The Uncarved Block
The Magazine dedicated to Unsigned
and Independent-Label bands
Interview
A. J. Kaufmann talks to The Uncarved Block
Released: 5th March 2023
ANDY: Thank you so much for agreeing to an interview. I am very interested to know more about your background, and what first got you into writing poetry and music.
A.J: I live in Poznań, Poland, and work there. My parents had a record player and quite a big and interesting collection of records. They introduced me to a lot of artists. In 2000 I visited Berlin with my mother, and we stayed at the house of Johann Gottlob von Wrochem, a German pianist and composer. He had a huge library. As a 15 year old kid from Poland I was especially fascinated with “Finnegans Wake” by James Joyce, and various poetry anthologies. I started writing my first serious lyrics and songs in 2000, though already in 1998 I was recording cassettes with my own songs, demos, ideas, and jokes. The Viva Zwei TV channel was also a big influence. Staring at all the bands and artists I thought “If they can do that, why can't I?”. And so it all began.
ANDY: It seems you were introduced to many cultural influences from a young age. What other inspirations helped you to develop your unique style of writing?
A.J: The first and main influences would be Lawrence Ferlinghetti, James Joyce, Syd Barrett, Kurt Cobain, William S. Burroughs, and lots of old sci-fi / fantasy novels and short stories. Especially Philip K. Dick, Roger Zelazny, Michael Moorcock, and the likes. Also Kurt Vonnegut and William Blake...
ANDY: I must admit that is an impressive range of influences, which shows itself in your eclectic range of music. So how do you narrow down your ideas when sitting down to write new material?
A.J: Playing with new ideas is sometimes the best way to go. It comes naturally then. But, just as often, I sit down with the task of writing a song. These days I use very little pre-written material though – just a few phrases or riffs or words or anything, like a bass line, or organ part, I sometimes even start with just a drum machine or abstract patterns. But this year I already wrote some new songs, like “Wally Hope” or “Kinky”. I think they will be on my upcoming album.
ANDY: You must be very disciplined in your approach, because you have so many side-projects (Fairyport Convent, 93-105, The Yellow Blackness, Gita Ra) as well as your solo incarnations. Do you set out with an intention to write for a specific project/solo work or do you just create tracks and then judge which project it would best be suited to, upon completion?
The latest Fairyport Convent album, “Death Psychedelics” (The Swamp Records) was recorded specifically with FC in mind. But sometimes I record music without any intention. Then I decide where it should go. For the most experimental work I use mainly my birth name, Adam Majdecki-Janicki. A.J. Kaufmann is more for psychedelic folk noise / psych rock, and sound art and poetry, and the rest is just various faces and phases of my personality. I don't have that much projects going on at the moment.
ANDY: As a primarily solo artist, you have to do all of the work yourself, so I am interested to know the processes and equipment you utilise?
A.J: My more electronically inclined friends call me “a caveman”, because I still rely on my Gibson SG '61 guitar – plus bass guitar, acoustic guitars, organ, drum machines, and record everything live. So, the software doesn't really matter. The computer is simply a more advanced cassette recorder for me. I sometimes record in a studio, and sometimes at home. Last time I worked in a recording studio was in 2017 I think, and, to be honest, it wasn't worth it. I have those long home-recording episodes that sometimes lead to a studio recording, and, sometimes not...
ANDY: That's quite impressive because the quality of your recordings really compliment the sound and feel of your tracks, even though you aren't using the latest technology. So, you play everything live?
A.J: Everything is played live. The drums are either simple drum machines, or MIDI drums, or, sometimes I even play the drums. But I can't synchronize my arms with my legs, so I don't use the kick drum at all. Drums are my hobby instrument, but I know good drums when I hear them. I often get a “great synths” or “great collage” comments on soundcloud and on other places – and I get mad, because it's all played live, and, most often there are no synths used. When there are, I mention it. Same with sound collage, I use it rarely, but I sometimes think these days people can't tell the difference. Over 25 years of work I managed to get really weird sounds out of my guitar. So, maybe I should be proud of the “great synths” comments after all...
ANDY: On some of your projects you collaborate with other musicians. Is this done together in yur home studio, or recorded separately and brought together for the production process?
The Kakofonikt CD was done in a recording studio. For Psychedelic Mayhem we record at the Via Kosmische home studio. For Tall Yodas, we record in our rehearsal room. The most recent CD, “Bard's Woman...” was recorded separately – can you imagine the budget I'd have to have to bring musicians and artists from Poland, UK, USA, Germany, and Indonesia, together in a studio? I can't. I never worked on big budgets, except on my first studio album, and I never will again.
ANDY: I completely understand; big budgets are not always necessary, especially when the passion for music is present. But having so many friends in distant places must be a barrier for meeting up in person, so do you get the chance to perform live with any of these projects?
A.J: Sure. I have an upcoming gig with Tall Yodas on March 17th and with Psychedelic Mayhem on March 23rd . Excited to be sharing the stage with Ringhold. We are on the same label, Ramble Records, Australia. Those are local gigs though, both in Poznań. Would love to travel in the future, but it's so complicated to get everything together that I'm not sure when we will play Berlin or any other European city.
ANDY: Well, we would love to see you live in the UK if you ever get the chance to come over. What would you say are the benefits and downfalls of working alone or with a band?
A.J: I have a band to work with, and I work solo. So, my thoughts are that solo work is more personal, cozy, experimental, and free. In a band there are always strong artistic personalities that have to work together, so we have to listen to each other and exchange energy and be constantly in motion. The sound of the band is always the mix of the members' personalities. For solo work, it's just me. I love to return to my home studio after rehearsals and work in peace on my own experimental style. I am really lucky not having to choose between a band and solo work.
ANDY: You certainly seem to optimise the best of both situations. You have been producing music for quite a few years now, so how do you think your music and writing style changed over time?
A.J: I guess in 2023, which is 25 years since I recorded my first cassette, I am closer to my naive, teenage, dilettante roots than ever before. So, maybe it changed for worse. But at least I'm really happy. I was never touched by the charm of professionalism. I like beginnings, and I hate ego. I guess that keeps me moving.
ANDY: Music always seems to keep flowing in cycles, and it is refreshing to return to what inspired you originally. But looking to the future, what further projects do you have lined up?
A.J: I'll keep releasing the “Pink Elephant Music” series with The Swamp Records. In April I should release my collaboration with robvisual, a German DJ, VJ, and music producer. I'm quite happy with the album. You can already listen to “Modern Hippie” on soundcloud. I also have an album with the American poet ZM Wise in the works. The collaboration with robvisual will be at moments even “dark disco”, so it might be surprising, and the album with ZM Wise will be purely poetic. But fans of psych rock need not worry, since I will be working with Sound Animal on an album release that should please every psychrocker out there.
ANDY: Can't wait to hear those. Just one final question regarding the music scene in Poland. It seems (from the outside, here in the UK) to be very vibrant and creative, so do you feel there Is a sense of community and friendship between bands and musicians?
A.J: I am an outsider, so it's hard for me to answer this question. I think in the beginning it was really friendly and nice, but it's gotten worse with time. I was quite harsh on the Polish underground scene when interviewed by Record Crates United last year, and I can't find anything really honest and interesting on the scene a year later. Maybe in the really deep underground or in academic circles there is some interesting Polish music. Also, Polish stoner is cool. Like Volt Ritual, for example. They are very fresh and honest in my opinion. The best days for Polish underground were the 1990s/early 2000s with a ton of great, honest music. Maybe I should listen to more new Polish music and re-open my ears.
ANDY: Well, thank you so much for taking the time out from your busy life to answer some questions for us here at The Uncarved Block. We look forward to hearing more from you in the future. Best of luck.
(Click on the underlined links to begin your adventure in uncovering the vast amount of great music from the mind of A.J. kaufmann)
