With a new EP out on Rebellion, Acid Pauli talks to us about Jellyfish on Acid, making music on the road, and his love for nature.
A few months back, veteran artist Martin Gretschmann, aka Acid Pauli, debuted on Rebellion with 2-track EP ‘Jellyfish on Acid’. Across its two tracks, listeners get taken on a groovy trip through acid-tinted, bubbly soundscapes. If you are a frequent listener of Acid Pauli, then you will hear – both in terms of its sound design and approach to groove – the sonic blueprints of his 2020 full-length Mod littered throughout. However, whilst Mod evolved from a desire to test the creative limits of technology, ‘Jellyfish on Acid’ has more organic roots.
‘Jellyfish on Acid’ sounds exactly how you would expect. It’s a light-hearted groover with a driving bassline at its core and a supporting acid lead that builds up as the trip reaches its climax. Fun and fluid in texture, it’s a minimal techno track that perfectly encapsulates the playful essence of Acid Pauli, and its repetitive driving baseline and quirky synth risers help it ebb and flow in a way that’s both intriguing and maddening. It reminds you of one of those tunes you keep catching snippets of after 7 or so hours at the afters.
For it’s follow-up track, ‘Jellyfish Jungle’, Pauli uses the same building blocks as its aquatic cousin but adds more tribal percussion. It sounds ‘drier’ in the mix and has a slightly different atmospheric quality while maintaining continuity in its sound choice.
In the four years since Mod’s release, Gretschmann has been pushing out remixes for the likes of Dominik Eulberg and Koepe, to name a few. It’s refreshing to see that, despite his constant schedule of collaborations, he’s still able to create interesting music in his own signature style.
It’s what you can expect from an artist whose musical journey began in the DIY punk and hardcore space and, with no musical training, has lasted 20 years in electronic music without compromising his sound. This mindset is still as prevalent in his work as ever – especially considering he made this record in a self-built ‘studio truck’ that he heartily parks up in the middle of the woods to produce tracks. You can’t get any more DIY than that, right?
Talk to us about the EP. What was the inspiration behind the project?
I was playing around with a few samples I discovered in an old folder, and things quickly began to evolve from there. At some point, I sensed a jungle vibe while listening. From that moment, I made a connection between the nature surrounding me and the nature of the Yucatán jungle.
How did the record end up on Rebellion?
It’s been like a pregnancy in some ways…I needed to keep the tracks for around nine months in my studio womb before sending them to Damian.
He asked if I wanted to release them on Rebellion, and I said yes. It’s been a long time coming to finally release on Rebellion again. We have a musical and personal friendship that goes way back. He was the one who introduced me to Ibiza, where I played at his 40th birthday party, which was a truly special moment. And from there, things like the ‘Get Lost Mix’ that I made in 2012 and my appearance at Day Zero’s very first edition came to life.
You made this EP in your studio truck in the countryside. Is this your main creative space, or do you still have a static studio?
I still have my main studio, but the truck is where I work mostly during the summer. It’s situated in the midst of nature, and there, I seem to be able to focus more on club music again, which sounds contradictory somehow. In fact, it’s always very busy around my studio in Berlin, so I tend to make more ambient or experimental music there to balance out the lively and noisy surroundings.
You have collaborated a lot over recent years, which has taken you in different musical directions. What have you taken away from these experiences, and how do you implement what you have learned into your solo work?
I learn something new with every collaboration, like new techniques, different creative approaches, etc. In some cases I would probably learn a new key command or about a little piece of software that might change my workflow, or I might learn some new arrangement techniques or ways to use my modular synth. Most importantly, I learned about new music, and by playing with other musicians or DJs, I’ve learned to listen, which is the most important thing to do when it comes to (making) music.
What type of equipment do you have in the truck?
As space is limited (and I need to empty it every winter), there is not so much equipment apart from a little mixer, two or three synths, FX, my laptop, and speakers. But the limitations are once again the key. My other studio is quite overwhelming at times, and it needs constant maintenance, which often keeps me from making music, so in the truck, it’s really about making music. In addition, the sound is just on point as it has been owned and used by a public radio station as a studio truck.
Nature is a concurrent theme throughout your work. How are you fusing the natural world with your electronic productions?
Nature is a significant source of inspiration for me, and I always present it in my work. It might be the mundane use of samples that I or others recorded in nature, reaching from simple ambience to cranes and fire-bellied toads, both of whom sing beautifully just very close to here. But nature channels its way into my music in more abstract forms, like emulating the sound of a bouncing ball or weddel seals with the modular system or simply having the music in my DJ sets evolve in waves.
After 20 years, what would you say your life as an artist has taught you?
Usually, when I DJ, I like to be prepared, but I try to avoid making or having a plan. As soon as I invest time and work into a plan, I am attached to it, and therefore, it’s harder to let go. Having no plan gives me the freedom to react spontaneously and to be free(er) from expectations in general.
I would also love to apply this to my life, but I find it more difficult.
Music and life have also taught me not to force things. I try to go with the flow. And the flow is not always flowing, so there are times when it’s just good to let go of ideas, projects, and dreams. This can be sad or hard, but for me, it works better than pushing through. I also truly believe in kindness and the possibility of music creating connections and being a tool and space to overcome division.
What’s next for Acid Pauli?
A six-week tour to four different continents. Starting in New York on the 12th of October, we will launch our new project and party series, “Cosmic Days”. A project I started with my love Shirin, my musical brother and very good friend Viken Arman, and my dear friend Johannes Retschke, who used to be my booking agent. The idea was to do a project together because we love to hang out and exchange Ideas, and this Party series just seemed like the perfect platform for it. We will only do a limited amount of events to keep it fun, special and fresh.
Thank you for your interest! Sending out a hug to all the music lovers.
Purchase Jellyfish on Acid here