Polish Techno Innovator Deas Confronts Industry Commercialisation, Algorithmic Validation and the Loss of Dancefloor Authenticity
In this exclusive change-underground.com feature, Krakow-based producer Karol Mozgawa – better known as Deas – breaks down the mechanical realities of modern electronic music production and the shifting politics of the global underground scene. Greek-born and Poland-based, Deas has carved an uncompromising path from local residencies at Smolna and Tama to international stages including Awakenings, Extrema, and E1 London. With a sonic footprint spanning CLR, ARTS, and Planet Rhythm, his output remains fiercely rooted in hypnotic grooves, live hardware interaction, and an uncompromised artistic vision.
We sat down with Deas to talk analogue obsession, the evolution of his sound, the expansion (and occasional dilution) of the global techno scene, and why authenticity still matters more than follower counts.
Hardware Journeys and One-of-a-Kind Grooves
Deas has long held a reputation as a dedicated hardware specialist, though his relationship with machinery is more collaborative than dogmatic. While software plays a functional role in his workflow, the driving energy of his music stems from the tactile, unpredictable feedback loops of physical gear. He approaches music production not as a rigid programming exercise, but as an unfolding journey where the final track acts essentially as a natural side effect of the physical process.
This hands-on methodology yields tracks and DJ sets with a distinct, lived-in texture – hypnotic, precise, yet continually inventive. It is groove-focused techno built for long-form dancefloor immersion rather than instantaneous algorithmic satisfaction. His recent Drifted Off EP on ARTS showcases this ongoing structural evolution, weaving spoken-word elements and subtle melodic layers into his signature driving atmospheres without altering his core artistic trajectory. Rather than attempting to reinvent the wheel, his studio work focuses entirely on introducing sharp internal surprises while staying true to an idiosyncratic musical vision.
The Scene: Growth, Spectacle, and Soul
The global expansion of techno has undoubtedly broadened the audience for underground sounds, a reality Mozgawa acknowledges as a major benefit for emerging artists and independent labels. However, this mainstream saturation brings an inevitable compromise: the transformation of club culture into visual spectacle. Across international circuits, events increasingly prioritise sensory distraction over sonic depth, shifting the focus away from the music itself.
This commercial transition forces electronic music figures into a compromise between performance and digital marketing optimization. Mozgawa rejects the contemporary pressure to treat music as an optimized commodity, drawing a clear line between the responsibilities of a creator and those of a digital marketer.
โMy approach to art in general is not focused on constantly trying to make it โsellableโ,โ he notes. โI am not a content creator; I see myself as an artist. An artist creates what they feelโฆ they donโt ask the audience what they expect from them.โ
This strict boundary dictates how he reads crowd energy across different territories. While some international hubs lean heavily into the curated show, others preserve the raw musical connection that initially defined the subculture.
Fake Things and Scene Authenticity
This tension forms the thematic core of his Vibrations EP on Planet Rhythm, highlighted by the pointedly titled track โFake Things.โ Released in early 2026, the project lands amidst ongoing industry debates regarding inflated social metrics, bought followers, and the rise of the manufactured profile. While Mozgawa leaves the track open to individual interpretation, the critique of a scene dominated by artificial engagement remains apparent.
Despite the distortion of booking ecosystems by digital algorithms, he notes that experienced promoters are increasingly looking past superficial data. Metrics do not guarantee real-world ticket sales or dancefloor command, a reality that offers a baseline of hope for authentic talent. For emerging producers looking to establish themselves within this dense landscape, his perspective remains resolutely anti-formulaic.
โItโs not a matter of giving anyone advice,โ he states. โI do what I do because I canโt live any other way. So if you feel that kind of inner need, then go for it.โ
This intrinsic drive remains critical, particularly as studio craftsmanship and stage command demand fundamentally different technical strengths.
Looking Forward
The future of the genre relies heavily on localized resistance to corporate curation. Mozgawa finds inspiration not in major festival trends, but in independent collectives establishing intimate events in unconventional spaces, alongside the specialized developers building new production tools. For those seeking an entry point into his catalog, his work on Chris Liebingโs CLR or the hypnotic structures of โGeeks On Hubbardโ serve as ideal foundations – best experienced with minimal external distractions, letting the machines dictate the narrative.
In an era dominated by superficial noise, his focus remains entirely on the preservation of a grounded, analogue path. It is this refusal to compromise that ensures his grooves continue to cut through the industry layout.
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