with Wrong Era come to life, and what do you think makes it the perfect home for your music?
I first heard about the guys from Slow Motion and their second label, Wrong Era, when I came across Franz Scala’s album Mondo Della Notte in the weekly new releases. It was released at the end of 2020 on Slow Motion and Bordello A Parigi. I thought it was a fantastic mix of Italo, New Beat, and EBM, which are exactly the styles that speak to me. That vinyl ended up traveling with me across the entire Eastern European bloc. When I finished my tracks, Slow Motion was one of the first labels I sent them to and I got a positive reply from Franz Scala while I was in a driving theory lesson.
The opening track, Unforgivable Decisions, really stands out with its ghostly vocals and industrial feel. Can you tell us more about the collaboration with Karina Jilaz on this track?
It stands out because it’s the first track I wrote in March 2022, right when everything started to unfold. Karina is my partner in crime, and has been my rock and support for many years. She is a professional artist and actress, so when I was writing the track, I knew I needed her vocals. Her voice perfectly matched the industrial vibe of the track, making it deeper and more alive. I love incorporating vocals in my music, it adds a certain liveliness to the sound.
Are there any specific pieces of gear or software you used to create Yet To Come that were essential to shaping its sound?
I absolutely love using samples! I sample my own voice, turning it into strange FX, and I also enjoy sampling phrases from interviews or news programmes, like in the track “1988.” That particular news clip was about the harmful influence of Acid House parties on the youth. In the track “Germany Calling,” there are a lot of samples from one of my favorite records, Bassline Boys – Warbeat, which came out in 1989. My preferred piece of hardware is definitely the Korg MS-20, which I use in nearly every one of my tracks. This synthesizer gives off that cold 80s vibe that I absolutely adore.
Can you walk us through your typical process for creating a new track?
My typical process for creating a new track usually kicks off with finding a lead that inspires me or a sample that grabs my attention. I’ll then layer in another lead and start experimenting, tweaking the instruments until I nail that perfect sound. Once I’m happy with that, I move on to the bass, and I always leave the drums for last.
But the key for me is inspiration! I can even listen to a track I don’t particularly like and discover something within it that sparks my creativity—be it a sound, a timbre, or just the overall vibe. I read a lot about history and politics, have a passion for art, especially from the 20th century, and I adore theater and opera. I also enjoy going to classical music concerts. At home, I’ve always got a mix of 70s and 80s Brazilian and African tunes playing. So really, inspiration can come from anywhere, even the most unexpected places!
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How did you originally get into music – Djing and production?
I developed an interest in music when I was 11, as my parents started letting me explore the city on my own. I soon discovered music shops filled with CDs, and that opened up a whole new world for me. I got into dance classes and joined a band as a drummer when I was at high school. In 2008, I moved to the UK to study. With no friends or social circle there, I spent a lot of time alone, constantly searching for and discovering new genres. That’s when I had my first DJ sets. By 2011, I had bought my first Technics turntable. When I ventured into music production, I had a solid foundation of knowledge and a clear vision of the sound I wanted to create. My style has evolved over time and continues to do so, which I believe is essential for progress and artistic growth.
How do you feel your time in the UK shaped your musical vision?
I am immensely grateful to my parents for sending me to study in the UK, as I believe that this country had a huge influence on my musical journey. I attended countless events featuring both local and well known artists. I was always hungry for new sounds and absolutely loved going to both small bars and massive warehouse parties. In London, you can find a party to suit any taste. Sometimes, I didn’t even know which one to choose because I wanted to go to all of them at once. My favorites were always the Secret Sundaze events. I’m not sure if they still exist though. Once, I took a bus from Bournemouth (where I used to live and study) to Milton Keynes with two transfers, without a hotel or friends there, just because I was determined to attend a party.
What inspired your decision to move to Berlin, and how has the city influenced your music and career?
I’ve always wanted to get back to England or the EU. I feel like a citizen of the world, and it just started to feel too small for me because I played in nearly every major city in Eastern Europe. I knew it was time to move on, and Berlin seemed like a magnet for musicians from all over the world. I’m really into history and Germany’s culture in general. I love watching documentaries and spending time in museums. The late ’80s, especially after the Berlin Wall came down, really inspire me. The electronic dance music from that era, particularly techno-trance, and acid house genres, feels so genuine and raw.
You’ve shared the stage with some major artists, including Anthony Rother, Broken English Club and DVS1. What’s been your most memorable Dj experience so far?
It’s tough to pick just one standout experience since all these artists are unique and true professionals. However, I did have a memorable moment playing at a series of events with Boris Bunnik (Conforce) back in 2016. He mentioned that he meditates before every set, and I thought, “This guy definitely knows what he’s doing.” Inspired by him, I started meditating before almost every gig myself. Plus, I do Kundalini Yoga every morning, and it really helps me feel amazing!
Who are some of the artists or producers you look up to and that have influenced your sound?
My list of influences remains fairly consistent, featuring artists like The Hacker, Miss Kittin, Curses, David Carretta, Boy Harsher, Jensen Interceptor, I-F and Intergalactic Gary who consistently inspire me. I’m also quite keen on keeping up with announcements from labels such as Pinkman Records, Bordello A Parigi, Gooiland Elektro/Enfant Terrible, Digital Tsunami, Viewlexx, Creme Organization, Italo Moderni and Red Laser, among others. However, my true passion lies in exploring the music of the ’80s and ’90s. I often come across hidden gems in Zyx Records, and Technodrome International will always be my all-time favourite!
What can fans expect from you in the near future?
Fans can look forward to more releases, performances, collaborations, and tours, along with plenty of surprises that I can’t reveal just yet—after all, I wouldn’t want to jinx anything!
