We sit down with French-born New Yorker ary:eh to celebrate his recent ‘Set Me Free’ release which has gained serious traction from heavy hitters. We discuss his roots, his sonic identity, production and more…
How has 2025 been for you so far?
2025 already feels like a turning point. I kicked things off with BOM DIA and it really set the tone for the year — high energy, global influences, and music that connects on the dancefloor but also beyond it. A lot of things have been moving fast: I’ve already played in the U.S. this year and I’m planning to come back soon. One of the highlights was playing during Paris Fashion Week — right before Pawsa at the Louvre museum. For someone who grew up in Paris, that was a surreal, full-circle moment. It feels like everything I’ve been building over the last two years is finally finding its rhythm.
How have your French roots and your time in Brooklyn shaped the sonic identity you bring to your music?
Paris gave me finesse — attention to detail, culture, and that sense of subtlety in groove. Brooklyn gave me rawness — long nights in warehouses where it’s all about energy and patience. Blending those worlds is what shaped me. The polish and depth of Paris, mixed with the relentless pulse of Brooklyn, became the backbone of my sound.
How does Set Me Free reflect your current musical vision and evolution as an artist?
Set Me Free feels like a cousin to El Cielo. Both were born the same summer in Ibiza in 2023, and we’ve been keeping and reworking Set Me Free on and off ever since. It reflects where I’m at right now — stripping things down to essentials, making every element matter, and still letting emotion shine through. I like to have in my catalogue tracks that work as straight club bangers, but also tracks that are more streaming-focused and emotional. For me, it’s about proving that minimal doesn’t mean empty — it means everything carries weight.
Why did you hook up with SASH for it and how did you work out the chemistry?
Sash and I go way back. When I moved to New York to study at NYU, I met him through a mutual friend on the very first day of orientation. We clicked instantly. I’ve always admired what he does musically, and I kept pushing him toward house music. That eventually led him to make Take You Home with The Martinez Brothers.
By summer 2023, we were in Ibiza hanging by the pool. I played him some of my recent projects, and he was so inspired he asked his girlfriend to bring a mic from New York. The next day, we recorded both El Cielo and Set Me Free poolside. That spontaneity and freedom define our chemistry — it just flows.
The track has already been championed by the likes of Seth Troxler— what’s it like hearing your work in those kinds of spaces? Does it influence you next time you get in the studio?
It’s insane, honestly. Seth was one of the first artists I ever looked up to, so hearing my tracks in his sets never gets old. It’s not just validation — it’s fuel. But I don’t let it dictate what I do in the studio. I take it as a reminder to stay free, to keep experimenting, and to push boundaries.
How do you approach production? Do you have an idea in mind when you start or is it pure experimentation?
Usually, I start with a feeling. It might be a bassline, a vocal, or just a groove that gets me moving. From there, it’s pure experimentation — letting the track tell me what it wants to be. I try not to overthink. If I’m looping it for hours and it still gives me goosebumps, then I know I’m onto something.
What was the collaborative process like with Mc Jajau on BOM DIA?
Bom Dia was all about instinct. I discovered Jajau while digging through Brazilian Funk, and his energy just hit me instantly. I built the rough version overnight, then reached out. Once he was on board, it came together effortlessly. What I love is that it’s not a calculated collab — it’s raw, spontaneous, and authentic, which is exactly what the track needed.
BOM DIA follows the success of El Cielo — what connects these tracks in your mind, and how do they differ?
They’re connected by instinct. Both were created in a pure moment, and both carry that infectious, hypnotic energy. But El Cielo is more melodic, emotional, almost dreamy, while BOM DIA is raw, percussive, and explosive. One whispers in your ear, the other grabs you by the chest.
What inspired the launch of ary:eh’s vault and what does the label represent for you creatively?
I wanted a home where I could release without limits. ary:eh’s vault is about freedom — not following formulas, but pushing house and tech in ways that feel personal and instinctive. It’s also about community — collaborating with artists for both the music and the art covers, because I’ve always loved visual art just as much as sound. For me, it’s a long-term vision, not just a label.
What role does AI play in dance music for you – can it be a useful tool or is it more important that humans put their soul into their work?
AI can be an amazing tool. It can help you achieve what you want way faster, teach you a lot, and make your workflow more efficient. But the soul has to come from humans. The imperfections, the instincts, the emotion — that’s what makes music timeless. I see AI as a helper, not a replacement.
What’s next for you? What are you working on?
I’ve got a release coming on Nervous Records in early October, and separately I’m working on a track with three rappers from Dublin. On top of that, I’m preparing a U.S. tour and lining up more music for ary:eh’s vault — consistency is the key for me this year.
What’s the last record that blew you away?
Dança Dança T’Manchê (Acid Pauli’s Autowah Dub). The textures, the movement, the way it unfolds — it completely caught me off guard. That kind of record reminds me why I love digging and discovering.
