Get to Know the Melodic Style of Blanka Barbara

23 hours ago 8

Blanka Barbara swung by to chat about her love for melodic dance music, her newly launched label and event brand UNTOLD, and more.

The sounds of melodic house and techno continue to captivate many in the scene, and there’s a fresh crop of artists who continue to push the boundaries of the genre. Blanka Barbara is one of those artists, and she’s quickly begun to turn heads with stunning releases and performances that have left crowds breathless.

Originally from Poland but now living in the UK, Blanka Barbara carved out a niche for herself with tunes on labels such as This Never Happened, J00F Recordings, Natura Viva, and ICONYC in recent years. Adding to her rise have been performances at venues like Ministry of Sound and The Steelyard, along with appearances at ADE and Techno Las Festival, among others.

More recently, Blanka Barbara began the next chapter of her career with the launch of her imprint and event brand, UNTOLD. Telling us that it was a “long-held aspiration” of hers, this new label kicked off earlier this year with the release of “Mirali.” This track, which falls under her Late Arrivals project, features a gorgeous atmosphere you can’t help but love. That’s just a taste of what’s in store as more is to come from UNTOLD in the near future, including fresh releases and curated shows.

Before Blanka Barbara dives too deeply into the year, we caught up with her to chat about how she developed a passion for electronic music, what her plans are for UNTOLD, and so much more. Listen to her guest mix and read on for the full conversation!

Stream EDMID Guest Mix 460 || Blanka Barbara on SoundCloud:

Hi Blanka, thanks so much for taking the time to chat with me today. Let’s turn back the clock to kick this one off. Looking back, who were some of your earliest influences in the electronic music realm? How did you develop a passion for melodic house and techno specifically?

It’s a pleasure to be here and share my journey with you. Reflecting on my early influences, I can pinpoint several iconic artists that shaped my love for electronic music. Growing up, I was captivated by the innovative sounds of the likes of Depeche Mode, Kraftwerk, Jean-Michel Jarre. Popular choices, I know, but as I dug deeper, I found my love, Susumu Yokota. He was the master of taking something known, something that you thought was always perfect the way it is, and being bold (or arrogant?) enough to create an absolutely new and fresh piece of art. Genius.

I got into electronic music through classical composition, introducing bolder effects and electronic sounds into concerts. One of the highlights was my opera ‘Out at Sea’, which was performed several times in Europe. Apart from a small chamber ensemble, I had several electro-acoustic moments, amplified all singers and put weird effects on their voices, and added several moments of pure electronic madness to create an atmosphere of unease and the out-of-this-world. I gradually introduced more percussion in my productions, and once a friend asked if I wanted to DJ at their event – I agreed because I love challenges. I had Ableton and a very simple MIDI controller; looking back, devising how to play live with it was priceless. I graduated to decks from there and started playing music by other producers too.

Skip a few chapters ahead, and we are in my melodic house and indie dance phase. It was the unhinged creativity and atmospheric quality of the genres that drew me in. I like dance music that is imaginative, evocative, – something for the brain to enjoy while at a festival or on the dancefloor. Artists like Bicep, Bonobo, Maceo Plex, Sasha, Lane 8, Four Tet, DJ Koze are a beacon, and I continue to find inspiration in the ever-evolving landscape of our industry.

You were born in Poland but now live in the UK. Tell us about how your experiences living in these two countries impacted your work and creativity as an artist!

To be brutally honest, my time in Poland led me to miss out on the vibrant rave scene there. I found myself immersed in the world of ballet and enjoying concerts at the Philharmonic more often than stepping into a club.

Moving to the UK was transformative, though. I discovered artistic freedom here. I still go to plenty of classical concerts and focus very much on curating my own events at the Southbank Centre, my foray into electronic dance music truly began here. Discovering places like Printworks, Fabric, Steelyard, listening to Ninja Tunes, Warp, XL Recordings, watching artists like Bonobo master the decks at Boiler Room or Max Cooper live at the Barbican is nothing short of mesmerising; I found it hard to believe how captivating and different the experience of electronic music can be.

What’s the biggest challenge you’ve faced so far in your career? Have you been able to overcome it?

In the early days, I suppose I often felt pressure to conform to certain trends or expectations within the genre of choice, trying to fit into established moulds rather than exploring my unique approach. Over time, I realised that true artistry flourishes when one is unapologetically authentic. The challenge isn’t so much about overcoming external obstacles but rather overcoming my own doubts about wanting to write music differently and presenting it the way I’d wish to experience it myself. That, in part, also led me to launch my own label UNTOLD.

Your music has found a home on labels ranging from This Never Happened and J00F Recordings to Natura Viva and ICONYC. How has it felt to have received support for your music from these esteemed imprints?

Each release really feels like I’ve climbed Kilimanjaro! On each release day, I’m always filled with gratitude and elation. A lot of hard work, energy, and creativity goes into every track, so when a label takes on a tune, it feels like forming a partnership – a collaboration that fuels our shared ambitions. Important to consider where these partnerships can lead. Each collaboration opens up possibilities for more releases, a wider audience, potential live events. I appreciate that each label has its own unique identity and vision for the future. Partnering with them means joining our paths and working together towards a shared goal.

Speaking of labels, you recently launched your own, UNTOLD. What led to your decision to launch an imprint?

Launching UNTOLD has been a long-held aspiration of mine – an audacious platform that defies genre boundaries and dares to push limits. As we navigate the complexities of the 21st century, we find ourselves immersed in a constant whirlwind of stimuli, leading us to crave more immersive and emotionally resonant experiences.

UNTOLD is born from this epiphany, a heartfelt commitment to curate a sonic landscape that transcends the ordinary and elevates the overall sensory experience. It’s about creating a space where diverse sounds can flourish, inviting listeners to embark on a journey that sparks imagination. Through UNTOLD, I aim to celebrate the beauty of musical exploration and unite those who dare to dance along the edges of convention.

Can you share the mission behind this label and what you plan to bring with it in the coming months? Are there plans to open its doors to other artists in the future?

Last year, we overtook the Foyer of the Queen Elizabeth Hall in London with an event called ‘Rave: Recharge’. I invited my compatriots Catz ‘n Dogz to join me on the decks in celebrating rave culture, alongside the spectacular video designer Deruba, who ignited the night with his captivating VJ set. It was truly powerful.

This year, we are moving into the Purcell Room at the Southbank Centre for an immersive event on the 11th of April called ‘Undying Sounds: Reinventing Komeda’. This event is dedicated to the Polish pioneer of jazz in the 50s and 60s, Krzysztof Komeda. As one half of the electronic duo Late Arrivals, I’m merging cinematic electronic music with jazz fusion and intricate AI-powered visuals to craft an engaging experience that revives Komeda’s timeless film music themes.

You’re also no stranger to taking the stage, having performed at some prestigious venues like The Steelyard, Ministry of Sound, and more. Do you find yourself overpreparing for sets or do you approach them with the mindset of feeding off the crowd’s energy?

The electricity in a live setting is unparalleled, and there’s something magical about connecting with people in real time. Of course, each venue carries its own unique essence, dictating certain rules when it comes to musical choices. Whether it’s a themed event or a venue where attendees have specific tastes, I believe it’s only natural to cater to the mood and needs of the audience.

Last year, I had the opportunity to perform at a rather extraordinary Gala event in Manhattan, a fundraiser held at the Havel Center for politicians, activists, people from various embassies. It began with a soft DJ set, which beautifully transitioned into a performance by the phenomenal drag superstar, Sasha Velour. After her show, I took the stage again for another two hours of spinning. Believe me, DJing for such a diverse crowd is much tougher than you might think. I couldn’t simply stick to abstract melodic techno and hope for the best; I needed to engage with them, throw in some Abba, and electrify them to start moving, letting go, and truly enjoying themselves. In many ways, it feels easier to DJ at venues like Ministry of Sound, where clubgoers arrive primed and ready to party – it’s hard to spoil a set there!

Just for fun, if there’s a dream venue or festival you could play in the future, which one would it be and why?

When it comes to dream venues, I don’t have a specific one in mind. However, I must say I’m a big fan of the sound system at Gashouder in Amsterdam. It was there that I first experienced industrial techno in a way that was genuinely enjoyable – its staggering transparency and purity of sound were stunning.

For similar reasons, I would love the opportunity to perform at the Park Avenue Armory in New York or play some bold DJ set at the London Coliseum, but it would have to be for a truly immersive event. The unifying factor is a shared focus on creating clever, imaginative, and immersive experiences. It’s this synergy that ultimately transforms a performance into something extraordinary, no matter where it takes place.

Finally, do you have any specific goals you’d like to achieve in 2025? Is there anything on the horizon we can keep an eye out for?

In 2025, I am particularly excited about releasing my first solo dance album. I have several tracks that were tested during the run of the ‘KS6’ show at the Barbican, and they sound absolutely incredible – these will form the foundation of the album.

Additionally, I’m eager to develop more material as Late Arrivals; I truly believe we’re onto something fresh and innovative with our sound. I find great freedom in blending cinematic influences and approaching each body of work from an operatic perspective, allowing me to explore concepts as a whole rather than concentrating solely on individual tracks.

Looking ahead, UNTOLD has more events lined up, with a strong emphasis on the immersive aspects of each experience. By integrating engaging visuals and storytelling, we aim to envelop the audience in the ambiance, bridging the vibrant energy of a club atmosphere with a narrative-driven, often theatrical performance. There’s much to look forward to, and I can’t wait to share these experiences with everyone!