As a multi-instrumentalist producer and DJ, Jarl Flamar spreads his imaginative world from stage to stage. Proficient in nearly every Middle Eastern instrument and skilled in sound engineering, he creates hypnotic and powerful oriental house music, suited for both underground clubs and luxurious gardens.
Found at festivals like Fusion, Wonderfruit, Ritual Days, Ozora, and Astropolis, Jarl has performed in a dozen countries. In 2023, his live videos garnered millions of views on YouTube and Instagram.
After a decade honing his unique, organic style with modern sound design, Jarl aims to transport listeners to utopian jungles and faraway deserts under a burning sun.
His latest single Ayahuasca is a skilful balancing of tension and release. It features rich, organic percussion that grounds the rhythm and a strikingly evocative lead synth line that captures the imagination.
“Ayahuasca” has a deep, spiritual sound. Can you tell us about the specific elements you used to capture the essence of an Ayahuasca journey in this track?
Actually, the name doesn’t refer to a recent Ayahuasca experience but to a fantasy of what it could have been 3,000 years ago during the Inca civilization. Antiquity is my main inspiration while composing tracks. I’m completely fascinated by distant history and early societal organizations. I would give a lot to be teleported to that era to see how it really was and how it felt. I guess composing music the way I do is my own way to make this journey!
How do you think the electronic music scene is evolving in terms of incorporating traditional and ethnic sounds, as seen in your music?
I think it’s growing more and more! When I started composing this style of music, I had a hard time finding similar artists. Now there are plenty of very talented artists, DJs, and live bands blending organic sounds from traditional cultures with electronic music. My wish is to see more of them on bigger stages to create a better balance with other genres. Some people automatically associate organic sounds with “chill” and “meditative” vibes, but I can assure you that many tracks can shake huge crowds if played on big sound systems.
What role do you think spirituality and ritual play in electronic music production and performance, especially in tracks like “Ayahuasca”?
I would say that anything that transports you to a higher state of mind (or an altered state, depending on the process) makes you connect to the music in a different and often stronger way. It’s not new that the use of psychedelics has played an important role in the development of many genres. For me, meditation, rituals, self-improvement, and spirituality are also powerful ways to push creativity to another level.
The electronic music industry has seen a shift towards more live instrumentation in performances. How do you integrate live elements into your sets, and what challenges does this present?
It’s been a continuous trial-and-error process since I started playing live this way. The main goal is to have the instruments and electronic parts sound as a whole to maintain the flowing aspect of the aesthetic. Keeping my skills sharp for several instruments is also a lot of everyday work, which is luckily less time-consuming after all these years of practice (at the beginning of my career, it was tough!). But when these technical challenges are correctly handled, it’s a more powerful experience than when I play DJ sets. This live configuration multiplies the possibilities to connect with the crowd and brings me much closer to the music I play.
The global electronic music scene is vast and diverse. What regional scenes have you found most inspiring, and how have they influenced your sound?
Without many surprises considering the kind of music I produce, it’s when traveling to the Middle East and North Africa that I recharge my inspiration the most. The way music is composed and played in these regions is usually more connected to traditional cultures than in Europe. The rich musical heritage, with its unique scales, rhythms, and instruments, deeply resonates with me. It brings an organic and earthy quality to the electronic elements I incorporate. By immersing myself in these environments and experiencing the local music, I find new ways to improve my distinctive sound.
As a multi-instrumentalist, how do you decide which instruments to feature in a track like “Ayahuasca”? Do you have a favorite instrument to work with?
“Ayahuasca” was composed during my Asia tour last winter, so I wasn’t in my studio but in a lovely one on a Thai island (Sunrise Studio). This time, I had to work with the instruments already present there, alongside the ones I had with me while touring. This is definitely what makes this track sound a bit different from my other ones.
Apart from that, my favorite instrument to work with is the Oud. It’s one of the first Middle Eastern instruments I learned, and I’m completely in love with its tone. But it’s quite tricky to make it sound good on loud stages, which is why I play the electric bağlama/saz instead when performing live.
What advice would you give to upcoming producers who want to blend traditional music elements with modern electronic sounds?
Learning to play the actual instruments from these cultures was my way, but there are producers making amazing music with other methods, like hiring musicians or using samples. If you’re choosing the hard way, my advice would be to stay minimalist. We can easily be tempted to learn too many instruments, as the beginning of the learning process can be way more enjoyable than the advanced training. But you’ll make much better music being a master at two instruments rather than average at five. That being said, I did the exact opposite (laughs). I learned a dozen instruments before realizing this and lost a huge amount of time in my creative journey!