Hailing from Sofia, Bulgaria, Strahil Velchev, AKA KiNK, is an idiosyncratic force in electronic music. Celebrated for his live show, KiNK treats festival and club stages as laboratories where he conducts elaborate experiments with analog synthesis and improvisation. His recorded output is equally lauded, with releases on imprints like Ovum, Rush Hour, and Running Back. The KiNK studio is a Roland gear treasure trove, including everything from the vintage TR-808 and TR-909 to the AIRA Compact series. KiNK speaks with us about his unique upbringing, Roland faves, and the joy of finding classic breaks on floppy disks.
Bulgarian Beginnings
Tell us about growing up in Bulgaria.
I’m still based in Sofia, Bulgaria. That experience affected my way of making music because Bulgaria used to be a communist country till 1989 when we became a democracy. We were hungry for Western culture. I had to go to the army because military duty was mandatory in Bulgaria at that time. After school, you had to do your military service, but I had access to a computer which was quite spectacular.
"My good friend gave me envelopes with floppy disks. You'd have some classic breaks: jungle, drum and bass, and breakbeat samples."
When did you start creating music?
I started making music around 1998, and it was a very strange situation. Basically, me and my colleagues of the same age made this duplicate key from the computer room at the headquarters of the border police. At night, when all the military bosses would leave, we would break into the computer room and play computer games, and I would make music.
My current studio partner and good friend since the late ’90s used to come to the building and give me envelopes with floppy disks. You’d have some classic breaks: jungle, drum and bass, and breakbeat samples. That’s how I started—in the army with a little help from my friends.
Roland Roll Call
What Roland instruments do you use in your famously evolving rig?
I have so much gear from Roland it’s difficult to mention everything, but I have five TR-8s and two TR-8Ss. Also, I have the SYSTEM-1 and JU-06A, and I recently got the AIRA Compact series which includes the T-8 Beat Machine, the E-4 Voice Tweaker, and the J-6 Chord Synth. It’s amazing because I’m able to take them with me. On top of my live set, I can bring those and use them on the plane while traveling to sketch ideas.
"On top of my live set, I can bring AIRA Compact with me and use them on the plane while traveling to sketch ideas."
Are there any studio tricks you’d like to share?
My most recent discovery from Roland is the latest TR-8S update which added features to the FM engine. It blew my mind because I usually use drum machines for pleasure and live sets. Typically, for studio production, I use my computer. With this update, it makes sense to use the TR-8 in the studio because it doesn’t sound like vintage gear. It sounds new, and I’m excited about it.
New Lease on Live Life
How has it been returning to live performance?
I have been touring for 18 months. Because of the pandemic, I wanted to know how it would go and how it would be meeting people. Did I still have my muscle memory with all the machines I hadn’t been operating for a long time? Then I had my first gig after the pandemic in Chicago, the birthplace of house music. That was quite emotional.
"I had my first gig after the pandemic in Chicago, the birthplace of house music. That was
quite emotional."
I got it back the first minute I was on stage. The people were ready for it, and I remembered everything. It was so easy to come back; it’s almost like the pandemic didn’t happen. I hope this is something from the past because I want to travel and have my life back. So far, it’s happening.
