"The desk I create on is a sacred space."

Welcome Amanati! We were really looking forward to have this talk with you! Tell us a little bit about your project and the workspace!

Thank you for having me! I’m Amanati, an artist and musician from Heraklion, Crete, in Greece, and for the past two years I’ve been based in Thessaloniki. The new studio is still a work in progress, so I won’t reveal too much just yet. I prefer to show you when it’s ready. What I can share, though, is that the main vision behind it is to create a multi-dimensional creative space, not just an “audio room.” A place designed to inspire and enable creation across all forms of art.

As for my work within the audio segment, it’s a fine balance between being a composer, a music producer, and a performer. I don’t like labeling myself as any one of those roles, because I don’t feel I fit perfectly into just one category. The term “artist” describes me best—I’m simply a creative person who enjoys the process of making and sharing art.

 

How did this artistic project come to life?

It was meant to be my purest and most honest form of expression. Something that reflects not only who I am, but also, as I later realized, a mirror for the audience as well. The very core of the Amanati project is built on contradiction and contrast: darkness and light, the carnal and the spiritual, the ancient and the futuristic. It represents the journey through all those opposites.

From a technical perspective, there was a lot of preparation before I ever released my first single. I had both the music and the visual material for the first six releases ready in advance. So I can say with confidence that this entire project was very intentional. Every step was designed to tell a story and build a world around it.

 

 

Delving into this world you created, a strong intention and careful planning definitely feels present. Amanati now is an established name, but how did the audience react in the beginning? Was it a tough journey?

Before Amanati, I had already tried twice with different stage names, so I can confidently say that Amanati received the most positive reaction from the audience and grew in the most natural way. Of course, nothing is ever completely smooth; criticism and doubt from the audience are always present. And the truth is, the bigger the project grows, the more criticism it attracts.

When you start with 247 followers on Instagram and 16 monthly listeners on Spotify, no one cares enough to judge you. But when your YouTube channel approaches 80 million views, negativity inevitably appears. Many new people come in from the perspective of “Let’s see what the hype is about.” Fortunately, that represents a very small portion of the audience. Ninety-nine percent of the feedback I receive is amazing, and I couldn’t be more grateful for that.

The toughest part of the journey was staying consistent in the early days, still working a morning job, pushing myself with full commitment every day, until I finally reached the point where I could quit and become a full-time artist. Now there are new challenges, but they’re creative challenges and they’re exactly the kind of challenges I always wanted to face.

 

What does the word ’Amanati’ stand for?

The word Amanati has Arabic and Turkish roots and carries a few different meanings. We also use this word quite often in Greece. It means pledge or guarantee. Something someone is required to keep close to them, even if it’s unpleasant, until its owner returns to reclaim it.

The expression “I keep something amanati” literally means I keep something as a guarantee, but metaphorically it means I keep my spirit undiminished and wait to take back what was lost or taken from me. Similarly, “I have been left amanati” means I’ve been left alone, abandoned, without support.

It doesn’t sound very positive, right? But here’s why I chose it as my stage name and what it meant to me at that time: I was at an artistic dead end after many years of releases, collaborations, shows, and the constant struggle to make a living from my art—with little to show for it. To me, Amanati meant: “This is what’s left of me. My final countdown. And whether you like it or not, this is what you’re going to get from me.” It was a bold statement and it ended up changing my life in the most positive way.

 

 

 

Amazing, I love it!!!! The style of music coming from you is quite original; how would you describe it? What were the initial intentions behind it?

I’m glad you find my music original, thank you! That was definitely a goal of mine. As a listener, I felt the music industry had become oversaturated, and I wanted to fill that gap, first and foremost for myself. I really wanted to shape my own identity and not sound like anyone else.

Of course, I’m not claiming to have discovered fire or reinvented the wheel. Many artists before me have blended traditional elements with electronic music. I just tried to do it my way. At some point, when people kept asking, “What genre is this?” and no one could really give an answer, I started calling it Exotic Electronic Music.

But in the end, labels don’t matter that much. An artist’s work is always judged by the audience; they’re the ones who have the final say.

 

As much as labels don’t matter – with which I agree – this one still suits your music nicely. Exotic electronic music… where do you see this style evolving in the coming years?

I already see new artists following this style, which is really great, but I hope to see more of them taking the idea and developing it further, not just copying. If you follow the same musical approach, then also adopt the faceless or masked persona, aim your music at dancers and movement artists, and even mirror the same visual style, typography, and aesthetic, yes, it empowers my branding because everything points back to me… but it also stops there.

I want to see Exotic Electronic Music expand. To evolve. To welcome new ideas. There is so much room for individuality within this genre; the same way I carved out my own space, I believe others can do the same. It’s still something very fresh, and I think it will take decades before it ever risks becoming oversaturated, if it ever does at all.

 

 

More and more masked performers gain popularity these days. Was this always your intention to stay anonymous, thus serving the musical message? 

That’s true, there does seem to be a growing movement of masked performers in recent years. Some people see it as a gimmick, others as a way to serve the music itself.

When I started this project in 2017, and later with the official releases in 2020, I wasn’t showing myself at all. I wasn’t wearing a mask either. I simply had no physical presence, because I didn’t care about showing myself. I wasn’t interested in becoming a model for my music, or in chasing popularity or fame.

Did I want my music to become known? Absolutely. But the music, not me. I never wanted to fit into stereotypes; I just wanted people to focus on the sound and the message. My belief has always been that gender, skin color, age, or ethnicity don’t matter. What matters is: Is the art good?

 

Wholeheartedly agreed.

But over time, I realized there was a problem. People need someone to connect with, beyond the music, beyond the art. Not necessarily a face, but a presence. They need to feel the creator behind the craft. That became especially clear when it came to live shows and performances.

So I decided to step forward, while keeping my philosophy and beliefs intact. To me, the mask acts as a symbol. It says, “It could be anyone. It could be you.” Even today, there are still people who are surprised when they find out I’m male. They often thought I was a woman. And that, to me, perfectly serves the purpose.

 

 

A bit more down-to-earth question, but is it hard to maintain this anonymity in everyday life? You have a team, various artists featuring in your songs, live performances...

I’m not a very social person, which actually helps. But the nature of the job is that I meet new people all the time. Thankfully, everyone I collaborate with, my team, partners, featured artists, are professionals, and they fully understand and respect my decision to remain anonymous.

Of course, it creates some practical challenges, especially around live performances. For example, organizers will see my face backstage and then invite me, along with the whole show crew, out to dinner. And I can’t join them… but they always respect the agreement we have.

There’s also a very funny thing that happens after every show: When I finish my set, technically I could just change into my normal clothes, walk out of the venue anonymously, and nobody would recognize me. But there are always fans waiting to meet me, some travel from different cities or even different countries, and I always want to honor that. So I go out with the mask and uniform to meet them.

Then, for technical reasons, I have to get back to my hotel room wearing the full outfit. That means walking outside in the mask, getting into taxis in the mask, walking through the hotel lobby in the mask… and the confused looks I get from random people are absolutely priceless. After all… I deserve to be a little entertained as well, right?

 

I’d love to hear a bit more about your blend of electronic music combined with Greek folk influences! 

I come from a very diverse musical background. My father is a musician as well, so I started studying piano and music theory when I was eight years old, and later I learned to play the trumpet. At home, I was surrounded by every kind of music imaginable. Digging through my father’s vinyl records and tapes was like an exploration—Greek folk, classical music, rock ’n’ roll, pop, orchestral works, solo piano albums—you name it.

As a teenager, I became deeply interested in electronic dance music and club culture. Back then it was all about rave, trance, house, progressive, electro, electronica, the full spectrum. My first releases (under different stage names) followed that path.

At the same time, I always felt the need to infuse my music with that Eastern and Greek folk flavor, since it’s such a big part of my cultural identity. It was only a matter of time and a very natural evolution for all these influences to merge into what I’m doing now: a sound that feels like the most honest and straightforward version of myself.

 

 

Having established your style and vision... what are your future goals as an artist?

Very wise choice of words; you said “goals,” not “dreams,” and that’s exactly how I see it. What I believe about great artists is that they never stop chasing something. And once they capture it, something new always appears on the horizon. I share that same mentality, and I hope that one day I’ll become a great artist myself.

My future goals are to keep evolving my sound, to explore different sides of music and art that excite me, and to be involved in larger creative projects—to compose soundtracks for films or video games, and to contribute wherever I feel I can bring real value. More specifically, my main focus right now is on completing my creative studio space. That will allow me to expand my perspective and express myself in ways I’ve never done before.

 

Tell us about the Buso desk of your choosing! 

I’m using the Studio XL desk, and I have to admit, it took me a while to make this decision, as you offer a wide range of options for very different artists and workflows. Until now, I had always worked on traditional office desks, and that was a very intentional choice. As I mentioned earlier, I see myself primarily as an artist in the broad sense of the word, not strictly as a producer or composer.

Because of that, I never wanted my workspace to scream “audio.” I’ve always felt that the psychology of the setup can shape the outcome—if a desk looks too technical, it might push me toward conventional workflows and conventional results.

On the other hand, I chose the Studio XL because I wanted something future-proof, keeping in mind that I’d like to slowly experiment with more hybrid and analog setups. From all the options you presented, this one felt like it was made for me. If I remember correctly, it’s the largest model you have, around 2.45 meters in length, and I absolutely love that. It allows my already minimal setup to look even more minimal.

With its clean, spacious surface, separate area for monitors, plenty of rack space for future gear, and that beautiful semi-circular design, it’s truly a desk I see myself keeping for a lifetime.

 

 

While we talked a lot about your roots, I'd love to know what kind of genres were inspirational to you, growing up. 

As I mentioned earlier, my musical background was very diverse growing up. I’ve listened to almost everything, and I still try to stay as open-minded as possible when it comes to music. What you hear from me today is really a merge of three core elements: symphonic discipline, electronic intensity, and the timeless resonance of folk heritage.

I’m not a fan of name-dropping, which is why I prefer not to mention specific artists. But these three pillars—classical, electronic, and folk—are what shaped my sound the most. The result is something cinematic, hypnotic, and at times, even ritualistic.

 

How does inspiration find you? Is it going to concerts, browsing for new music or more simply just taking a scenic walk?

 Inspiration is a very big and almost philosophical topic. For me, it’s a mix of inspiration finding me and me chasing inspiration. It can come in the most random moment and from all sorts of situations. It is rarely music, to be honest. But when it is, it’s either the vibe of something—for example, I listen to a “sad” song and I want to create something “sad,” even if it sounds nothing like what I heard—or it’s a technical spark, like hearing a kick drum that triggers an idea and makes me want to build a track around a similar sound.

Usually, though, it’s a feeling that inspires me: a good film, a scenery, an experience, life itself. There’s also a specific mindset that comes with being a professional artist, rather than someone doing it as a hobby. I’ve been in both places, and the main difference is consistency. When art becomes your job, you cannot wait for inspiration to strike… because what if it takes two years? You can’t afford that.

As I mentioned earlier in this interview, the early stages of Amanati were extremely organized and intentional. I treated it like my full-time job long before it actually was. I set deadlines for myself. I built a routine. The goal was to release a track every month. I posted my art on social media a specific number of times per week, on specific days, at specific hours.

And it worked, because limitations force clarity. They make you more specific about what you want to create. You can’t imagine how many hours I’ve wasted in studios before that, just browsing through sounds, waiting for inspiration and not making any real progress. Now, I don’t wait. I create and inspiration catches up.

 

Who influenced you from the audio world?

Almost anyone can write notes, chords, and a beautiful melody. After all, there are only seven notes and every composer in the history of music has used the same seven. Mathematically speaking, we’ve probably already heard everything there is to hear composition-wise. That’s where sound design, production, and audio engineering come in.

I recently heard an audio engineer say that production is the process of going one step further than just notes; it’s about shaping them into a vision. And I completely agree. The way you compress, mix, and give texture to sounds is what elevates music and creates a truly unique sonic experience for the listener.

So, I’d say I’m influenced by anyone who pushes those boundaries, anyone striving to shape something genuinely new through sound itself.

 

 

I really love this approach! Staying on a drier topic, what gear do you use in the studio?

The powerhouse of my setup is a 16-inch MacBook Pro with the M3 Max chip. Choosing a mobile setup was a very intentional decision. It allows me to switch between different workflow styles instantly. Traveling abroad for gigs? My studio comes with me. Working from my desk? I connect one cable in clamshell mode to all my peripherals through a dock—keyboard, mouse, large monitor—everything ready to go. Feeling like working from the couch? I unplug that same cable, and I’m free again.

My DAW has been Logic Pro X for many years now, although I’ve also worked with FL Studio and Ableton Live in the past. My audio interface is a UAD Apollo Twin X DUO, paired with Genelec 8030C monitors and a ROLI Seaboard RISE 2 expressive MIDI keyboard.

It’s a pretty minimal setup, but to be honest, most of the music that helped me break through and make a living from my art was created with just a laptop, a pair of Sennheiser HD25 headphones, and a small portable MIDI keyboard. In the end, the result is what truly counts—not the gear.

 

 

 

Yes, that is also a perfectly understandable approach. To shine a different light on it though, gear can also be a source for inspiration to a certain extent, doesn’t it?

Absolutely. I’ve experienced that myself; sometimes a piece of gear becomes the missing spark. When you already know who you are artistically and where you want to go, the right tool can open a new door.

For me, that was the world of expressive MIDI keyboards. It’s a perfect match for my style. They inspired me to create more fluid melodies, more dynamic performances, and richer soundscapes than before. It’s a perfect example of how technology can support and enhance creativity.

 

Is there anything else you could tell us about your workflow?

My workflow is all about clarity and flow. I don’t like chaos around me when I create, both physically and mentally. The Buso Audio Studio XL desk really helps me maintain that sense of order. Everything has its place, and the layout naturally guides me into the right mindset to work.

To me, the desk I create on is a sacred space. I’m a big admirer of craftsmanship. Of things that are built with precision and care. I want everything I touch while creating to be a prime example of pure excellence in craftsmanship, because that energy translates into the art itself. It can only influence you in a positive way.

 

AI is gaining more and more ground in the audio world; how do you see this influencing the future of audio engineering and composing and arts in general?

I’m one of those artists who sees AI simply as a tool; that’s what it is to me. Another instrument, another piece of software. The whole conversation about AI replacing artists, to me, is nonsense. I believe those ideas usually come from people who aren’t true artists.

Last time I checked, being an artist is about expressing your emotions, your feelings, your perspective, telling a story with depth and personality. So if someone is afraid that a piece of software with zero emotion, zero feeling, and zero soul will replace them… that says something about their art, don’t you think?

Then there’s the argument about AI being trained on or “stealing” the work of artists without permission. Trust me, if your art is worth copying or stealing, it will happen, whether by another artist or by an algorithm. We’ve just reached a point where people copying our work is somehow acceptable, but AI copying it isn’t. I’ve personally experienced both. People stealing my music, and AI models using it, and in both cases, I had them taken down. I don’t really understand the panic when you really own the copyrights of something. Unless you think you do…

I think AI represents a fascinating new chapter for music and art, much like the era before and after computers. It will clean up the landscape in a way. Artists who only pretend, who lack personal depth, will be surpassed by AI and fade away. But those who have the ability to adapt to change will rise up, as they always did.

I truly believe it’s going to be a great era for music. This is our chance to show some soul, to make a real difference. Honestly, I can’t wait for the real talents to cut through the noise and get the spot they deserve, in the ocean of AI music and of those competing with, or feeling threatened by AI.

 

This is yet again a very organic and thought-provoking point of view! Thank you very much for taking the time to sit down with us! Now it is my honor to ask you to contribute a song for our playlist!

I would like to share the homonymous track from my new album Omen which was released on 12 of December. It is a very unique piece of work that I am proud of and I think even people who haven't listened to my music before, might find it quite interesting.