Kan Wakan, also known as Gueorgui Linev, is a familiar face around these parts. However, the last we had the pleasure of sharing him with you all was back in 2022, shortly after the release of his exquisite single “Never Call” (ft. Alexander Vincent). Back then, Kan Wakan was spending a lot of time between his L.A. residence and his native Bulgaria, recording "Phantasmagoria Vol. 2" which he infused deeply with the ancestral folklore of his homeland.

Kan Wakan's latest song, "IO," delves into the complex relationship between technological progress and the human condition. The lyrics, performed by SAIGO, paint a thought-provoking picture of a society where individuals seem content to be part of a collective, questioning the need to strive for something more. The track explores the ambiguity surrounding technological advancements and whether they are driven by a genuine desire to "save us" or something more sinister.

The politically charged nature of the song is reflected in the accompanying music video, which Kan Wakan self-directed. The video features César-nominated actor Paul Hamy as a bare-knuckle boxer struggling against an invisible opponent, symbolizing society's efforts to catch its breath and fight back. The collaboration with Sturshel Productions, cinematographer Alexander Stanishev, and editor Denislav Marinov adds depth and visual impact to the powerful message conveyed in the lyrics.

Today, we have the privilege of sitting down with Kan Wakan himself, whose insights on the inspiration and message behind his latest release "IO" proved to be truly enlightening. Check it out:

“IO” seems to confront many of the modern anxieties surrounding technology and the state of society. What inspired you to explore those themes and challenges through this particular track?

Naturally, it hits you when it’s close to home. To say that the musician community is worried about the use of AI is an understatement. It’s inevitable that it will further contribute to the devaluation of music and change the landscape for the most vulnerable artists in the community.

What was the creative process like when you decided to tackle these subjects in a song?

The creative process with Kan Wakan usually starts with a musical idea, whether it be a beat with a chord progression or melody. I met SAIGO when he was fresh out of USC as a philosophy major, and discussions about existence have always trickled down into the subject matter of our work together. The initial idea for IO was born during the pandemic, as we were both on opposite sides of the world, sharing voice memos and planning how to realize them once we had the chance.

You’ve been working with SAIGO for quite some time now, can you describe how that working relationship goes? What do you like best about working with him?

I feel like making music with someone over a longer period of time is similar to a relationship. You tap into places on a creative, emotional, and spiritual level that form a unique kind of bond. I see it as a hivemind state where you know what the other’s instincts and tendencies are on a subconscious level. We tune in and capture whatever is in the air and interpret it through our mutual understanding. I think it’s pretty cool that we can complete each other's sentences and complement what the other is trying to say, even when we’re at completely different stages of our lives and halfway across the world.

The song mentions Artificial Intelligence, its effect on the arts, and the ongoing debate around it. Are you adverse to its usage, or do you feel there might be spaces where it can be used legitimately as a creative tool?

One of the main reasons we enjoy music so much is because it means something to us. We feel the passion and emotions in an artist’s performance and appreciate the human aspect of it. The subtleties of the imperfections are what make us relate on a personal level, but when the listener is conditioned to expect music made by AI, real artists will become further isolated in a niche bubble. Of course, AI can be used creatively and be a useful tool. There are examples of artists who do this without compromising the integrity of their art, but for the small % of artists that use it legitimately, there will be a vast majority who don’t, because ease of convenience usually wins.

Your music blends elements of indie, electronic, and rock, making it difficult to categorize neatly. Do you see this ambiguity or resistance to genre labels as a positive or negative in the current musical landscape?

It’s always been non-intentional ambiguity as it relates to Kan Wakan. From day one it’s been an outlet for me to freely realize whatever ideas are relevant at that moment because I don’t always have that kind of freedom when working on other projects. It’s like, let’s make some weird shit and then figure out where it fits in. People have always said to me that it’s best to be uncategorizable, but at the same time, it’s so much more difficult to find your place in a digital landscape that has everything labeled like an aisle at a CVS. It’s like, is it alternative, indie pop, or electronic? There are strings, but there are also diminished jazz chords and odd-time signature progressions. But wait, there are all these different features on every track… what? What playlist does this go on? Indie Chill Summer, ok.

On a similar note, how did the collaboration with Baby Keem come about? What was it like to have your work featured alongside artists like Travis Scott and Kendrick Lamar on a multi-Grammy nominated album?

It was super random... he hit me up on Insta and said he was a fan. We started chatting about music, and he said he wanted to work together. A few months later, I got an email from some lawyers asking for permission to use my music as sample clearance, and they sent me a track that also had James Blake on it. Then there was a big pause in communication and later on, the song just appeared on his album with other features. The album is so beautifully crafted. That world is so foreign to me, but so uniquely similar in other ways. I’m grateful that there are artists like Keem who have an ear on the pulse and are interested in implementing new ideas into a landscape that has a very clear formula for success.

You've also worked with artists such as Moses Sumney and Thundercat. What allows you to maintain a cohesive aesthetic across such a diverse range of genres and collaborators?

Artists with unique voices and visions bring out a desire in me to take risks. The Gemini in me wants to confuse even myself with what’s actually happening within a song/production. I tend to mostly be inspired by multi-layered things. If it’s too pointed and obvious, it feels like work.

Do you see your frequent collaborations as a core part of your artistic process, or is it simply a natural creative dynamic that has emerged at this stage in your career?

Creating art to me is most enjoyable as a shared experience. I hear and feel music differently when there are other people in the room. It provokes me and pushes me to step outside my comfort zone. In my experience, comfort is the enemy of my creativity. Since childhood, we’ve always been taught the value of working together, and there’s no greater feeling to me as a creative person than to create something with someone else.

You took the creative helm to self-direct the music video for "IO" which features French actor Paul Hamy. What inspired you to step into the director's chair for this project, and how did the experience influence your creative process as a musician? Do you see yourself exploring directing music videos further?

I always implemented my ideas visually and into my music videos, but was apprehensive about directing them myself because of fear that I wasn’t competent enough on the technical side. A good idea was and always has been the driver and I realized that If I work with people that trust my vision and help me execute it adequately on a technical level, then that would provide me with the necessary platform to materialize the visuals in my head. I met Paul at the Bulgarian seaside last summer, and we bonded over chess and Mexican food. Shortly after, I sent him the idea for the video, and with the help of DOP Alexander Stanishev and producer Alex Sturshel, the video for “IO” became a reality.

Making a video of your own song is such a trip... it forces you to examine the pathways and the DNA of your own creation and then how to translate its emotional core into a different medium. I learned so much about myself and my music during that process. Lots of directors try to implement and prioritize their own vision and many times don’t consider the artist and the song in that process, which can sometimes make the result an interesting juxtaposition, but a lot of times comes across as a mismatch. Existing as a musician today requires putting on so many hats. It’s absurd the amount of responsibilities you have to take on in order to bring a cohesive project into realization when all you really want to do is just make music. At the same time, it’s challenging, and having done this video now it has given me the confidence that I can do it again. I’m excited about the next one.

Looking ahead, what can listeners expect from Kan Wakan and your work as a composer and producer going forward?

There are several more singles and an album on the way with Kan Wakan. I have a new project, a duo called Woomb which I’m very excited about. We’re putting out a debut EP this fall and doing some dates in Eastern Europe. I’m working on a TV series that debuts in the fall, along with some surprise collaborations that will be announced later this year.

STAY IN TOUCH WITH KAN WAKAN ON INSTAGRAM

Kan Wakan Shares Insights Into A.I. Anxiety, His Creative Process & New Single “IO” (Ft Saigo)

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