Part 2

Disco has always included electronic means, but it was built on a foundation of tightly performing live musicians. If ones recreates disco with electronic means on a computer, what gets lost, what is gained?

When you recreate disco on a computer, you definitely lose some of that live energy that comes from real musicians playing together. Disco was all about tight performances, where the musicians fed off each other’s vibe, and that gave the music a certain warmth and unpredictability. Little imperfections—like how a drummer might push or pull the beat slightly, or how a bass player locks into a groove—bring a human touch that’s hard to fully replicate with electronics.

But on the other hand, producing disco electronically gives you a ton of creative control. You can tweak every detail, perfect the groove, and experiment with layers and sounds that would be almost impossible to do live. Plus, with all the technology available today, you can blend disco with other genres, add synths, and really push the sound in new directions.

So, while you might lose some of the raw, live feel, you gain precision and flexibility. It’s all about finding a balance between keeping that soulful, danceable core of disco and taking advantage of what modern production tools can offer.

Tell me about one or two of your early pieces that you're still proud of (or satisfied with) – and why you're content with them.

There are many, but one that resonates with me on a deeply personal level is "Wilmer Pt. 1 & 2" from my debut album Bla Bla Bla.



This track is especially close to my heart because I recorded my unborn son's heartbeat and wove it into the music. Some of the beats in the song are literally inspired by his heartbeat. Needless to say, it was a deeply emotional and significant project for me.

Another one is my edit of Yello’s “Bostich.” Being a HUGE fan of Yello during my teens, I feel that this remix holds a special place in my heart. It was released on my MB Edits label and remains a standout for me.



Your new EP is instantly captivating and occupies a perfect spot in between the dancefloor and dreaminess. What do you still remember about the recording process for the new material?

I recently found myself vibing to some new tracks by Roman Flügel, and I couldn't shake the inspiration I felt. There was something about the feel-good energy in his sound—it was electronic, sure, but it had a soul that really stuck with me. I knew I wanted to create something with that same kind of vibe, but with my own twist.

[Read our Roman Flügel interview]

So, I brought the idea to my production partner, Chris Gustafsson, over at SingleWave Studio. We rolled up our sleeves and got to work. The energy in the room was infectious, and before long, the tracks started taking shape.

I am sure that “Midnight Love Affair” and "Le Gymnastique" would have been huge with a vocal line on top of the music. What makes you decide to keep something instrumental? How do you see the balance between the leading role of the groove and traditional songwriting for your work?

It’s funny you bring this up because, early on, we realized these tracks would sound great with vocals. We had that idea in mind throughout the production process. But when it came down to it, I felt these particular tracks really stood out on their own, so I decided to keep them instrumental for this EP.

That said, all three tracks will eventually be released with vocals. It’s going to give them a whole new vibe, and I’m really excited to see how people respond. Hopefully, the fans will vibe with both versions.

What's your perspective on using vintage equipment versus contemporary one, especially when working within a style which originated many years ago?

I'll hand the next two questions over to Chris—he’s the tech guy.

Honestly, I think both vintage and modern gear have their own strengths. Vintage equipment brings this warmth and character that really fits with nu-disco—it’s got that classic feel that just works. But at the same time, modern gear gives you so much more precision and flexibility, which is super useful in production.

For me, it’s all about finding a balance. I love using vintage tools to capture that nostalgic vibe, but I also rely on modern tech to polish and push the sound further.

Some see instruments and equipment as far less important than actual creativity, others feel they go hand in hand. What's your take on that?

Creativity is at the heart of music production, no doubt about that, but the gear you use can really shape the sound. The right instruments and equipment can spark new ideas and push your creativity even further. At the end of the day, though, it’s your vision that leads the way. I see it as a balance—great gear can help bring your ideas to life, but it’s your creativity that really defines the end result.

In the light of picking your tools, how would you describe your views on topics like originality and innovation versus perfection and timelessness in music? Are you interested in a “music of the future” or “continuing a tradition”?

We’d both sum it up like this:

We’re really focused on finding the balance between originality and timelessness. Nu-disco is all about that—grounded in classic sounds but always evolving. My goal is to push the boundaries and bring something new, while still respecting the core of the genre. It’s about making music that feels fresh and relevant, but still stays true to its roots.

For me, it’s like a conversation between tradition and innovation—creating a sound that honors the past but speaks to where we’re headed.