Mischa Blanos is an outstanding artist, who has been known how to deepen himself, generating a unique identity.

In this space we will get to know more intimately about his creative processes , the development and the inspiration that he had when composing his new album “City Jungle” as well as his collaboration as ‘Amorf‘ with Vlad Caia and Cristi Cons.

– Hi Mischa, how are you? What a great pleasure to be able to have this space and share with you. Thank you very much for receiving us! It is really fascinating to have the opportunity to interview artists like you and get to know yourself a little more. 

Hello! I’m so happy to talk to you and your beautiful audience. It’s no secret that we, artists, missed our audiences, so being able to reach them means a lot. Thank you for having me.

– You played at Club Guesthouse and Alandala events last week, how would you describe your experience?

Indeed I had a good week overall with an electronic set at Alandala opening night on Saturday in Cluj-Napoca with 500 people and on Thursday, I had the chance to play at Club Guesthouse. It was the first acoustic electronic concert which is also a new beginning at Club Guesthouse. I really enjoyed playing an acoustic electronic concert at the new location and especially I am happy that they will continue to hold jazz concerts and other genres.

– Could you tell us how was the internal process, while this metamorphosis was taking place, between the character of classical music and this new one that inhabits electronics?
It was a particular moment that influenced the shift in my career from being a classical music performer to a composer. As a teenager I had a masterclass in Rotterdam and the jazz teacher draw me a triangle and splitted it in two and he said to imagine that the left part of the triangle is my interpretation abilities, my technique and my power to perform any classical composer outstandingly, because I had it in me, he said. On the other hand, the right part is the composer side and that part was empty in my case, he said. That was my Aha! moment, right there I realized that I wanted to express myself through music and to tell my own stories. And because I was already into listening to a lot of techno music, the infusion of electronic instruments into my compositions followed naturally. That was a story for me to tell.

– I have read in another interview that when you are improvising live, you are simultaneously composing, in a place or context prior to achieving the sound. Would you say that you have the resource to consciously unfold in space / time to generate this creative resource? Could you describe how it is for you, what you feel and what you perceive when you are in these states?

Well, my live performances are sometimes quite different from the studio versions. You can definitely recognize the piece I’m playing, but there are differences, and these are coming from the space around me and from the public. Sometimes I feel that I have to expand the concert space and so my improve will take a dome shape with longer notes, other times when I feel a kind of energy from the public, I render that urgency in my improve as well. It’s a road from perceived emotions to delivered emotions.

– During your creative process, how would you describe yourself? From the moment you detect a trigger until you solve the final piece.

Like I’m in another dimension. When I’m composing a piece or just jamming on an idea I’m feeling that only my body is in that room and my mind is so far away from what we call reality. Then, after this sci-fi journey that I have while composing, reality is coming down to me and I start putting all the puzzle pieces together. I will never feel that the puzzle will be completed, because every time I’m saying this is where I put my pen down, the wave of other ideas is coming to me.

That being said, this struggle to be able to finalize the piece is mandatory, so I’m working every time with myself to let it go into the world as it is.

– Massive congrats on your new album “City Jungle” Lovely by the way, it touched me deeply. Can you tell us about it, how this project was born, what was the most important challenge you had to go through during its development? If you had to define it with an emotion, what would it be?

Most of the pieces are written during the pandemic. My schedule was quite basic: get up, get to the studio, study and compose, socialize on screen a bit, eat and sleep. So I had a lot of time to think, daydream and to come up with stories. So I took my bike and rode it in an empty Bucharest. And that image made me think deeper about my relationship with the cities I’ve been to. There are many cities I traveled through, but I think the cities I lived in actually made me realize that I was different in each of the cities I lived in. Every city has its own rules and rhythm and you have to attune to them. It’s like a coat that you have to wear and this coat can be relaxed or well fitted. In Berlin you have the lazy afternoons and the easygoing conversations.

When I moved to London I got this high bpm feeling, a sense of emergency that I had to do many things at once. Back in Bucharest as a kid growing up here, I had to keep my eyes wide open and to be aware of what was going on around or behind me. So, every city has a different tempo. But before the pandemic I thought the reason you feel different in every city is because of the people, as they are different in every culture.  But during the lockdown, all the people were locked in their homes, there was no crowd on the streets, the city was empty. That feeling of me emulating the cities I lived in was not because of the people around me, it was the city itself. I imagined that the city is an untamed creature and we are creating it one cell at a time.

The challenge? Well, not being able to go out of the city to recharge my batteries for such a long time was the hardest thing to do. I wouldn’t think it is possible for me, since I am so addicted to spending time in nature. I guess nature is my antidote to that feeling of being constrained by the city.

– You have a link with two very remarkable personalities within the scene, Vlad Caia & Cristi Cons. We know that there is a collaboration together for this next release. Could you please tell us how those collaborations were born? From where do you feel that they resonated and connected with each other? What was it that influenced you to come together to manifest and co-create this project?

I knew Cristi Cons from the National University of Music from Bucharest and I think this was a big help in making this connection come alive. I was coming from Berlin back home for a short period of time and Cristi called me and came up with the idea of a live jamming session at Understand Studios. Here I met Cezar, the man who supported this project right from the beginning, even though he didn’t know what would be the final result, if any. I must say I really appreciate this kind of people and believe me there aren’t so many.  Moving forward, meeting with Vlad directly in the studio with all his gear prepared was the best idea to start this journey together. After two nights of recording music all three of us, our first album Blending Light was born. This feeling of having no expectations from the music is something sincere in our Amorf music.

– Once released, what do you have in mind for the present / future? Do you have something you can share with us about the next actions to follow, both personally and with Amorf?

The release of this album was such an exciting undertaking, and even though this is a solo album, so many people have worked to make this happen, it was a beautiful team effort beginning with the people of InFine with their professional and candid support. Because of this album, I met the incredibly talented Matei Bacanu who designed the art works, such a perfect match for the music. The photographer who took the press photos is Felicia Simion and she managed so beautifully to create a cinematic feeling. I had a great time shooting for the video Crystal, an acoustic piano track from the album and this is all thanks to the wonderful crew managed by producer Matei Tautu and the vision of the director Mircea Ghinescu.

Apart from this album, I recently had a collaboration with the theater director Alex Bogdan, composing the soundtrack for the play “The Bald Soprano” by Eugene Ionesco. This experience was a very special one for me and I enjoyed making music for this great play.

I have many puzzles to solve and complete, but what I can say now is that there is a lot of music coming out from my studio into the world to my fans’ ears. But honestly all I want now is to be on stage. As a composer, this period of isolation was abundant, but for me, the performer, it was a sad period. So, I hope for concerts for my acoustic-electronic solo project and with Amorf.

-Anything you would like to add or share with our readers?

Dear Meoko reader, I hope the pandemic has come to an end and we will be able to see each other in the club, festival or concert hall like in the good times. I also want to highlight that without you our work as artists would have no value, so thank you for being in our lives. Much love!

Best from Berlin,

Mischa.

 

Words by Pilar Molinero

 

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