An adventure of emotions that examines the intricacies of the inner self: “Inner Light” by julakim, julakim Trio

julakim

... ist eine Avant-Weltmusikerin, die verschiedene musikalische Traditionen zu einem innovativen Klangkosmos fusioniert. Ihre Musik vereint Elemente von Pop, Funk, Rock, Bossa Nova, Flamenco und Tango mit traditionellen Klängen aus der Mongolei, dem Nahen Osten, Indien und den Anden. 

Inspiriert von Melody Gardot, Marisa Monte und Dota Kehr, beschreibt sie ihre Musik als “zeitgenössische Musik latinisiert an Arabik”. julakim tourt seit 2013 durch verschiedene Länder und veröffentlicht 2024 ihr erstes Album “bLuzLand” mit ihrem Trio, bestehend aus Oliver van Thiel am Schlagzeug und Tim Rilke am Bass. julakims Avant-Weltmusik ist ein künstlerischer Ausdruck, der die Vielfalt und die Verbindung der zeitgenössischen Welt widerspiegelt.

“Inner Light”, die zweite Veröffentlichung zum Album, ist der Auftakt einer emotionalen Odyssee, die die Nuancen der inneren Welt sondiert, bevor sie ihre Strahlkraft nach außen projizieren kann. Das Lied hält das Credo der Verwandlung, indem es Musik als einen Kondukt für Introspektion und Verbindung nutzt. Es erzählt die Geschichte einer Person, die es bereute, einen Liebhaber abgelehnt zu haben und in einer unglücklichen Beziehung verblieben zu sein. Sie fühlte, dass sie ihr authentisches Selbst und ihr Glück verschüttet hatte, und sinnierte, ob sie sie jemals wiederfinden würde. Melancholische Melodien und ergreifende Texte, die den Schmerz und das Bedauern der Person vermitteln, gepaart mit der Stimme von julakim, die klar und ausdrucksstark performt, ergeben einen bewegenden Ausdruck der menschlichen Verfassung, schaffen aber auch eine Erinnerung daran, dass Musik eine Quelle der Inspiration und Verbindung sein kann.

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Hello and thank you very much for your time. We start directly with the first question: what kind of “person” is behind the artist Julakim?

julakim is a studied architect and an artist, always innovative and open-minded with a concept behind everything she does. Having lived in over 5 countries, she speaks five languages: Portuguese, English, Spanish, French, and German. In 2013 by some funny coincidences she started to an improvised tour to Brazil. But since an argentinian radio invited her she continued her tour throught argentina as well.

How did your passion for music begin and what are the main influences behind your musical style and identity?

My passion seemingly started at birth, lulled by free jazz vocals, discovering rhythm and voice – as my parents told me. Later I began traditionally with the flute and piano classes (Chopin was a favorite). Voice and rhythm were early passions.

“Inner Light” inspires the listener to evolve, introspect, and communicate, vital matters in the age we inhabit. What do you think about when you see the world as it is today?

The journey through 'bLuzLand' isn't just a musical expedition; it embodies a philosophy. Each song is a stepping stone toward this conceptual universe. 'TROP SERIEUX,' our starting point, infused us with the initial energy needed. Following that, 'INNER LIGHT' acted as the gateway to this ethereal space we're constructing—one that transcends mere melodies and rhythms.

In January, 'LUZ,' meaning light, will illuminate our path. Crafted with lyrics by the talented Brazilian multi-artist Paula Toschi, it's a rhythmic celebration. Understanding the genre of Avant-WorldMusic by julakim extends beyond singing in diverse languages. More importantly, it's about artistically weaving traditional musical styles into a new, liberating soundscape. This radical freedom, merging music, emotion, and rhythm, beckons the audience into a different world, a different state of mind. It's a mission I've undertaken—to be a catalyst, a seducer, urging us to transcend boundaries, especially those rooted in fear. Curiosity, I believe, is instrumental in constructively shaping a better world.

The upcoming release of 'VERSEHEN' on International Women's Day is a clever piece addressing the oversight of nearly 50% of our global population. Censorship and oppression hinder our collective growth, closing off pathways to progress. 'bLuzLand,' however, isn't solely a vessel for philosophical musings. It's a cosmos housing everything from punk anthems to tender lullabies about butterflies. It's a reflection of life itself—complex, often incomprehensible, yet undeniably beautiful.

For me, it's about trusting the unknown, embracing our inner light, and honoring that light in others—doing so not with hate or aggression but with curiosity. This approach, I believe, can steer us towards a brighter collective future, transcending barriers and embracing the diverse beauty life offers.

There was also an integration with the artists Paula Toschi and Pedro Marcio Agi, how did the collaboration transpire?

The collaborations with Paula Toschi and Pedro Marcio Agi were distinct yet equally inspiring experiences. Paula's involvement in four song lyrics began after a series of intense concerts abruptly ended. One night, while I was composing, Paula was penning the lyrics for 'TRES.' Interestingly, both our processes were intricate, not conforming to standard song structures. The following morning, Paula sent her lyrics, perfectly fitting the composition I had crafted. 

There was a unique synergy that led me to believe, even during the composition, that Paula would be the perfect lyricist. This led us to continue our collaboration with more songs, adopting a more conventional workflow where I'd share topics, Paula would write the lyrics, and then I'd compose the music. This process birthed tracks like 'LUZ,' 'SIMPLICIDADE,' and 'BORBOLETA.' Pedro's collaboration took a different route. During my second tour in Brazil, Pedro, captivated by my voice, eagerly expressed his desire to write lyrics for me. 

While I accepted, it initially posed a challenge. His process involved creating lyrics after hearing my composition, which was different from my usual approach. I struggled composing without prior lyrical input, feeling the pressure knowing someone as esteemed as Pedro, who had written for Djavan, was waiting on my creation. Nearly giving up after months of attempting to compose, a sudden tune surfaced in my mind one morning. 

I hastily recorded it and sent it over to Brazil. Hours later, I received a message from Porto Alegre, where a cherished Brazilian figure, who I consider my adopted grandfather through our shared love for music, lived. It was there that night he passed away. He always supported my music, even though he didn't understand German, listening to every interview to show his admiration. This resonated deeply; it felt as though he had assisted in composing that song before departing. When I shared this profound story with Pedro, he ingeniously translated it into the poetic song 'ARAPSI.

You sing in Portuguese, Spanish, English, German, and French, do you have a predilection for a language or do you elect by sentiment?

My choice of languages when singing often follows an instinctual path, guided by the inherent sounds and pronunciations unique to each language. There's a fascinating interplay where, at times, I find myself infusing Brazilian poetic styles into the German language. This fusion results in a remarkably different flow and cadence, offering German a distinct flavor, somewhat unconventional for native speakers but opening doors to an intriguing linguistic cosmos.

However, it's important to note that while I mentioned this fusion as an example, it's not a consistent or rigid practice where I systematically apply Brazilian structures to German. Instead, it's an illustration of how my language system works, highlighting the flexibility and adaptability within my linguistic expression. My language selection process is more about embracing the inherent qualities of each language, their emotive resonance, and their harmony with the melodies I wish to convey. This flexible approach adds depth and richness to the music, creating a tapestry of sounds and emotions that's both diverse and dynamic.

You have performed live for years, which shows have stayed in your memory the most?

Reflecting on my extensive history of live performances, there are a couple of shows that have left an indelible mark on my memory. During my inaugural tour through Brazil in 2013, a festival on the beach stands out vividly. At the sound check, the beach was brimming with anticipation, resonating with the sound of people eagerly awaiting the performance. Surprisingly, my rendition of 'LIGHT MY FIRE' during the sound check drew an overwhelming response. More than a hundred people rushed to the stage, singing along in unison. The intensity of the moment got me so caught up in nerves that I momentarily forgot the lyrics, relying solely on my guitar to carry the tune. Another profoundly impactful concert took place at MAMPF, a jazz venue in Frankfurt. Here, I presented one of my softer tunes in a delicate, almost ethereal tone that seemed to blend into the room's ambiance. The effect was mesmerizing; the once bustling space fell into a hush, and you could almost hear the crackle of thoughts in the silence. The energy when an entire audience collectively calms down to listen intently creates an unforgettable atmosphere filled with an elevated sense of appreciation. Interestingly, the intensity of the silence caused a curious moment as the venue owner, accustomed to the usual noise, became apprehensive, mistaking the unfamiliar quiet for an impending mechanical issue. It turned out to be just the ventilator, which had never been heard before due to the venue's usually lively atmosphere.

I have read about a TriBox art edition with a self-built spaceship or an antenna for bLuzLand, can you please let us know more about it?

The TriBox art edition is an intricate representation of my musical journey, encapsulating three significant albums within my trilogy. It comprises ITUFI, a sonic voyage documenting my first tour's experiences; ZURÜCKhaltung, a collection featuring songs with German lyrics, cleverly playing on the notion of 'back in Germany with attitude'; and comPARTIR, a multilingual compilation reflecting on sharing and venturing out again. Alongside these three CDs, the TriBox includes geometric shapes—squares, circles, and triangles—symbolizing the essence of the Bauhaus philosophy and my trilogy's core. These shapes, crafted from cardboard, hold printed liner notes by author and music journalist Michael Behrendt. Additionally, the inclusion of gummies allows for creative construction, allowing enthusiasts to assemble their own imaginative space vessels. While a playful artistic gesture, it subtly resonates with the overarching concept of bLuzLand, signifying the need for vehicles to embark on this conceptual journey and the joy of tactile creation.

The bLuz!-Antenna, a significant component of this artistic ensemble, is a wooden block meticulously crafted to depict a unique crack embedded within the wood's core. This crack, intertwined with the block's annual rings, takes on the appearance of an antenna. It serves as an ironic commentary on our hyper-connected world driven by smartphones. While the wooden block doesn't transmit signals, it symbolizes our capacity to receive the true essence of life—offering a gentle reminder to embrace the authenticity of our existence amidst the overwhelming connectivity of modern technology.

The TriBox art edition, encompassing my musical trilogy, and the bLuz!-Antenna, are not just inventive concepts but also meticulously handmade by me, julakim. They represent a fusion of creativity and craftsmanship, offering a tangible embodiment of my musical journey and the conceptual essence of bLuzLand.

And last but not least, what was your musical highlight in 2023?

My standout musical experience in 2023 undoubtedly revolved around my extensive tour across Brazil, Argentina, and Chile, which encompassed over 30 exhilarating concerts. Stepping into Chile for the first time marked a thrilling milestone, where I successfully curated and performed in 10 remarkable concerts. Argentina, however, held a particularly special place in my journey as I received a gracious invitation from Lula Bertoldi, a distinguished singer and composer from the band ERUCA SATIVA, to partake in their 15-year anniversary concert. The warmth and support extended by my Argentine colleagues during this collaboration left a profound impression on me, and I remain deeply grateful for the opportunities that unfolded.

While Brazil marked my fourth tour, it didn't diminish the significance of the experience. Instead, it shifted focus towards other creative endeavors, such as directing video production for my jazz rendition of COMPARTIR and establishing a new band in Rio de Janeiro. Each country and performance presented its unique tapestry of experiences, contributing to a year filled not just with concerts but also collaborative ventures and artistic exploration.

Photo credits: Paula Toschi, Vitus Saloshanka