Your latest release Hallucinations feels like a step into deeper, more introspective territory. What motivated this change in direction?
Hallucinations was about stripping things back and creating something raw. I wanted to capture that feeling of being lost in a moment and tell a story without relying on the vocals. The main synth is eerie and hypnotic, the rhythms are pulsating and subtle changes throughout help to keep it interesting.
The textures and rhythms in your recent work have a hypnotic quality. How do you approach building an atmosphere in your tracks?
It starts with the details, rhythms that draw you in. I focus on layering sounds that evolve over time to keep the mood engaging. In Hallucinations the arrangement is a little different with an extended breakdown but those choices help to build the hypnotic mood and anticipation.
When you’re in the studio, what guides your decision-making—instinct, experimentation, or a clear vision from the outset?
It’s a mix. Sometimes I have a clear vision, other times I’m just experimenting and follow instinct. Often, I have a vocal idea or melody and will build the song around some kind of main lead. Other times I’ll start with the basics; Kick, drums, bass making sure that is all tight on its own before adding anything else.
Techno often thrives on simplicity and repetition. How do you ensure your tracks remain engaging and dynamic within those constraints?
Repetition creates the groove, but small changes keep it alive—like evolving percussion, new textures, or shifting effects, balancing consistency with surprise. But choosing the rights sound is imperative, before arranging being sure the core elements are interesting enough to listen again and again.
Your music seems to carry a sense of narrative. Do you consciously tell stories through sound, or is it something that emerges organically?
It’s usually organic. Sometimes I start with an idea, but it often comes down to the mood I’m in at that time. It’s hard to work on a specific type of track if it’s a completely different vibe then how I’m feeling, at least in the initial creation stages. Going back after to do mixing and cleanup is more the logical than creative side so that original inspiration is not so relevant.
The relationship between sound design and emotion is key in electronic music. How do you strike that balance in your production?
Every sound serves a purpose, I focus on how each one makes the track feel and creating a balance between the technical aspects and emotional impact. But I try not to worry about the technical aspects until the emotion of the track is solid. It’s important for me to keep that original idea and flow.
As an artist, how do you see your role in pushing the boundaries of techno while remaining connected to its roots?
I think it’s important to respect the history and genre while embracing innovation. I experiment with new ideas and take inspiration from some of my favourite techno artists who push the borders. Music is like anything there are new trends every year and with the speed of electronic music and sheer volume of sounds that are available and being created it can be overwhelming. But great songs (not good songs) the ones that stand the test of time and still sound great 5, 10, 20 years later are few and far between. Looking back to the origins, the songs we have from decades ago and taking note is important. Looking at what worked back then and still works and why.
With the constant evolution of electronic music, what excites you most about the future of techno, both as a producer and a performer?
As a producer, it’s the endless creative possibilities. There is so much available to us as artists now, endless software instruments, samples, it’s all at our fingertips. So that is exciting, to be on the cutting edge of these technologies. As a performer, I’m excited to incorporate more live elements into my sets that is what I’m preparing for now.
