This tendency can be noticed in Waterfalls, in which dynamic house sounds and somewhat kitschy samples meet acoustic guitar strumming. It sounds as if he had made a bet with someone: "I will combine fire with water in a way that you couldn't anticipate." He is very well-versed in music and aware of its latest trends – he used to have his own programme on the Polish PiN radio station.
He explained the story of his beginnings as a musician in the Zwykłe Życie magazine:
I was making my very first steps in the second half of the nineties, when I was obsessed with hip-hop (the cut&paste techniques) and techno music. I worked on a demo version programme, where you couldn't save your projects, but for a very long time I wasn't bothered by the lack of that option.
He started working as Sonar Soul in 2007, while in 2009 the label Funky Mamas & Papas released his debut single Fleelosophy. Later on, he published Adore through Razmatazz. In August 2014, U Know Me Records released the first extensive showcase of Sonar Soul's work – the EP Trip To A, which was very diverse stylistically.
The album was comprised of only seven tracks, but the list of featuring musicians demonstrated the wide scope of the artist's skills. He invited the ever so gentle singer from the duo The Dumplings Justyna Święs, the queen of Polish electronics Novika, Paulina Przybysz of Archeo (formerly associated with Sistars) who is known for her strong, bluesy voice, and the Chicago-based rapper S Squair Blaq.
The music styles on the record stretch from heavy, languid rhythms of Blow Up The Spot, through samples that substitute vocals and experimental and frowsty Man Blues, to the proper dance piece Let's Dance, which works especially great in the version that features Przybysz and S Squair Blaq. One can only regret that the audacious version of Let's Dance by the rapper Żyto didn't make it to the album.
What is his method of working? He tells Zwykłe Życie:
I only use samples from vinyl records, high quality synthesizers, and audio converters. The equipment and experience I have gathered over years allow me to be uncompromising when it comes to the quality of what I make. Even if I spoil the sounds, I do that willingly, with the use of best quality tools intended for that. […] I have never been drawn to making retro music. […] I have always been most interested in the intersection of pop and avant-garde.