Cxemcast 052 – Rrrkrta

Tell us about the mix. What is the idea or message behind it?

Kostya, who manages K 55 in Warsaw, let us record it at their venue. We borrowed a recorder from Bartosz Kruczyński. Along with him and my friend Ania, we were waiting to attend A Day Without a Woman protest that took place just nearby. The mix was recorded in one take, mostly with vinyls. We forgot the idea behind it, but a certain Justin Bieber was definitely involved (the choice was between him and Spiral Tribe, however Bartosz chose wisely).

How did you come up with the title of 'Brutaż'?

Actually, it was Piotr Kurek, who started parties in Eufemia in Warsaw before they became dance-oriented. It's a Polish spelling of a French word bruitage (Fr. - noise effects). That's how it’s pronounced or I call the police.

What is the concept of your party series about?

Having fun and trying to make space for each other. So, in the end, a gap appears. Somebody annoying comes in and we have to pretend we're listening to music.

Why is there a basket-ball on the logo?

Because browsing the Internet quickly is entertaining and to the point. That was the first interesting image we found. It's a strong and yet a neutral symbol.

Are you planning to tour with your party series and go outside of Poland?

We are throwing parties all around Poland with monthly nights in Kraków and Poznań. We also had a regular event at OHM in Berlin, but it's gone now. Very few people are interested in actual support of Eastern Europe and underdeveloped scenes - economic equality is just not included in any concepts of inclusiveness that are so fashionable right now. The Polish border is 100 km away from Berlin, but over the course of last year none of the Polish artists has played at any bigger Berlin club. It's pretty cool that we somehow started to believe in the notion of fair social ladder within the underground dance music spectrum. However, who told us that? Moreover, what if those people and places are not really that necessary?

Draveng - Xeroxer [Brutaż 002]


What was your inspiration to develop Brutaż into what it is now?

The development took place naturally. Plenty of folks attending Brutaż are pretty self-aware, but somehow in an ambiguous way. And they're looking for an alternative space, where things are both, fierce and anxious - the clubs usually try to force their strong identity upon insecure youngsters. So we're trying to follow them instead of creating a ‘brand’ that sells packaged, defined sounds and vision.

Did you face any challenges at the beginning?

We took over Brutaż from Piotr Kurek and Kelo shortly after it started, and somehow it became relatively big, even though we weren't really sure how to do anything. We always wanted to redefine the kind of vibe you can bring into the club. Some folks don't like to be challenged, so they complain, to this day. Every party attracts roughly around 300 people, and we provide pretty ridiculous music, but still the backlash is big. We're considered to be either judgmental hipsters who don't know how to have fun or total junkies. However, we came to terms with it because the criticism made those critics look cool and we're simply happy for them. Because we still do manage.

Do you sometimes feel that by doing such unconventional parties you educate people by showing that club culture has no strict boundaries? Do you see any changes it has brought to Polish club life?

Sometimes the absence of education is the best education one can get. However, it doesn't include the struggle against sexism, homophobia and economic discrimination that needs to be upheld, especially in the night time. We would like to work more in that direction.

What is the political side of the party series? At what kind of political change are Brutaż events aiming?

Brutaż is supposed to be nothing more than a safe harbor, so we're just trying to exclude the harmful attitude. Also, we're learning that dancing naked isn’t a crime and:

Pantene - Don't Touch Me I'm Dancing


How do you come up with lineups for the parties?

We were incredibly lucky to befriend extraordinary, talented DJs and performers of various provenance. We're trying to expand our community with every party, so we're looking for performers, DJs and, basically, new friends, whom we'd like to introduce to those we already know. In addition, it's 90% vinyl-oriented, because before we even claimed that, people were already hating on us for not being serious about anything. So we decided to become serious.

Do you book foreign artists or rather mostly try to involve local dudes?

We don't announce lineups, but the idea is to always have one foreign performer per party night. Moreover, to stop bringing dudes, and make more space for women instead. Bringing local acts is important because Warsaw was taken in hostage by tech house and big-room techno mafia, and none of the new acts are booked anymore, basically, in any of the clubs.

What is going on in Warsaw nowadays?

Smog and aggressive unquestioned reprivatization, mostly. Who knows.

As far as I know, you make your parties at the Palace of Culture and Science. Could you tell us a bit more about this place?

It's the biggest and the most famous building in Warsaw, designed by Lev Rudnev, who's also the author of "Seven Sisters" in Moscow, which technically looks the same as the Palace of Culture and Science. There's a restaurant called Cafe Kulturalna in the building. We remove all the tables, set up a soundsystem, people bump into the DJ table and it's too loud to yell at them, but we always forget to prepare an appropriate notice.

You used to live in Berlin for a couple of years. How did you like it? And why did you decide to move back?

While working at a shop like Record Loft one can meet plenty of friends, who turn out to be amazing DJs. Moving back to Poland was an obvious move, because it still needs a push, and there's so much work left to be done. The ‘underground dance music industry’ is pretty sickening, so  in Warsaw it's better to stick to the punk attitude. That is, if one still has the access to it.

Why do you think there is such a hype around Berlin?

It's there because of its history, and the multitude of scenes and communities that go far beyond the events in the techno scene. Berlin is rapidly changing and, in a way, it became a victim of its own fame. Some people can't stand it anymore, so they move out, but there's still a lot of inspiring currents within that city, so the hope isn’t lost.

Who are the most unnoticed, but still great local artists and musicians that you came across while doing the Brutaż parties?

Soon, we're releasing a compilation with Transatlantyk (a label run by Zambon) consisting of 9 debuts (Aheloy, Antonina Nowacka, Random Code and 1 9 9 2). Apart from those released, there's some people, who are too shy or too weird to be mentioned. I'm talking about the Girls to The Front zin & parties, an oddball duo of Qmam and Czayę, Wounded Knife label (but it’s defunct now), an Italian DJ called FVO, a modular rhythmic ambient combo of Mirt and Ter, Mestiço crew and Martyna Bolanowska (who's also the best illustrator within the choo choo realm).

What is your favorite way to dig for new music?

Music stores, with no pants on, throwing records around and approaching random people to sing them the song of my people. My least favorite way is when there is one of those records, which Vladimir Ivković played, and one realizes how much it costs.

Do you produce your own music, and where can we listen to it (your Soundcloud page is pretty minimalistic)?

Yes, we do. And no, I don’t. I’ve just opened that Soundcloud page and, in general, after all these years, I'm trying to figure out how to understand myself as a separate entity.

What are the upcoming releases on your label?

After Mchy i Porosty record, which is out now via Lobster Distribution and Side One, in two months Brutaż will release a record by Carlo Maria from a duo called Punctum; then a 2LP compilation with Transatlantyk, dedicated solely to the debuting Polish artists; then some Polish EPs - Wiktor, knowт as Souvenir de Tanger/Dyktando, and AARPS from Katowice (the best live act around!); and, finally, a dance record by Silvia Kastel, who's also doing a non-dance LP on Blackest Ever Black. In addition, we’ve just got a spirit-crushing material by 34.10.3402 from Belgrade. We're hoping we'll be able to accomplish at least half of the plan. We need to release more records by women, there's simply not enough of them. We'll all go to hell for that.

What are your plans for 2017?

In a great new darkness, we will finally execute my special plan. And mums, mums are important.

Interviewed by Alexandra Zakharenko.