Yeah it feels great. It’s been a proper journey from start to finish. So it’s nice for it to be out. 

The collab came about after Oli heard your edit and approached you to collaborate on it – what made you want to create an edit of the track in the first place? 

After I released ‘WHAT!?’ on Chris Lake’s Black Book, we got an email from Spinnin Records asking if I would be interested in doing a rework of a Sister Sledge record. They had easy clearance process on their catalogue so it made the whole process a little easier. I’d always been a huge fan of Sister Sledge, growing up with them coming out of my family home speakers. It only felt right to work on an edit. The original edit I did was way more techno and purely made for the club. 

It’s been five years since your last collaboration, ‘Check’ (under Oli’s HI-LO alias). That track still feels timeless enough to destroy dancefloors a decade from now! When you’re making new music, are you actively trying to create something with that kind of staying power?

Yeah it’s mad that ‘Check’ is 5 years old now, this industry seems to be moving at the speed of a bullet train at the moment. But in answer to your question I generally just make music that I want to play either in my sets or for me when I’m at home. For example my next single that’s coming out in November called “Dance With Me”. I’ve been trying to perfect that record for over 5 years and I’ve finally done it. Every record I put out just needs to work for me in my sets and feel right for me. Then when the record is out the rest of the world can decide what they want to do with it.

Your social media content is always highly engaging and down-to-earth. How do you personally approach social media, and do you see it as a positive or negative tool in the modern music industry? Is it a requirement for success now?

I have a love/hate relationship with social media, sometimes I find it so amazing and freeing and sometimes it fucks me off to the extent where I don’t want anything to do with it. However as it’s so integral to our careers in music I understand it is what it is. If I want a career in music then I have to do social media well. So I just try to have fun with it. Sometimes it works sometimes it doesn’t but each time it’s like buying a lottery ticket. Ya never know if you are going to win.

You’ve been on tour in the US, hitting Chicago, San Diego, Detroit, Boston, LA, Nashville, San Francisco… any extra special shows or key moments you can share with us? 

Touring the States is always super special to me, it’s my second home. Playing 10 hours at Refuge in NYC was a special show for me though. 

What does the rest of the year have in store?

Now touring is wrapped up apart from a couple shows here n there I have an insane amount of music. A remix of Basement Jaxx ‘Red Alert’, I also signed a short deal with Ultra Records so we have the first record with them coming out in November. 

And finally… where do you get ‘lost in music’ the most yourself – in the studio? On the dancefloor? Or maybe even playing a set? 

Hahaha love that, probably whilst cooking at home and the vinyls are spinning, playing out some classic Motown or gospel cuts. 

Thanks Will!

Huge love thank you

Oliver Heldens & Will Clarke ‘Lost In Music’ is out now on Charlotte de Witte’s Époque imprint. Get it HERE.
Catch both artists at Amsterdam Dance Event at Heldeep showcase on October 21^st. Tickets here.

The post Will Clarke on marathon sets, staying true to your sound & making music that lasts appeared first on EDMTunes.

Even a couple of years ago a collaboration between Marie Vaunt and Bassjackers would have felt unlikely. Fast forward and there’s no room for purism in 2026 as genre-fluidity reigns supreme. 

Case in point ‘Acid Nation’, the brilliant first link-up between the Acid Techno Queen and the self-styled “tech bounce” Dutch superstars. Out now on Arcane Music, it’s a prime example of two artists from different spaces crafting a high energy jam that works regardless of the setting. 

As Vaunt and Bassjackers share in an exclusive conversation with EDM Tunes, it’s an invigorating time for both artists and performers.

On paper, Marie Vaunt and Bassjackers might not be the most obvious pairing. What did you hear in each other’s sound that made you think – this could work?

Marie Vaunt: We’ve known each other for a few years now and have been fans of each other’s work. Over time, our styles naturally started overlapping, and combined with our friendship and

mutual appreciation, doing a track together was almost inevitable!

Bassjackers: Our sounds have been moving closer together recently. We’d already been playing around with acid quite a bit, so there was actually more common ground than you might think. Marie brings that darker, driving edge and we bring the bounce. It just made sense.

When two artists with strong musical identities collaborate, there’s always a question of how much you adapt versus how much you hold your ground. Where did each of you bend on this record?

Marie Vaunt: We didn’t really run into that kind of friction, as everything flowed pretty naturally. That said, I was definitely focused on getting the acid elements right. I’m super particular about my acid lines and tones, so I put a lot of care into making sure they elevated the whole track while staying completely true to my sound.

Bassjackers: It never really felt like either of us had to bend much. We went a little darker and Marie brought her own acid flavor, but the sweet spot between our sounds was already there.

Was there anything the other brought to the track that you would never have arrived at on your own?

Marie Vaunt: Absolutely. That festival style breakdown with the high-pitched vocals is definitely something I wouldn’t have come up with on my own for this track. But it works so well and it creates this instant energy in the room the second it hits!

Bassjackers: We laid down the first draft with the breakdown theme and acid drops, then Marie sent it back and did her magic, especially on the acid sections. It really took the record to another level. That’s exactly why you collaborate.

You worked remotely and traded the track back and forth. Do you think distance can actually make collaboration more interesting because you have space to react without the other person in the room?

Marie Vaunt: It definitely does. Working remotely actually removes the pressure of having someone sitting right over your shoulder in the studio. It gives you the space to throw completely weird ideas at the project and process what they sent over without overthinking it.

Bassjackers: Definitely. The fun part is sending something away and having no idea what’s coming back. When the next version surprises you, you know the collaboration is working.

Dance music audiences are increasingly comfortable moving between techno, big room, trance and harder sounds. Do genre boundaries feel less important to you now than they did five or ten years ago?

Marie Vaunt: They feel completely irrelevant to me now. The scene has become beautifully borderless and I think audiences are just craving energy regardless of what box it fits into. If a track has the right drive and makes you feel something, it doesn’t really matter what genre it’s supposed to be.

Bassjackers: Way less. Our own sets have become much more open because of that too. We can go from rave to acid to something super bouncy or hard, and as long as the energy makes sense, it works.

Both of you make music designed for very large spaces. What have you learned about creating something that feels huge without simply making everything louder or harder?

Marie Vaunt: This is where my Japanese heritage really comes into play. I am obsessed with the concept of “Ma” which is the beauty of empty space. If everything is just loud and distorted the entire time, it just turns into a flat wall of noise. You make a track feel huge by controlling the silence. The contrast between a quiet tension building breakdown and a heavy drop is what actually gives the track its power.

Bassjackers: It’s always tempting to go louder, harder and bigger, but the real challenge is cutting the fluff and still having the same impact and energy. Sometimes less really is more.

When you’ve played thousands of records to crowds, do you start developing an instinct for what will work on a dancefloor, and can that instinct ever become creatively limiting?

Marie Vaunt: You definitely build a natural instinct for reading the room, and performing is always about having a conversation with the crowd through the music you choose. But I’ve never felt limited by that knowledge. Knowing what works actually gives me the confidence to

take risks and throw in something leftfield or unexpected when the room is locked in.

Bassjackers: For sure. After doing this for a while, you know pretty quickly what’s going to work. But you have to keep surprising yourself and testing new things to keep it exciting.

How much do you consciously think about the audience while producing? Is there a point where you have to shut out what you know people will respond to and follow your own taste instead?

Marie Vaunt: The crowd is always in the back of my mind because the music needs to be functional, but the initial spark has to be entirely for me. I have to be the first person to get goosebumps when the acid kicks in. If I am just trying to reverse engineer a hit to please the crowd, it always ends up lacking intention.

Bassjackers: The dancefloor is always in our minds. We want to make tracks that work, but we also have to be excited about them in the studio and genuinely think they’re cool. If I really want to play it that weekend, that’s usually a good sign it has both.

What’s the craziest thing that’s happened to you on tour that you can actually tell us about?

Marie Vaunt: I was playing a festival in Texas and right after my set ended, a massive tornado touched down nearby. We got rushed to our trailer while the storm was approaching, and when it was confirmed that it would be passing by the festival grounds, we had to evacuate immediately. It was honestly pretty scary, but thankfully we managed to get to the hotel safely.

Bassjackers: Pretty early in our career we had a show where two out of three CDJs died, so I ended up playing on one CDJ for quite a while Ralph tried to find someone from production. I honestly don’t know how I managed it. There was a lot of delay and echo involved and it probably sounded terrible, but somehow we survived. That one always stuck with me.

Away from producing and touring, have you actually had much chance to hang out, or has your relationship mostly been one of appreciating each other’s music from afar?

Marie Vaunt: It has mostly been a lot of mutual respect from afar just because our tour schedules are both so intense and we are usually on different continents. We keep in touch through social media and DMs, but I am really looking forward to finally linking up in person at a festival soon so we can actually drop this track together!

Bassjackers: We’ve met briefly a few times and it’s always been good vibes. We’re doing a B2B at ADE though, so that’s about to change. 

Marie Vaunt x Bassjackers ‘Acid Nation’ is out now on Arcane Music: https://bfan.link/acid-nation. 

Catch Marie Vaunt and Bassjackers playing B2B at ADE on Friday 23 October at Revealed presents Legacy meets Destiny event. More info HERE. 

The post Marie Vaunt x Bassjackers in conversation: “The scene has become borderless” appeared first on EDMTunes.

Fresh off her ÎleSoniq appearance and the release of her latest single, ‘I Go’, we caught up with Yurie to discuss her musical journey, creative evolution, and the moments that continue to shape her career.

The Interview

(Please note, the bolded text represents a question, while the paragraph(s) following it represent Yurie’s answers.)

What was your relationship with music growing up, and when did you first realize that you wanted to pursue it seriously?

Music was a huge part of my life growing up. I was classically trained in piano and voice, was doing music competitions, studied music theory, and even sang in a chamber choir, so I had a pretty formal musical background from a young age. At the same time, I was starting to become obsessed with electronic music. I learned how to DJ when I was about 15, started making mixes and putting them online, and ended up getting a club residency while I was still in high school. That was probably the point where it clicked that music could become more than something I just loved doing.

It’s funny looking back because classical music and DJing seemed like completely different worlds at the time, but the ear training, theory, and vocal background have all ended up influencing how I produce music today.

How did DJing, producing, and singing come together?

DJing came first, so I think that side of me is still the most instinctive. I’ve been doing it for such a long time that reading a crowd and knowing where I want to take a set feels very natural.

Production came later because eventually I wanted to be able to make the records I was imagining in my head instead of only playing other people’s music. Vocals have almost brought things full circle because I grew up singing. For a long time that part of my musical background was separate from Yurie, and now I’m incorporating my own voice into more and more of my records. I think having all three gives me a different perspective when I’m making something. I’m thinking about the production, but I’m also thinking about how it will feel in a DJ set and whether there’s a vocal idea that can give it more personality.

How has Vancouver shaped you?

Vancouver is home. It’s where I grew up, where I learned how to DJ, and where I played so many of my first shows for years, so it will always be a huge part of who I am.

At the same time, I feel really grateful that music has given me the opportunity to play in different cities around the world. Being exposed to different crowds, scenes, and styles of music has definitely shaped me as an artist and broadened my perspective. There’s something really special about being able to travel through music and have all of those experiences, while still coming back to the place that has always felt like home.

What was the story behind ‘I Go’?

‘I Go’ really started with the kind of record I wanted to play in my own sets. I wanted it to feel percussive and be vocal-driven, with a rolling groove that could work in a club but still have a memorable hook. Everything on the record is original, and I wrote, produced and sang the vocals myself, so it feels like a really good representation of where I am as an artist right now.

I had actually been testing it in my sets for a few months before it came out, which is one of my favourite ways to finish a record. You can work on something endlessly in the studio, but playing it to a crowd tells you very quickly what is connecting. The reaction was consistently so good that I knew I wanted to get it out for summer.

What did ÎleSoniq mean to you?

Playing ÎleSoniq was definitely one of those moments where I tried to stop and actually take in what was happening. I’ve played festivals and some pretty surreal shows over the years, but getting to play the main stage at one of Canada’s biggest electronic music festivals, in Montreal, felt insanely special.

It was also so much fun getting to play B2B with Tom DŪNO. We had actually met briefly the year before in Quebec City at a show I was playing, and he was such a gem from the start. Right before our show, we synced up on what we wanted to play and the overall vibe of the set, and we were completely on the same page. Same energy, same direction. It made the whole thing feel really natural and honestly just so fun.

I think the moment that stayed with me most was looking out from the booth and realizing I was actually playing ÎleSoniq. You spend so much of your time as an artist thinking about the next track or the next opportunity that sometimes you have to remind yourself to appreciate the things that used to be goals.

What makes you feel most like yourself outside music?

I think balance is a huge part of it for me because I actually work a full-time job alongside music. My life can get pretty busy, so outside of work and music I really value the things that make me feel grounded and excited about life in general.

I love traveling, trying amazing food, being around people who are really passionate about what they’re doing. And lately I’ve been trying to say yes more and not overthink everything. I think I’ve gotten better at actually taking things in instead of always rushing toward whatever is next.

Music is still my outlet through all of that. It’s the thing I come back to where I can completely switch gears, be creative, and feel most at home. I actually think having a full life outside of music makes that relationship with it even stronger.

What has changed most, and what are you excited about next?

I think the biggest change is that I trust my instincts a lot more now. I’m less focused on what I think I should be making and more interested in making music that actually feels fun for me to play in a club.

I’m still learning constantly, and I think that’s what keeps it exciting. I want to keep developing my sound, getting clearer on what feels like Yurie, and pushing further into the house scene while still leaving room to experiment.

I’d also love to keep playing in more cities and getting in front of new crowds. Some of my favourite moments have come from playing somewhere new and feeling that connection with people through the music. I’m really excited to keep building on that and see where it takes me next.

After catching her set at ÎleSoniq, it’s easy to understand why so many people are beginning to take notice. If this year is any indication, Yurie is an artist worth keeping on your radar.

The post Yurie Reflects on Music, Momentum, and Her ÎleSoniq Debut appeared first on EDMTunes.

Hey Bae, thanks for speaking with us! Where are we catching you today?

Summer is over, so you’ll catch me in my favorite place: the bathtub x

Congrats on launching your new label! ‘B. A. E. – Build Around Energy’ is a very personal project for you. What’s the story behind the label, and how easily did the name come to you?

Thx! I wanted to create a space for myself and other artists where you don’t have to bend yourself into something you’re not. A place where you can put your music and your ideas out into the world in a way that actually feels authentic to you.

I also love that B.A.E. doesn’t have to mean just one thing. Bold And Edgy, Bad Ass Energy etc. I can keep playing with it and give it a different meaning depending on the release. The one thing that never changes is Bae.

Speaking of names, where did your artist name come from, what is the story there?

I literally had the classic Beyblade arena at home and was cleaning one day when I thought, wouldn’t it be funny to call myself Bae Blade, just spelled differently? I went with it and that was pretty much it. It always gets a good reaction at hotel check-ins, so I guess it was a good choice.

Your first single HEY MAMI on B. A. E. is out now, with the full INTRODUCING BAEDDIES EP dropping September 25th. What made this track feel like the perfect first statement?

It felt very me. It’s unapologetic, it has a strong attitude, and it says a lot without needing to explain itself. It also felt like the right way to introduce the BAEDDIES world: confident, a little cheeky, but still serious about the music.

For me, it’s also about being queer and not feeling the need to tone that down or make it more palatable. I’m not here to play it safe or overthink every move. I wanted the first statement to feel like me: direct, unapologetic and ready to go.

You talk about creating the platform that you wish you’d had yourself when starting out – allowing you freedom to create, own your own music. Do you think this is a universal issue within electronic music, or music in general that all artists struggle with at some point?

Personally, I’ve often felt like there were limits around how much I could explore my own identity and vision. Creating B.A.E. gives me that space. I can connect the music, visuals, artists and overall world without having to compromise the vision just because it doesn’t fit someone else’s idea of what it should be.

I also think we could all think a little bigger when it comes to how we present artists. For me, the music, visuals and identity are all part of the same world, and I want to create space for that. I studied graphic design, so I naturally think very visually, and I don’t want the creative side of an artist to stop at a press photo. There’s so much more potential when you really build a world around the music. I was honestly terrified that I wouldn’t be able to pull this off, but I’m a doer. I figured it out as I went, and now we’re here.

Based in Berlin, you’ve made a name for yourself, rising up from the underground scene to becoming an international name. Aside from the landmark moment of launching B. A. E., what are a couple of other key moments in your journey so far that have felt really pivotal to where you are right now?

I think a lot of the key moments were my first releases, my first international shows, and seeing my music reach people outside of my immediate circle. There wasn’t one single moment where everything suddenly changed. It was really the consistency of putting music out, playing shows and slowly building something that felt like me.

I’m a believer that consistency is key. Which is funny, because every time I hear that phrase I immediately think of the “never back down, never give up” meme. So I guess I’ve accidentally been taking that very seriously for years.

As you wrap up a hectic summer of touring, what else is in store for you this Fall that you’re especially looking forward to?

I have my next EP coming up on SPFDJ’s label, which I’m really excited about. It feels like a strong way to close out the year, ending it with a bang and then going straight into everything I’m building with B.A.E.

There’s a lot more music and a lot more BAEDDIES coming, so I’m definitely not slowing down anytime soon.

Bae Blade ‘INTRODUCING BAEDDIES’ EP ft. Laure Croft is out now. Get it HERE.

Connect with Bae Blade on Spotify | Instagram | Soundcloud  | Bandcamp

Connect with B.A.E on Instagram | Bandcamp

The post Bae Blade on her new label ‘B.A.E. – Build Around Energy’ and the power of creative freedom appeared first on EDMTunes.

We caught up with the Producer and DJ to discuss the inspiration behind ‘Like a Spark,’ the production choices that shaped its dynamic progression, his relationship with melody, and what lies ahead as he continues building momentum through new releases. 

Hi MikeR! How are you feeling today? 

Very good, thanks! I had a great summer with lots of travel and lots of new music. 

Was there a specific moment, emotion, or event that triggered the need to create “Like a Spark”?  

Not one specific moment, but a feeling I have observed many times and experienced myself as a teenager. You are in a crowded room, you don’t know anyone, and you feel lonely despite all the people around you. For many this is very real, especially if you are new somewhere and a bit shy. It really takes someone to pull you out of it and light your spark. 

When you first started working on it, did you already have a clear picture of how you wanted it to sound, or did the track guide you somewhere completely unexpected? 

I had a pretty clear picture, because I started by writing the lyrics. When I moved on to the music, I tried to match the emotion and feeling of those words. The track starts out melancholic and slow, with a ticking clock in the background to get the feeling of loneliness and isolation across. Then it becomes more uplifting and melodic towards the drop, which represents the moment someone pulls you out and lights your spark. The melody is always the key piece for me, so I wanted something really uplifting as a contrast to the melancholic start. 

How did you approach structuring the arrangement to build energy and maintain tension throughout the song?   

My approach was to add energy, rhythm and melody step by step, building towards the drop. The track opens with synthetic strings and the vocal, with no drums or percussion except the ticking clock. Then the energy comes in layer by layer: hi-hats, a grooving bassline, and a guitar introducing the lead melody before it merges into a plucked synth. A build with rhythmic chords follows, and finally the drop hits with organic trumpets and synthesizers over a driving bassline, kicks and claps. 

What’s your favorite single element or sound in the track? 

The organic trumpets in the drop, playing the lead melody supported by super-saw synths. They give the drop a warm, human touch against the big electronic sound. 

How does “Like a Spark” fit into the broader evolution of your sound compared to your previous releases? 

Compared to “Music Lifts Me Up” and “Up in the Sky”, two other progressive house tracks I released this year, it is the most mellow and melancholic one, and it has the most organic sounding elements. It has a bit more emotional twist to it. 

What has been the most rewarding feedback or moment you’ve experienced since releasing the track? 

The most rewarding feedback was the positive response from some bigger DJs via Inflyte. I was also really happy about the reactions to the melody, which many people seem to love. 

Every track has a personality. If “Like a Spark” were placed in the middle of one of your live sets, what exact mood is it designed to trigger in the crowd? 

It is designed to give the crowd a quieter moment to listen and reflect before the drop carries them away again. I tend to play it early in my sets, when people are still arriving and may not know anyone, which is a bit also the feeling the track is about. 

How did you know the track was officially done and ready to be locked in, rather than over-produced? 

The key thing on this one was getting the vocal sound right and making it sit well with the instrumental. Once that was done, I knew it was ready. After that, I always test my tracks on the dancefloor, in the car, on headphones and on AirPods. If it sounds good on all of them, it’s good to go. 

Now that this release is out in the world, what is your biggest goal or milestone as an artist for the rest of this year?  

I have two more progressive house tracks lined up for release this year. The next one, “Wherever You Go”, comes out on 2 October, and it is very important to me because I wrote it for my youngest daughter, who is away from home for a year. Beyond the releases, my big goal is to bring my sound to festival crowds. 

Finally, is there a message or a quick tease you’d like to leave for everyone listening to ‘Like a Spark’ today? 

If you do like progressive house and a melancholic start with a happy ending, then this one is for you – give it a spin. 

With ‘Like a Spark,’ MikeR continues to refine a Progressive House sound rooted in melody, emotion and uplifting energy. Promising more music on the way and with festival stages in sight, he remains focused on building momentum and expanding his presence as both a Producer and DJ. So, listen now to his latest single, ‘Like a Spark ’ and be sure to follow him across socials to keep up to date with his evolving journey. 

Stream and Download ‘Like A Spark’ Now:  

https://www.beatport.com/es/release/like-a-spark/7278422

MikeR Online    

Spotify | Instagram | Beatport    

The post Inside ‘Like a Spark’: MikeR on Melody, Emotion and Progressive House appeared first on EDMTunes.

Belgian DJ, producer, and visual creator Nikka Lorak has spent years blurring the lines between art, cinema, and peak-time dancefloors. Armed with a background in film directing and fashion photography, Lorak approaches electronic music with a distinct narrative vision, translating depth, tension, and energy into high-impact techno crafted for stadium-sized stages and intimate club basements alike.

Marking a major milestone in her career, Lorak has launched her independent imprint, Cruel Kind—a home specifically built for the next generation of “electronic rockstars” who push beyond genre boundaries. Dedicated to peak-time techno infused with cinematic notes and driving grooves, the label champions bold, authentic talent.

The label’s debut single, ‘Control’, serves as its definitive statement of intent, capturing the raw spirit of rave culture with a sharp, modern edge. And so we sat down with Nikka to discuss everything regarding the launch of the label, and how her past experience on tangential industries helped her shape both her sound and her vision for the imprint. Read below to find out.

The Interview

Congratulations on launching Cruel Kind with your new single ‘Control’! What was the ultimate catalyst that made you decide now was the moment to build your own label?

Thank you. For me, Cruel Kind was the natural next step rather than simply another business decision. I reached a point where I had a very clear idea of the world I wanted to create musically, not only in terms of sound, but also identity, attitude and visuals. I wanted a home for music that feels powerful, cinematic and unapologetic — a home for electronic music rockstars.

The idea behind Cruel Kind is really about creating a platform for artists who do not fit comfortably into a box. I wanted the freedom to develop that vision without compromising it. ‘Control’ felt like the perfect first statement because it represents exactly what I want Cruel Kind to stand for: energy, tension and emotion, music that moves stadiums.

Could you give us a little insight into one part of the production of ‘Control’ that you liked the most? Could be a nerdy detail or could be a personal story linked to a section of the track, for instance.

One of the things I love most about ‘Control’ is the way the track constantly builds pressure without giving everything away immediately. I am very interested in creating that feeling of anticipation, almost like a scene in a film where you know something is about to happen, but you do not know exactly when.

For me, the contrast between the driving low end, the more intense drop and the vocal gives the track its character. I wanted the groove to be physically powerful in a club, but at the same time have a cinematic narrative. I think that balance between aggression and atmosphere is something that will become a signature of Cruel Kind.

You say Cruel Kind is an imprint “built for electronic rockstars”. How do you spot one, what do you see in an artist that instantly makes you nod?

I look for presence before perfection. An electronic rockstar does not necessarily have the biggest numbers or the most technically perfect production. There has to be something that makes me stop and think, “Who is this?”

I look for identity, attitude and a point of view. I want artists who sound like themselves rather than like whatever is currently working on Beatport or Spotify. Think Skrillex or Fred again.. They need to have something slightly dangerous about them, something that feels bigger than just making another good techno track.

If I can hear a track and immediately imagine the artist standing on a huge stage, controlling a crowd, that is when I pay attention. For me, that is the beginning of a rockstar.

Cruel Kind A&R is looking for energy, structural development (forget endless loops) and high contract of elements.

Before diving full-time into electronic music, you built a career in film and fashion. How does that cinematic background influence your sound and the aesthetic identity of the label?

It influences almost everything I do. I do not really separate music, visuals and storytelling in my mind. I grew up professionally thinking in images, scenes, characters, lighting and atmosphere, so naturally I approach music in a similar way.

When I am working on a track, I am often imagining a scene rather than just a sound. I think about what the audience should see and feel at a particular moment. That is probably why my music tends to have a strong cinematic quality and why visuals are such an important part of Cruel Kind.

I want the label to feel like a universe rather than simply a catalogue of releases. The music is the soundtrack, but the artists, artwork, visuals and live performances all belong to the same world.

You’re just coming down from playing multiple dates across Ibiza, while getting ready to tour India. How do you adapt your energy and set programming when transitioning between crowds? Do different cultures crave different vibes?

Absolutely. Every crowd has its own personality, and I think a good DJ has to be able to read that rather than simply arrive with a fixed formula.

I do not necessarily change who I am musically, but I change the way I tell the story. In some places I can build the tension for longer. In others, the crowd responds immediately to harder, more physical energy. I pay attention to how quickly people react, what happens when I introduce a darker section, when they want vocals and when they want pure rhythm.

Ibiza is incredibly international, so you are already playing to a mixture of cultures and musical backgrounds. India has its own incredible energy and relationship with electronic music, and I am very excited to experience that firsthand. The key for me is to stay authentic while being responsive. The crowd should influence the journey, but never dictate who you are as an artist.

What would your life be like if you weren’t making music? Do you reckon you would’ve gone down the visual/cinematic path?

Definitely. I think I would still be somewhere in the visual world. Film, fashion, creative direction, photography, something where I could combine storytelling with aesthetics.

Music actually feels like the place where all those previous experiences finally meet. I can take everything I learned from film and fashion and put it into a three-minute track, a live show, a campaign or an entire label identity.

So even if I had not become a musician, I do not think I would have escaped the cinematic world. I probably would have just found another way into it.

What can you tell us about the next projects lined up in your agenda? How do the next releases and gigs look in the world of Nikka Lorak?

The next chapter is going to be very busy. I am continuing to develop Cruel Kind and build the label’s identity through new music and artists, while also pushing my own sound further into the Peak Time Techno territory I am most passionate about.

There are more releases and collaborations coming, and I am particularly interested in developing music that feels made for big systems and big stages, tracks with real emotional and physical impact rather than music that simply works as background for a DJ set.

–

Thank you Nikka for this wonderful interview. You can buy and stream ‘Control’ at https://ffm.to/cruelkind001. Stay tuned to EDMTunes for more.

The post [INTERVIEW] Nikka Lorak Talks ‘Control’, Launching Her Own Label, Career, And More appeared first on EDMTunes.

Internet Niche Fame releases on October 30th, and the second single, ‘motion sick’, is available now via Zorza’s 4ever label.

Zorza x NCMF x EDMTunes

We’re here at North Coast with Zorza. How are you?

I’m great. How are you?

I’m well, thank you! You just got off the stage at the Shipyard. How do you feel?

Sorza: I feel good; I’m buzzing with energy. It was really fun.

Jay: What does it mean for you to come back to Chicago?

I think it’s really exciting. Last time I played North Coast, I played in the Chill Dome, which was a very different vibe than the Shipyard stage. It feels really good to be playing back and see a lot of repeat fans, which is really cool.

That’s exciting, whenever you’re able to recognize some friendly faces in the crowd. There are people away from home that still support you nonetheless.

Yeah.

You just announced the release date for your debut album, Internet Niche Fame. How does it feel to play a set after you have all that new music coming soon?

Really exciting yet scary. In my set today, I played a lot of album songs that I hadn’t tested yet. They all did great, so I feel good, but leading into it, I was a bit nervous because it’s a bit different. I still think it’s very much my sound, but it’s a bit different than some of my other really Techno-leaning sets.

I do really enjoy the visual aspect of the album cover. Can you talk a little bit about the inspiration for the title and the cover art?

Sorza: They’re kind of inspired by a similar thing. With the title, Internet Niche Fame, I was writing a lot of the songs (there’s one in particular) where I was just reflecting on my journey as an artist and how I’m obviously not the biggest artist out there, but through these little communities on the internet, I’ve been able to tour all over the world, meet so many people, and do so many things that in the past, without the internet, that wouldn’t have been available. So, that’s the niche aspect of it, and those niche Hardcore fan groups.

And then on the other side of that, the internet, and putting music out on there is just so chaotic. There’s so much happening everywhere. And I wanted the album cover to reflect that chaotic nature, and my attempt to break through that chaos and find my own path in it.

I was trying to get some of the track names on the album cover, and I was twisting my eyes. There’s a few there, but you have to really look into it.

I made it chaotic on purpose, so it’d be difficult to read it.

Your lead single for this album is called ‘Haunted’, which speaks to the reinvention and the self-reflection of trying to keep your identity safe while trying to achieve change. Do you think there was a specific point in your life where you noticed this, that you were potentially changing, not for the best?

I don’t think it was not for the best, but I think a lot of the album, when I was writing it, I was reflecting on where my career was about a year, a year and a half ago. I was quite in the Hard Techno scene, which I love, but I didn’t fully feel like I fit in there, and that my music didn’t fully fit in there. With a lot of the album, and even ‘Haunted,’ I’m haunted by the idea that I want to do something different.

I kind of wanted to change. A lot of the other songs on the album are not precisely Techno; there’s variety. I want to say there’s some Trap, some Witch House. It’s still very much Techno, but I’m just haunted by how scary it can be to try and change. At the same time, that’s what excites me. That’s what I wanted to do with it.

What do you feel the turning point was for you? When you realized, okay, this is not for me, I already know what vision I’m going for? How do you take this opportunity to grow and use the internet to your advantage?

I was having these thoughts about a year ago. I had been coming off of so much touring; I was quite burnt out from it. And throughout, I didn’t have time to sit down and make music. I took a little bit of a break, and really focused on making music and what I loved about music from the beginning.

Then, I realized I wasn’t fully making stuff that I wanted to make, but rather what I thought other people might want to hear. I realized that there are so many other communities out there where you can reach so many people, and people have so many different interests all over. I can play a Hard Techno set, but still throw in some fun Hyperpop, which I’ve always done, and I think people are really receptive to it. You can just see so much stuff that’s out on the Internet and then experience it in person.

A lot of your tracks, especially leading into this album, feel very deep and emotional. But then a lot of the BPMs are 150 over, right out on that energy. How do you wish that sound to be perceived?

I think that’s just my sound, because I’m still making fast music. The slowest song on the album is probably 140, which is pretty fast. Fast music excites me. This album feels like the most authentic music I’ve ever made, and it combines all the genres that have inspired me over the years and the diversity I like to see in sets.

People tend to get saturated very quickly when, from beginning to end, the set sounds the same. You do an incredible job offering so many different perspectives.

I get bored. I just get bored really quickly; that’s my biggest thing. That’s why I’m always changing the vibe and the genre during my set. That’s very much reflected on the album.

Are there any other influences we can expect from the new album?

I went back to the music I really loved in 2012, 2013. Witch house was very impactful to me. And the album is not even Witch House—there’s not even a track that’s Witch House, but the emotion that I feel from those songs is really reflected in the album, and it’s similar to that genre. I need to feel something out of it, and that’s what I always got with Witch House.

There was a comment on one of the Instagram posts that said: “This is so Dance Dance Revolution. Bring it back.”

I’m also bringing the euphoria. It’s always the mixture of the euphoria and the melancholy. That’s what gets me.

You had a little clip titled “Motion Sick” before the album release date; is that the next single we’re expecting?

It is coming out next Friday.

Oh, that’s very soon! Do you have any collaborations on the upcoming album?

There’s one collaboration with a Hyperpop LA artist I really love named Julia Cooper. And she is the only feature on the album, but she fits in so well it’s honestly one of my favorites—all the tracks are my favorite, but that one is really, really special.

Beautiful. We are very excited. And one last question: you run your own label, 4ever. I know you had some shows in Toronto and LA. When can we expect upcoming Forever shows?

Probably in the next year, but with 4ever, we have our first releases from artists other than myself coming up very soon. There are about three or four releases lined up for the rest of this year. I’m really excited to dig deeper into the music side of the label rather than just the show side.

The post [Interview] EDMTalks With Zorza: Internet Niche Fame, North Coast, and Euphoria appeared first on EDMTunes.

It’s not every day that you get the chance to talk with Andrew Bayer, the author of countless Dance records across 20+ years, four artist albums (now five), and trend-defying sounds spanning Trance, Electro, Ambient, Electronica, and so much more to his own name, alongside so many records co-produced for the greatest names out there. Just to name a few, Above & Beyond, and Armin van Buuren.

Bayer is often considered — and should be if you don’t see him that way already — one of the true trailblazers of the Anjunabeats sound, and the slower, tinted-with-Electro Progressive Trance sound as well, marrying soothing, fly-away sounds with absolutely bestial growls and saws. Don’t believe me? Nine case-in-point mentions below.

Think of songs such as ‘Counting The Points’, ‘One Last Look’ as Signalrunners, or ‘Nothing Ever Lasts’ with Cosmic Gate. Now think of ‘England’, ‘To The Six’ with Boom Jinx, and ‘In And Out Of Phase’ with Matt Lange. Now think of ‘From The Past’, ‘Gaff’s Eulogy’, and ‘Celestial’. All of these, ALL OF THEM, are absolute diamonds of the history of Dance music. And they are all his. I could go on naming records but that proves my point already.

Last Friday, Bayer released his fifth artist album, A Light That Guides Weary Travellers Home, on Seven Lions’ Ophelia, marking a new chapter in his career, one in which he’s found a home outside Anjunabeats, his former home for decades, to venture out into a tangential space where feels are equally as welcome, just in a different container. The album is phenomenal, as you’d know after reading our review of it, and, well, we also landed a tiny little interview with the author of the piece himself!

We teased this a little during our review, and we’re so happy to put out this exclusive chat, which, as all our good interviews in here, turned into a sincere, heart-open conversation very quickly. You’ll get to know so much more about Mr Bayer, ranging from his views on life and music, how this album almost never happened, what these last years have meant to him, and you’ll even take home his favourite albums of all time to take home with you. If I keep teasing, it’s filler. Ladies and gentlemen, our interview with Andrew Bayer. Enjoy.

The Interview

(Please note, the bolded text represents a question, while the paragraph(s) following it represent Andrew’s answers.)

First off, massive congratulations on the release of A Light That Guides Weary Travellers Home. Would you mind sharing with us the story of how, why, and when this entire project came to be?

For a really long time, I was working almost exclusively with Anjunabeats, my whole life was essentially over there. But when I went on the Journey III bus tour with Seven Lions a few years ago—Jeff and I have been friends for over a decade—we started working much more closely together. That tour was such a pivotal, life-changing moment for me that I actually have “Journey III” tattooed on my leg!

I’ve always been a multi-genre artist at heart, but my live sets were historically streamlined into progressive 128 BPM electro-trance. My artist albums were explicitly designed for at-home listening, so I would create separate club mixes just to share those songs in a live setting. Perhaps the clearest example is In My Last Life / In My Next Life. Watching Jeff and the Ophelia crew build naturally multi-genre sets was a massive eureka moment. I thought, “I want to do this in my own way.” I started hanging out with the Ophelia crew much more, and they welcomed me in an incredible way. They pushed my creative boundaries and challenged me in ways I hadn’t experienced in years, encouraging me to combine my at-home album storytelling with my high-energy live sound in a cohesive way.

Historically, people were often confused by me as an artist because I operated in these two distinct lanes: non-clubby home listening and heavy club versions. Marrying those two worlds was the big creative leap for this record. On my previous album, Duality, disc one hinted at this idea, but the two sides were still separated. This time, the inspiration was to fully merge them, keeping the heartfelt, engaging songwriting while taking the energy up to eleven across multiple genres. Being surrounded by a new group of supportive friends who kept teaching me and challenging me created the perfect environment to make that happen.

You mention learning new things, which feels almost surreal because you’ve always been viewed as a technical pioneer. How do you create those moments of inspiration, and when does creativity usually strike for you?

Whenever I feel like I’ve stopped learning, I feel weighed down by it. Learning is the single most important element in keeping creativity exciting, it recaptures that raw, childlike inspiration you felt when you first started making music. When you get too comfortable, you stop growing.

This album was a massive experiment done on a purely selfish quest to challenge myself in every conceivable way. Anytime I listen back to my own discography, I can hear the moments where I was pushing myself versus when I was playing it safe. For this project, I deliberately disrupted my entire workflow. I switched DAWs to Ableton after more than 15 years on Logic, forcing myself out of my bubble even down to that very detail.

Do you remember a specific moment during the writing process where you felt like you had something truly magical in your hands?

One hundred percent. The very first song I wrote for the album was with Jonathan Mendelsohn, a track called ‘I Wish You Well’, which I initially rushed to get ready for Dreamstate a few years ago. Writing that track brought together several self-imposed challenges: adapting to Ableton, returning to 140 BPM trance, and weaving an emotional backdrop with personal storytelling.

Reconnecting with Jonathan and creating something so authentic was a massive turning point. For years, I had locked my live sets into a strict 128 BPM template. Going back to 140 BPM—which used to be my starting template when I was a teenager—made me feel like a kid again in the studio. Realizing the depth of the story we wanted to tell made me say, “Shit, there’s so much more to this. I have to do a full album.” I have to thank Jonathan massively for kicking my ass into gear, and the Ophelia crew for diving in and helping me listen through hundreds of clips and demos.

When you listen back to a demo and get that obsessive feeling where you’re proud of it and instantly need to replay it, that’s when you know you’ve created something special. I’m a selfish musician, I have to make music for myself first. If people like it, that’s amazing, and if they don’t, honestly that’s amazing too. It has to click for me internally. Even playing the same chords I’ve used throughout my career felt completely fresh once I sped them up to 140 BPM. Piano parts that didn’t work at 128 suddenly clicked at faster tempos, opening up an entirely new playground.

Does the tracklist follow a specific narrative pattern or structure, or is it ordered purely by musical preference?

I take sequencing very seriously! There are many valid ways to structure a tracklist, but for me, it was intentionally ordered from start to finish. Releasing singles during the album campaign was actually quite painful because I was sitting in limbo waiting for the full piece to drop.

I view the album as a singular piece of music structured in three distinct acts, very much like a film. Each act has its own defined progression, narratively through the lyrics, sonically, and emotionally, and it all leads to a very specific closing piece.

To be completely honest, I still struggle to listen to the last ten seconds of the album without crying.

The final piece is quite frankly amazing. How did that closing track come together?

Oh, the first time I tested the final masters right before delivery, I was weeping on stage. The very end of the album, ‘Home’ features a voice recording of me feeding my son breakfast and him repeatedly saying “hi” back to me for the first time. Originally, I had a much darker, epic piece planned for the finale, but at the last moment, I realized the ending needed to feel like a pure celebration. Gemma Hayes came in and completely blew my mind with her vocal performance, and finishing the record with that recording of my son was the only right choice. I get choked up just talking about it!

People nowadays often use the phrase “this is my most personal work to date”, so I try to avoid that cliché. But this album is easily the most important achievement of my career. The entire process was hands-on, and doing so much of it myself gave me a profound sense of satisfaction. Knowing this story is permanently cemented out in the universe means I can go to sleep happy at night. I almost don’t care about how it performs commercially. It performs beautifully for me.

Moving away from the record for a while, you’ve inspired so many producers over the years. So we’d like to ask, who inspires you? Who got you into music originally, and who do you listen to when you need creative fuel, electronic or otherwise?

In the very early days, I was making trance over dial-up internet with people around the world. I was part of a duo called Signalrunners, which was my entry point into the industry. When I was 15 years old during spring break, I literally flew to Scotland to meet our record label! Judge Jules took a liking to our Signalrunners project, and we had this insane feedback loop where we’d finish a track, send it over, and hear it played on BBC Radio 1. Experiencing that as a teenager was a massive adrenaline hit. That specific experience isn’t really possible in today’s landscape with the way streaming works and how the industry prioritizes social media content creation over music itself.

In terms of ongoing inspiration, most of mine comes from outside electronic music. Within the electronic space, Clark has been a massive influence ever since my days at Berklee. The way he pushes dissonant, detuned elements into a beautiful electronic tapestry is incredible. Outside electronic music, I sound like a broken record, but Bon Iver and Sufjan Stevens are my absolute go-tos whenever I’m at a loss for what to listen to. I was also inspired by the vocalists and collaborators I worked with on this record while putting the music together.

How I see you, and judging but what you’ve already told us, you constantly push your sound into new territory rather than staying inside one single genre or identity. Do you view that constant evolution as essential to who you are as an artist, that inability to “box” your sound?

Absolutely. If you get stuck in the same loop for too long without pushing yourself, the music becomes stale. To prevent that, I have to constantly set new technical and artistic challenges to overcome. This was, by a country mile, the most challenging record I’ve ever made.

I deliberately handled everything myself: the mixing, the mastering, learning string orchestration from scratch rather than outsourcing it, learning a new DAW, and managing the release without a traditional management team, relying instead on a wonderful group of supportive people. Those challenges keep you on your toes both creatively and within a modern music industry that can be a pretty scary place for artists right now.

To remain my most authentic self, I have to keep changing. This album is a radical shift, and I know a fair amount of trance purists might hear certain sections and say, “Oh, now he’s making dubstep!” But from front to back, the record reads as orchestral trance with moments of halftime energy that I wouldn’t even classify as dubstep. To me, those sections are deeply trancy, just a different flavor. More than a number on a screen, the essence of trance is that emotional undertone that makes you feel something. Opening up the floodgates to explore whatever tempo felt right was a massive inspiration.

Back to albums, since we’re already touching on this topic. What are albums in your eyes? I’ve talked to many who say they’re not really profitable, they’re quite unfashionable, the algorithm doesn’t like them, and so on. But yet artists keep making them and people keep consuming them. So what gives?

That perspective is a direct byproduct of a (scary) modern music industry that prioritizes rapid consumption over lasting art. Traditionally, albums were built to promote touring and generate long-term revenue. My own goals shifted quite a bit when I took parental leave to raise my son. I went dark on social media, stopped releasing music for a while, and then jumped straight into this campaign. Coming back was pretty traumatic because the industry doesn’t like artists taking time off. Your absence is noted immediately, and you’re expected to constantly sell yourself.

Historically, an artist would release an album, tour it, take a year off to write the next one, and repeat. That traditional cycle barely exists now because platforms demand constant output. But frankly, I don’t give a fuck about how the modern music industry works! People can look at my Instagram numbers or metrics, and I truly don’t care. I will always present my art in the way that authentically encapsulates who I am at the time.

After finishing Duality, which was a long, exhausting writing and touring process, I really felt lost and swore I would only release singles and EPs moving forward. But having that eureka moment with Ophelia reignited my spark. I am an album artist at heart, and this record reminded me that I will always make albums regardless of whether they are profitable or algorithmically favored.

You brought up the word “art,” which feels central to your ethos. Focusing on genuine creative expression over viral trends seems to be what keeps the process meaningful for you.

One hundred percent. I have willingly taken a hit commercially by refusing to engage in viral social media tactics or forced content creation. No shade to the people who enjoy that side of things, it’s just not for me. I enjoy writing music, feeling a deep connection to what I’ve made, putting it out into the world, and seeing what happens. The cherry on top is stepping on stage, playing music I’ve poured my soul into, turning it up loud, and dancing with people. That’s the ultimate celebration.

Social media pressure can feel completely disconnected from the actual craft of making music. It’s probably one of the things I like the least about today’s industry.

Exactly. I didn’t get into music to become a DJ or stand on stage, let alone make social media videos. Early on, I was petrified of getting on stage. But during the 2006–2012 Beatport era, seeing artists like Deadmau5 and Eric Prydz use DJing and live shows as a vehicle to present their own productions showed me a viable path forward.

When I perform now, it’s a complete release. If you’ve ever seen me play live, I dance like a total lunatic up there! By the time I step off stage, it feels like a full workout. I’m lip-syncing my lyrics, channeling drag performers, and losing my mind because it’s a moment of pure celebration. I’ve had comments online saying “he’s cringe” or “he’s doing too much,” but I don’t care.

My stage energy is heavily inspired by — and I’m so lucky to say this — seeing Kate Bush perform live in London: that time she came out barefoot in a muumuu, swaying around and completely losing herself in the music. That’s authentic self-expression. If being on stage for someone else is purely a polished photo opportunity, more power to them, but that’s not my vibe. I’d much rather look like an absolute mess on stage and genuinely feel the music.

How I see it, it’s exactly that absence of rationale, that sincere, nude madness on stage: that’s what builds a lasting connection with an audience. Call it passion.

We are currently experiencing a drought of authenticity across the industry, from AI-generated tracks topping charts to artists prioritizing content over craft. Seeing someone completely lose themselves in their work is deeply human. There’s a quiet underground community of artists and listeners who value genuine authenticity, and I firmly believe we are reaching a critical tipping point where people are getting sick of artificial content and seeking out real art again. But even if that underground never becomes mainstream, I’m equally happy remaining part of a tight-knit, authentic community. Suddenly, I’m underground!

What are your personal “comfort zone” records, the albums you return to when you need to reset yourself? Those that you can’t listen too often too so you don’t burn them out.

You are so right, you have to ration those special albums so you don’t burn them out! Bon Iver’s discography is a major seasonal comfort for me, as is Sufjan Stevens—his records Carrie & Lowell and Javelin are completely devastating, so you have to pick the right emotional moment to listen to them.

For newer music, Ignorance by The Weather Station gets played constantly in our house on the weekends; it pays a subtle, beautiful nod to Talk Talk’s experimental era and feels like a warm hug. For plane rides or for relaxation, Brian Eno’s Music for Airports and Stars of the Lid’s The Tired Sounds Of and Their Refinement of the Decline are essential for recentering. Also, A Winged Victory for the Sullen’s self-titled record is a total masterpiece that I have to save for specific, sacred moments.

Another huge record for me is Jóhann Jóhannsson’s IBM 1401, A User’s Manual. Jóhann’s work is that special kind of devastatingly beautiful. When I heard the news of his passing I was on tour in Poland. I collapsed onto the floor and sobbed, had to question how I’d go ahead with my show that night. His music really fed my approach to contemporary classical and ambient textures. If you strip back the electronic elements and heavy drums on my new album, at its core, it functions very much like a contemporary classical singer-songwriter record.

I love this question. If you could travel to the past and meet your past self, any number of years, maybe 10 years, maybe 15, 20, even more, however many you need to, what would you tell that younger Andrew? Were you worried about anything that was really not necessary?

That’s a heavy question. Growing up in the closet for a long time left me with very little self-confidence, both as a person and in my ability to contribute to the music industry. I was extremely hard on myself.

I wish I could go back and tell my younger self to believe in my own music and prioritize making music for myself. Because I lacked the confidence that I could build an actual career out of my solo music. I always felt I had to do outside work to facilitate it. I wish I had believed in myself more. I wish I could give my younger self a hug and say, “You’re going to be okay personally, you’re going to be okay as a musician, and you need to believe in yourself.”

Finally, for an aspiring producer reading this who looks up to your journey, what is the most powerful advice you could offer them?

Never stop learning. When I started out on dial-up internet, technique was heavily gatekept on old message boards and MSN Messenger before I went to Berklee. Today, there is an unlimited, free ocean of knowledge available at your fingertips.

Whenever I feel stuck or uninspired in the studio, I pull up my running list of tutorial links on my phone and watch other people work. Seeing what young creators are doing inside tools like Serum 2 completely blows my mind! If you ever feel like you’ve hit a plateau or gotten too comfortable, go onto the internet and learn from someone else. Take full advantage of how accessible knowledge is today, stay curious, and keep learning every single day.

Final Words

If you’ve read up to this point, I’m allowed to break character. What a privilege. Andrew was for years one of my absolute referents, and he still is. Still in high school I’d put on my trustworthy earphones and listen to record after record, wondering if he had a sort of Midas touch for music or what, and being absolutely hooked by, one of those artists I’d very confidently admit, helped cement my transition from Spinnin’ Records to the Trance scene.

Andrew says he’s a selfish musician. Well, in my role in press I’m a selfish journalist. I cherish moments like this one, where I’m allowed to meet those who shaped who I am today, while also serving as a proper instrument for them to open up in a much more human manner, leaving the artist persona and the streams and pie charts aside for a little while. I’m so thankful for this space that I have, and that funnily enough I also generate for others.

Andrew Bayer’s A Light That Guides Weary Travellers Home is out now. Stream below. And stay tuned to EDMTunes for the latest news and views from all across the Electronic space.

The post [INTERVIEW] Andrew Bayer Talks Latest Album, Music As Art, Career, And More appeared first on EDMTunes.

When it comes to Progressive music, a few names come to mind. Among those lies Budakid, a name synonymous with quality, heartfelt music for years. In fact, he’s spent over two decades shaping a deeply personal path in electronic music. His catalogue acts as a personal audio diary, earning releases on imprints connected to Sasha, Solomun, Max Cooper, and Guy J, alongside backing from tastemakers like Adriatique, Hernán Cattáneo, Bonobo, and Dixon.

In 2024, following a transformative period of creative isolation in the Austrian Alps, Budakid launched his independent imprint, Flores. Built on artistic integrity rather than industry trends, Flores serves as a home for both his own DIY output and curated music from close peers. Having played over a thousand shows across the globe, from festival stages like Tomorrowland, ADE, and Sónar to legendary clubbing institutions like Watergate and Paradiso, he continues to balance outstanding output with that human, natural aspect we’ve sadly lost in the Dance space lately.

Flores is, in fact, the home of Budakid’s latest album, Dreams Stretched Beyond. A walk through the unconventional, the raw, and even the new, Kevin’s latest journey is as much of a musical voyage as it is a life-mirroring one. But I’m not going to be the one talking you through it: we’ve had the pleasure of speaking to the man himself for this. We talked about the album, its meaning, Budakid’s life and career, and so much more. Dive in to find out!

The Interview

(Please note, the bolded text represents a question, while the paragraph(s) following it represent Budakid’s answers.)

Congratulations on the release of Dreams Stretched Beyond! It’s been a little over a month since it came out now, so we’d love to know your general balance of this time—how has the public reception been, what comments have you received, and how are you feeling about the overall response?

I’ve been making music for a very long time, 20 years in fact, and I’ve had several attempts at making an album. Every single time, I’d hit around the 80% mark, and at a certain point, it just wouldn’t click. I’d think, “Shit, what do I do?“, and I’d end up releasing everything as separate pieces and moving forward. But this time was completely different. It felt like people were almost expecting an album, and it feels like an “album time” in music right now with so many artists putting out full-length records.

People have been very surprised because the record shows so many different sides of who I am. Historically, I always tried to keep Budakid strictly as instrumental electronic music, mostly without vocals or singing. Over the last few years, I began experimenting more with singing and expanding those borders. It was an adventure in reinventing myself, asking who I am as a human being and what I stand for. I handled the vocals, played bass guitar, and did everything myself. I think people didn’t expect such an intensive DIY project. I even released it on my own imprint, Flores, specifically so I could retain 100% creative control over the entire package—not just the tracks, but the visual direction, photo shoots, and press texts too.

The public reactions have been genuinely positive. As for the metrics side, it’s a tricky time in the industry with the rise of AI. I’ve heard that over 50% of the music coming online nowadays is made with AI or partly AI. As an old-fashioned producer—which I definitely consider myself to be—it’s a challenging climate. For me to make a track takes weeks, if not months or years. Fighting against an industry moving at such an artificial, ultra-fast pace is something I’ve reflected on deeply. On the statistical side, some tracks got picked up by algorithms and some didn’t, but for me, it was never purely about metrics. It was a personal journey I wanted to finish from start to end. By the time the package was finalized six months ago, I already felt completely fulfilled. I barely even check my statistics now.

Could you take us back to the beginning of the project? How was the first idea born, and how did it naturally develop into your very first finished debut album?

For a long time, I was genuinely afraid of doing an album. A debut album carries this heavy weight—it represents a definitive statement of what you stand for as an artist, and for almost a decade, I simply wasn’t ready. I was curious, constantly trying out new sounds, and exploring.

Then, two years ago, I moved to a remote place in the mountains in Tirol. When you live in a city, you get so many unconscious triggers and inputs that constantly influence you. But being isolated here in nature for two years without external musical influences forced me to deep dive into my own belief system. I became my own judge, with nobody else to project onto or seek immediate validation from. That was incredibly special because it allowed me to create something far purer and straight from my heart than I ever could have produced before.

It’s something I would recommend to any musician or creative: detach yourself and unplug from the city. Go to a place where there is actually nothing, deep dive into your own belief system, and ask yourself, “What am I, and what do I actually like?” Over those two years, I created around 30 potential tracks without using any external references, and only 10 made the final cut.

Initially, I thought about releasing them as three separate EPs and bundling them together as a big statement. But as the core tracks started leading the way, I realized they shared a cohesive sound, story, and ideology. The album wasn’t made with the rigid intention of “I am going to sit down and make an album.” If I had intentionally forced it, it probably wouldn’t have worked. The album essentially created itself out of my process of self-acceptance.

Could you share a studio detail or personal moment linked to the creation of one of the tracks that really stuck with you throughout the production process?

What I love most about production is the raw writing process—jamming, writing stories, and creating initial vibes. Sometimes I’ll sit at the piano, play a chord progression, and just sing over it as a casual jam for myself. Other times it’s a sequence on a synthesizer.

The most special moment for me in the studio is that exact instant where an idea clicks. It doesn’t happen every day because it depends on multiple aligning factors: your emotional state, your current life situation, and your physical surroundings. But when a draft sticks with me and stays in my head for several days, it’s a natural signal from my gut that I need to move forward and finish it.

Looking at your career as a whole, who or what inspired you to step onto the path of becoming a musician in the first place?

Music was always something playful for me. I never set out with an explicit goal of “I want to be a professional artist.” I just loved making music, and the artist shape naturally formed around that passion over time.

I started out playing drums as a young kid, and I had a small keyboard. One day, my cousin introduced me to a Digital Audio Workstation on a computer and said, “Kev, you can actually play the drums on the computer now.” As a 90s kid who was completely obsessed with technology, something magical clicked in my brain. I immediately deleted all the computer games off my hard drive and replaced them with music software. Instead of playing video games after school, my friends and I would sit around making beats.

Later on, there was a popular Dutch social media platform called Hyves, which was like the Dutch equivalent of Myspace. They launched a tool where you could upload audio clips and tracks directly to your profile. Other Dutch musicians were uploading their tracks, so I started publishing my early music there too. That was the moment the public-facing artist was created, even though at the beginning, I didn’t care about an image or branding at all. It was just a hobby I loved.

Throughout all your years touring and releasing music, what is one stand-out memory that lives in your mind as something truly extraordinary?

Two specific memories immediately pop into my head. The first was getting to play a set on the Great Wall of China, which was an absolutely stunning, once-in-a-lifetime experience.

The second was playing a full moon party in the jungle of Koh Phangan in Thailand about ten years ago. They picked me up from my hotel and drove us for nearly an hour through dense, winding jungle roads up into the hills to reach this totally remote beach setup. I remember sitting in the back of the car joking with another DJ from Berlin, feeling so surreal and excited just driving through a jungle to play music. Those two moments are always right at the top of my mind.

We heard through the grapevine that there might be a remix album for Dreams Stretched Beyond currently in the works. What details can you tease about that project?

I’m honestly amazed by the remixes. I didn’t expect these incredible artists to touch the tracks I laid down on the album, so I’m deeply grateful for the twists they’ve given them.

The roster consists mostly of artists and DJs I’ve personally crossed paths with or who inspired me on my journey up to this point—people whose records I’ve listened to on repeat at home, artists I respect immensely, or peers I’ve worked with for years. I can’t drop specific names just yet, but some acts will be a huge surprise, while others will feel very obvious because of our history together.

Having complete creative control through Flores meant the curation had to mean something personal to me. It wasn’t about asking, “Who has the most streams or the biggest social media reach right now?” It was about asking, “Who genuinely means something to me musically?” For example, I went to a festival last year and saw a set by one of the remixers. It was one of the best sets I’d heard in years—the music touched me so deeply that I went on a complete deep dive into his catalog afterwards. Asking him to remix a track felt like a beautiful, full-circle moment.

It’s really refreshing how much emphasis you place on personal meaning. Releasing through your own label clearly gives you the freedom to make those decisions without interference.

Absolutely, and that’s how I always wanted it to be. That freedom is probably the main reason I was able to finally release an album now. I can stand 100% behind the entire expression—from the music down to the cover artwork, press releases, and photo shoots.

Learning to be that convinced of myself and what I stand for is the biggest lesson I learned during my two years of isolation in Tirol. I became brave enough to say, “F*ck it, this is who I am. Take it or leave it, I’m making the music exactly how I like it.”

You mentioned living in Tirol before recently moving back to Berlin, and you’ve been living in many places aside from those two. Could you give us a summary of how these different places impacted your life and musical outlook?

I grew up in a small town in the Netherlands called Grave, right near the German border, and lived there until I was 18. At the time, Europe felt huge to me, I had only ever traveled to Spain once. Then, during my graphic design studies, my school asked if I wanted to do an internship abroad in Bangkok. My English wasn’t very good at the time, but I thought, “Yolo, let’s go.” Experiencing a massive metropolis like Bangkok alone at 18 completely blew my world open.

After returning, I moved to Tilburg in the south of the Netherlands to study at the music conservatory for four years. Before that, I was working full-time as a 21-year-old graphic designer in an office sitting with 35- and 40-year-olds. I felt completely misplaced and realized I wasn’t ready for a standard corporate life. I wanted to invest time into music, so enrolling in a four-year degree allowed me to dive deep, study theory and production, and log thousands of hours honing my craft.

I actually graduated cum laude with a 9.5 out of 10! Red Bull Music Academy even invited me to record a session at their studios, but I turned it down because I honestly didn’t feel artistically ready yet. Sometimes I still reflect on that decision, sometimes I regret it too, but I think it was wise for where I was mentally at 25.

After graduating, I realized living in Amsterdam would be financially tough, whereas Berlin was far more accessible, affordable, and had a huge resonance with my sound. A friend texted me saying she had a free room in her student flat in Berlin, so 10 years ago, I moved my creative space. I lived in Berlin for eight years before my partner and I decided to move for some time to Tirol, which happened two years ago.

Touring constantly keeps your nervous system on high alert, and coming home to a busy city meant I could never fully unwind. Moving to nature allowed me to step off the wheel. But after two years in quiet isolation, we felt our story there was complete and we craved a social life again. Last winter, we moved partly back to Berlin. Being isolated made me realize just how much I value active social connections and seeing my friends regularly.

That contrast is fascinating. People often assume club producers need to live in the middle of constant nightlife stimuli 24/7, but stepping back seems crucial for processing those experiences.

Exactly. At one point in Berlin, I was out at clubs every single weekend, eager to explore new artists and support colleagues and friends. But I view life as a metaphorical backpack. Every experience, party, or travel memory gets tossed into that backpack. If you keep stuffing it without stopping, it overfills.

Sometimes you have to stand still, unpack those memories, and properly process and reflect on them. Reflection is an essential part of the creative journey. If you only move forward at full speed without looking back rationally, you burn out.

If you could collaborate with anyone—unrealistically or realistically—who would be your ultimate dream collaborator?

My personal musical taste spans a wide spectrum outside electronic music—I listen to stuff like Scandinavian jazz, surf rock, and Australian psychedelic rock. But my absolute biggest dream collaborator would be Thom Yorke.

It’s not even about his fame; it’s about his philosophy, his theoretical mind, and his raw approach to creation. Honestly, I wouldn’t even need to collaborate—I would happily just sit in a studio corner and watch him work his process. Radiohead has been a constant soundtrack on my life journey for as long as I can remember.

What are your top favourite albums of all time—the records you constantly return to?

Caribou’s Swim from 2010 is an album I’ve listened to for almost half my life—I know every detail so well I can replay it in my head on command. Radiohead’s In Rainbows is another massive favourite. Most Radiohead records, mind you.

Tycho’s album Dive was also huge for me because it combined atmospheric electronics with live guitars in a way that bridged two worlds seamlessly. Outside Dance music, I listen to a UK band called Headache. It’s spoken-word over breakbeats, delivered in a goofy, philosophical way. It’s almost like meditation for me—it completely turns off my overthinking brain and puts me into a dream state.

If you weren’t working in the music industry today, what other career path could you see yourself following?

My dad was a painter and graphic designer, and half my family works in design, so visual thinking was taught to me from a very young age. While I enjoyed design, working for corporate clients means constantly following someone else’s rigid rules regarding page counts and colour formats. I prefer expressing my own philosophy rather than executing someone else’s brief.

My other true passion from a very young age is food, I’m a complete food head! I actually considered starting a culinary blog while touring the world to document all the incredible dishes I was served. Becoming a chef would definitely be my alternative path.

Cooking and making music share the exact same creative DNA. In both crafts, you take a few raw ingredients and combine them based on personal taste: you add extra salt if you want it more savory, or you add extra drums if you want the track punchier. You are taking basic elements and constructing something complete for human senses—one for the ear, one for the mouth.

Finally, what piece of advice would you offer to a young, emerging producer starting out on their journey today?

My primary advice is to focus entirely on the joy of creating and remaining curious. Do what you love doing, regardless of whether it brings commercial success. Some people love going fishing every weekend even if they have zero intention of becoming a professional fisherman. That’s how I approach music—it keeps me curious and keeps my soul fulfilled long-term. Success can be a lovely byproduct of your passion, but it should never be the primary goal.

Secondly, do not be afraid to be unique. Nowadays, young artists go on social media, see someone having success with a specific sound, and immediately try to copy it to achieve the same result. But to build a lasting, meaningful body of work, you have to stand against hypes and explore uncharted ground. Embrace your own self-expression rather than mimicking someone else’s. Skill, patience, and authentic identity will always outlast trends and shortcuts.

-End of interview-

Final Words

Thank you so much to Budakid and the team who made this interview possible. It’s always great to hear insights, reflections, realisations and stories from those artists who lead and rock a certain angle in music. And this talk was nothing short of outstanding for the level of depth Kevin and I achieved. He’s a really good lad.

Listen to Dreams Stretched Beyond, Budakid’s latest long-play, below. And stay put for remixes coming very soon.

The post [INTERVIEW] Budakid Talks Dreams Stretched Beyond, Career, Purpose, And More appeared first on EDMTunes.

The Utrecht-based producer and DJ is impossible to miss behind the decks: physically commanding, visibly electric, jumping, moving, and pouring every ounce of his passion into the room. People who are part of his journeys never lose the feeling. From Amsterdam and Berlin to São Paulo, Johannesburg, New York, and Prague – wherever he plays, audiences feel more than they expected to.

Corren Cavini in Chicago

This is Jay with EDM Tunes, and I’m with the one and only Corren Cavini. How are you?

I’m very good. I just played my set, and it was amazing despite the challenges.

Yeah! Even with the rain, you had a tarp on your face; you made the best of it. Have you been in other situations where the weather is a little too inclement during a set?

I have, but not like this. I think because the rain was a bit unexpected. So then there are suddenly people making makeshift tarps and putting them over your head. Yeah, it’s a challenge, but it’s also fun to get thrown a curveball and try to deal with that in the best way. And I think we did it well.

I feel attendees were up for it for making the best of it. I think that especially through the last tracks that you have released, including your debut album, you touch a lot on resilience. I love that even during live performances, you truly represent that. Before all this rain, you were in San Diego earlier this weekend. How was it?

Amazing. I haven’t been to San Diego yet. Actually, for most cities I visit in the US. This is my 1st year touring in the US. I absolutely loved it; such a beautiful city. I really like the people there as well; they’re really sweet and laid-back and very much my vibe. Of course, I played at the beach during sunset, and for me, that’s the ultimate situation for my kind of music, you know, where you’re throwing beats by a beach, and the sun is setting, and I absolutely loved it. People were amazing. The crowd was amazing. It’s that kind of amazing situation when you get a show where all of the factors come together to make something bigger than the sum of its parts

You draw a lot of inspiration from nature, of course, working with Purified Records. With your track ‘Lion’s Head’, we had a glimpse of the location through Nora’s visuals. What does this location mean to you in terms of this track? And are there any other places in the world that you might draw inspiration from?

For me, inspiration comes from feeling something, and that can be connected to so many different things, like things in my personal life that go very well or very badly, but also quite often I’m noticing it when I’m traveling. I get very inspired by interactions with people and/or places, which quite often go together. And, when I create these memories that are very important and make a big impression on me, I often feel the need to express that and try to turn it into a melody that is connected to that memory.

‘Lion’s Head’

This location is an ultimate example of that. I was in South Africa one year ago, and it was also my 1st time playing there and visiting the country. Nora took me to hike up Lion’s Head, a mountain just on the shore of Cape Town. It’s an amazing mountain because when you’re at the top, you have a 360-degree view of the ocean, and on the other side, you have the rest of the mountains behind you, and then you see the cape of Cape Town, and you’re in between all that. You can imagine sort of the visual and the atmosphere and how impressive that moment was for me. Being there with Nora, who’s become a good friend of mine over the past years- from, you know, somebody I worked with to really having a good personal connection and getting to know each other meant a lot.

These kinds of memories feel like they need a soundtrack, and that’s sometimes how it goes, where I make it as a tribute to a place or a moment. Lion’s Head is one good example of that. I have plenty more. It’s so amazing because you can look so far into the distance, into the ocean, that you can see whales coming up for air, with the sun setting behind them.

New Music

Speaking of latest releases, of course, you’ve had incredible releases this year, including ‘Lion’s Head’ and ‘Darkness Into Day’ Are we expecting new tracks soon?

Of course, we’re doing a new release soon, which is one of my favorites I’ve done in a long time. I’ve been working on it for, I think, 2.5 years already. It’s called ‘Magic’. With a beautiful singer who’s called Down Under. He’s from New Zealand, and I met him in the Netherlands. We did a couple of sessions together, and right from the start, it was just that. Every now and then you get these people where you just connect on a personal level, but also on a creative level. We had an amazing session. It’s quite a deep and emotional tune, you know, as is very much my thing. I’m very excited to share that with the world.

We are very excited to hear it. You said that you’ve been working on it for 2.5 years, Is that usual for your creative process?

Kind of depends on track to track. I would say this is maybe a bit on the extreme side, where it took so long from the 1st demo, which I already really liked, but then you’re just constantly tweaking and iterating on that because sometimes I just feel like this track has so much potential, and then I constantly feel like I’m not getting the most out of it. I can drive myself crazy. So those are definitely the situations where it takes a very long time. There will also be a track where the process goes faster, but definitely in almost any case, the process from first demo to release takes at least half a year, but quite often a year, sometimes two years. And in the case of my album, for example, there are also tracks on there that have been a demo for 8 years.

Relationship With Purified

You have had quite amazing opportunities with Purified, and you have had many releases in the last 3 years. How did this collaboration come about?

It’s funny, actually; people ask me this quite often, and usually I really have to think about it, because I don’t quite remember exactly how it started. But before I ever did a release with Purified, I did quite a lot of releases with different labels, and I still do now and then. And a couple of those records, Nora had already been playing in her sets sometimes. So, I don’t remember exactly how it went, but I think somehow we got into a conversation in an Instagram DM with me saying: “Hey, thank you for playing this and this track,” and she continued: “Yeah, I really like it. Maybe we should talk about doing some music together.”

Slowly but surely, from that conversation, we decided to do our first EP together. Gradually, that has grown. I think from the first time we met each other in person, (because we met online first and then we met each other in person), we also noticed that there was a real connection, not only in terms of music, because we have a very similar musical vision, and in terms of the way we are in life, the way we view the world, the way we try to act in in life. There’s a real connection there, and that’s why it works so well for me to work together. Because really, almost everybody I work with in my team, from my manager to the label, I try to work with people who I feel good around because, for me, music is such a personal thing that if I work with people who I don’t trust personally, that creates friction.

On Working and Vulnerability

It’s very important for me to feel that way, and I definitely do have that with Purified, and then I mean the whole team, not just Nora, because the other people are amazing as well.

And being able to have those virtues aligned with everyone that you surround yourself with makes the difference!

It’s also super important to me because If I make something very personal to me that’s vulnerable to me, I want to be able to trust the person that I send it to before we’re even talking about the release schedule, I want to feel comfortable that that person is going to handle it as I want them to, you know, I don’t want to work with somebody who’s very harsh and um, what’s the word I’m looking for, very business about this. I mean, we need to, in the end, the music industry is also a business, but for me, in the first place, it should always be about emotion and what the music means, and that’s why it’s super important to me to have people who I feel that with, that I feel safe to send something that might not be a dance floor banger, but being allowed to me personally.

On the Evolution of His Sound Through An Emotional Lens

Nonetheless, you do have some great club bangers. You definitely have so much passion and emotion in your tracks, but then you’re able to tap into those grooves that might be a little bit more clubby. Could you talk a little bit about that evolution that you’re able to go into those more emotional musical spaces versus straight-up dance floor bangers?

Yeah, it’s that’s been a challenge, honestly. It’s been a very long process. I’m 29 now, and I started making electronic music when I was 14 years old. So I’ve been doing this for a long time and have grown gradually, and especially in my early years, I tried everything, you know, Hardstyle, Deep House; I experimented all over the place. For me, it’s been a personal process as well as just learning technical stuff about the music.

When I went to music school in the Netherlands, I went to college for music production. I spent a lot, a couple of years just completely focusing on developing my technical skills. So at a certain point, I was very far along; I could make almost any sounds I wanted to. But my tracks, they didn’t mean anything, and I think that started showing, and this was around the same time that I started to run into some trauma that I had to deal with in my own life, as I think people quite often do, you know, when you’re 20, 22, you run into stuff that you might not have dealt with as you did in your youth. And the funny thing was, as I started facing that. It was a very hard process, especially for a young person to go into therapy and to learn how to be vulnerable and work out these emotions. I think it’s no coincidence that it was the same era when I began making emotional records. That was the beginning of the sound that people know me for now. I’m telling stories that mean a lot to me, and even if they don’t have words, I think somehow that translates.

And then from that point on, because initially those records were quite deep, so not perfect for the dancefloor. I’ve gradually grown to combine that emotional side with the harder beats, and bit by bit, develop my own sound, which now is very much about bridging both sides.

That’s beautiful because you seem to have that emotional maturity to be able to tap into those feelings that then reflect on the stuff that you produce. And that’s really hard, even just being able to reach that level of emotional maturity and understand yourself enough to then create that work and be genuine about it. That’s awesome.

Yeah. It’s still a process. Don’t get me wrong. As much as I’m still learning, I still try to learn new musical skills, and as much as that’s important for me, it’s still important to keep working on these things and try to reflect on my personal growth and what I might be running into. Funny thing is, I also notice when I’m in periods where I don’t work on myself, let’s put it that way, that usually hurts my creativity. I found that it may be a toxic trait.

Sources of Inspiration

For me, so much of my inspiration comes from emotional moments, not just sad trauma moments, but just anything that means a lot to me. That eventually will make its way into my art, and that’s really what it’s about for me. It’s no coincidence that I started doing it this way because when I was dealing with heavy things in my own past, like from very young on, what helped me was music by artists that also poured their heart and soul into it.

Can you mention some of those artists that helped you through those tough times?

Before I made electronic music, I played guitar, and I was really into rock music. So I remember seeing the Red Hot Chili Peppers when they came to the Netherlands. That was a big one for me. I remember coming home from that concert and saying: “This is, this is what I want to do.” And back then I thought it was going to be like a rock star guitar player. That eventually wasn’t the direction I turned towards. Then, I discovered electronic music, and one of the artists that I really give a lot of credit to for inspiring me to do what I do today is I never know how to pronounce his name – Worakls, French, electronic artist, is absolutely incredible.

Touring Around the World

Can you tell us a little bit about those major highlights like playing Woodstock, playing Purified during Miami Music Week?

I mean, it’s been absolutely amazing, of course. Yeah, it’s so incredibly meaningful to travel the world, and I know what music can mean to people in the crowd because I’ve been in the crowd, and I had super valuable experiences. And now I get to do that for people all over the world, and there have been so many places where I’ve had such strong connections with people; to name a couple of examples of places that I really feel that way about. I’ve been to São Paulo in Brazil a couple of times now. It was my first ever international show, at Ame Club. People there are absolutely amazing. And the funny thing is, I don’t speak Portuguese.

Now, I do a little bit, but the first time I came there, absolutely zero. And this is extremely cliche, but there I really noticed that music is a universal language. You know, I played that show there, and I absolutely loved it. Afterwards, I tried talking with people and, you know, about myself, and we couldn’t understand each other, but somehow you can get connected with these people and see what it means to them. And they see what it means to me. And that’s so incredibly special. So that’s definitely a place I have very warm memories of and a good connection with, but this happens in so many places around the world. I’ve had a couple of really amazing shows in Montreal; New York has been amazing.

Common Ground

I can tell you from just being in the crowd today that it meant something to everyone. That was present. And I love that you’re bringing, you know, community; that music is a universal language. You just finished your very own production and 6-hour set. Can you tell me a little bit more about that?.

Yeah, this was the debut edition of Common Ground. I don’t like the word concept, but it’s a community we’re starting to build. I’ve played all-night-long sets in the Netherlands before. But this was the first time that we’re doing it with this new brand, which is all about, well, basically what I’ve talked about so far. It’s all about the community aspect and bringing people together, where differences between people disappear, and then people can just feel connected and rooted, and that’s what it’s all about. That’s been the ambition. We did the first one of that last week in the Het Sieraad, in Amsterdam. It’s been absolutely amazing.

I think it’s important to remember that we are all human and that we share much more than what makes us different. And for me, the dance floor is the ultimate place.

What’s Next?

What’s your next step?

Honestly, still figuring it out. I released my debut album, which was a whole, both personal and creative, very intense process. We did some separate releases after that, like the tracks we already talked about. In the background, I’ve been working on many demos going all over the place because I kind of want to give myself some space and time to figure out what the next step is.

I’m trying to be more ambitious than just making more tracks than I have before. I’m trying to figure out how I can do something new. I’m trying to figure out new aspects of my sound without losing my core, and I’m giving myself some space to figure that out because it takes time- these things, you know? Not in the sense that I need to put a lot of hours into one production, but I just need to make 30 weird experiments and see which one sticks. Which ones land, right?

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