Blanka Barbara is an artist who thrives on pushing boundaries. From her intricate melodic techno productions to her work in theatre and radio, she seamlessly blends storytelling with sound. Her latest venture, UNTOLD, is more than just a label—it’s a platform for emotionally resonant electronic music that defies convention. With a focus on rich narratives and sonic experimentation, UNTOLD is set to carve out a unique space in the scene.
In this interview, Blanka discusses the label’s ethos, its debut release, the intersection of electronic music and theatre, and how she approaches performance and collaboration across different creative landscapes.
What drew you to the name UNTOLD? Does it reflect a particular philosophy or approach you want to take with the label?
The name UNTOLD speaks to my desire to explore uncharted territories. It’s a reflection of my belief that there are still countless stories waiting to be told through sound, genres waiting to be fused, and numerous innovative approaches waiting to be discovered.
UNTOLD isn’t just a label; it’s a philosophy. We thrive on the idea of cohesive diversity. We engage artists across a spectrum of subgenres, but the common thread is a commitment to a powerful narrative. Regardless of its style, each track aims to immerse the listener in a story and evoke deep emotional resonance.
Mirali has a strong cinematic feel, which ties into your experience composing for theatre. Do you think electronic music and theatre have more room to intersect in the future?
The cinematic feel of ‘Mirali’ isn’t accidental; it’s a direct reflection of the principles I learned composing for theatre and film. Staged performances, for me, are about storytelling, atmosphere, and emotion. Theatre, particularly, is a masterclass in the intersection of various art forms – sound, visuals, performance, all working together. I believe this synergy has immense potential for growth, and we’re only beginning to scratch the surface of what’s possible.
Your work spans club culture, theatre, and radio. How do you approach adapting your sound for such different audiences and spaces?
My journey from classical music to electronic music has been a process of continuous evolution. While the narrative element remains central, my approach shifts depending on the context. A nightclub demands a visceral, immediate impact, while theatre or film call for a nuanced, evocative score to enhance the plot. Unique experimentation with sonic textures is what attracts me most. I thrive in spaces where I can focus on the creative process absolutely, as they inspire me to blend elements I haven’t thought of combining before.
Your productions often carry an emotional depth beyond the dancefloor. What role does storytelling play in your creative process?
Storytelling is paramount. My dance music, for example, isn’t just about igniting dancefloor energy; it’s about taking the listener on an emotional and captivating adventure. A journey that is also a process of self-discovery for me as an artist.
Having returned to my roots in music for stage with the ‘KS6: Small Forward’ project currently running at the Barbican Centre in London, I reminded myself what I had been missing from my creative life. I love having a vast innovative landscape where I’m not confined to a specific genre; instead, I can explore various styles and sounds.
You’ve played in some of the world’s most respected clubs, but also in non-traditional venues. Do you approach performing differently depending on the setting?
While the setting informs my approach, it’s the audience’s energy and expectations that drive a performance. Events like ‘Pagan Spring’ at The Steel Yard demanded a specific atmosphere. The incorporation of folk vocals and cinematic elements was a direct response to the event’s theme and the participants’ expectations, creating a more enchanting overall experience. DJing before each ‘KS6’ theatre show required a different approach, as the audience was there for the play, yet I needed to immerse them in an atmosphere of pre-game excitement. My primary goal is to cultivate a connection with the participants of an event, and this adaptation is crucial in any space.
As an artist, you’ve worked with labels across the electronic spectrum. What have you learned from those experiences that you’ll bring to running your own imprint?
I’ve seen firsthand the successes and pitfalls of various strategies. The most crucial lesson I’ve learned is – quality over quantity. Each release must have a unique identity and a reason to exist. Additionally, I’ve learned the value of fostering relationships built on mutual respect, open-mindedness, and imaginative collaboration. This approach, centred around quality, artist relationships, and a strong artistic vision, is core to the way I’d like to develop UNTOLD.
With UNTOLD, are you primarily focused on your own music, or do you plan to bring in other artists from the start?
UNTOLD is all about the fusion of genres, creating a home for electronic music misfits. Stylish aesthetic, where a narrative plays the most crucial role.
My search for collaborators focuses on finding those who share this vision – musicians and producers who embrace experimentation, push creative boundaries, and aren’t afraid to challenge conventions. The label’s motto, ‘Tell me something I haven’t heard before,’ embodies this spirit.
Your Southbank Centre and Barbican bookings suggest a growing crossover between electronic music and the arts world. Do you see UNTOLD as a space to explore that intersection further?
With UNTOLD, I have the perfect platform to showcase my ideas and artistic vision. Moving forward, I see UNTOLD as a space for experimentation and collaboration, where stories and sounds can intertwine in unique and meaningful ways. Whether through thematic releases, visual elements, or live performances, we aim to create an immersive journey that enhances the connection between the audience and the music.
Collaboration is a key theme in your work, from Mirali with Late Arrivals to your theatre commissions. What makes a collaboration successful for you?
Late Arrivals is my alter ego, a collaborative project I’m shaping with pianist and composer St. Ignatius. Our duo functions like a band; during our performances, we have a live set-up with me on synthesizers and Ableton, and St. Ignatius on piano, keyboards, percussion. Our creative process is fluid and open, allowing for experimentation, showing vulnerability, and welcoming improvisation.
This magical, collaborative spirit guided the creation of ‘Mirali’, originally written as the closing piece for the ‘KS6: Small Forward’ show. We wanted the track to feature authentic drums and raw synths, giving it an unpolished and genuine feel. The excitement of a basketball game, the roar of the stadium, the feeling when your team wins – all this joy is encapsulated in ‘Mirali’.
What’s one thing you’d love to achieve with UNTOLD in its first year?
In UNTOLD’s first year, I want to establish the label as a vibrant hub for innovative and emotionally resonant music, pushing the boundaries of electronic music through a series of immersive events and fresh releases. The release of my debut album as Blanka Barbara will be a component of this vision, but equally important is our exploration of cross-disciplinary collaborations, using AI to enhance visual elements and build a strong community around UNTOLD’s unique approach to music.
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