Name: PARIS
Nationality: Australian
Occupation: Producer, composer, DJ
Current Release: PARIS's debut album Labyrinth is out August 29th 2025 via This Never Happened. Single “Flourish” is out now.
Recommendation for New South Wales, Australia: An afternoon down at Broken Head beach on a nice day to soak up the sun and salt water. Talk about bliss!
Topic that I am passionate about but rarely get to talk about: Cooking is definitely another one of my passions. The process mirrors music production in so many ways. It's about achieving the right balance, exploring novel ideas, and composing new recipes just like crafting a new track. I love watching cooking shows like the Chefs Table or Masterchef as well as trying out new restaurants to inspire me.

If you enjoyed this PARIS interview and would like to know more about her music, visit her on Instagram, Soundcloud, bandcamp, and Facebook.



The path to becoming a producer is a process - but from many interviews, I am under the impression that there are nonetheless one or a few defining moments. If this was the case for you – what were they and why were they so incisive?

The first standout moment for me was completing my first EP, 'Dancing In The Dark' in 2016 and signing it to Motorik.

I'd long admired the label, so having their crew champion my work was incredibly gratifying and really started to turn heads in the underground dance scene.



Another pivotal moment was the opportunity to remix RÜFÜS DU SOL's track 'Another Life' from their album 'Solace'. As a longtime fan, this was a massive honor and a huge milestone in my career.



Finally, receiving videos a few years back of my all-time favorite artists, Maceo Plex and Sven Väth, playing my tune 'The Vault' over a single weekend was truly thrilling.

It injected a huge boost of confidence and motivation to keep pushing myself.

[Read our Sven Väth interview]

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

I have to say, 'Pursuit' still slaps!

Its simplicity is its strength, and I think it's that effortless creation, where every sound finds its perfect place and purpose in the mix.

I think this is why it works so well and resonates with so many people.

There are artists who can realise their ideas best with a traditional – or modified – piano interface, others with a keyboard and a mouse, yet others by turning knobs or touching screens. What's your preferred and most intuitive/natural way of making music and why?

Naturally I love the hands-on approach with hardware and turning knobs.

I’m not classically trained whatsoever, so for me it’s more about hitting record and playing around until something sounds exciting to me. If I lean into playing with them like toys I get out of my head and that's when I find the magic happens.

I also like to use this approach in the box using software connected to a midi controller to mess with and automate sounds or samples. “PLAY” is the keyword here :)

Tell me about the space of your current studio/workplace and how you've set it up to optimise creativity.

I recently have changed up from working in a studio to a new home set up in which I have set up a 3 tier rack with all my hardware and speakers in one room - treating it as my space for play and recording ideas.

And then setting up a work station in another making use of a bigger monitor screen and desk set up for longer sessions, arranging ideas into tracks and in the box production.

This is a fresh way of splitting these processes up for me and seems to be a nice way of doing things but only time will tell if it stays like this.

From the earliest sketches to the finished piece, tell me about the production process for Labyrinth, please.

The creation process for this project was quite a journey, genuinely all over the place. Ideas sparked in music studios and bedrooms across Sydney, Byron Bay, Kiama, and even in transit. The earliest sketches date back to 2022, with some tracks undergoing multiple transformations before finding their final identity.

Initially, I started without a clear destination in mind but I was in a groove and after developing five or six tracks, I sent them to 'This Never Happened,' and label head Lane 8 planted the seed to transform this collection into my debut album.

That was the moment my mind switched into "album mode," leading to some of its most crucial tracks like "Beechworth Cascades" and "Genesis."



Late producer SOPHIE said: “You have the possibility with electronic music to generate any texture, and any sound. So why would any musician want to limit themselves?” What's your take on that?

Offt this hits me deeply!

I love that quote and it really speaks to the power curiosity has within art and the importance of exploring, experimenting and playing when creating.

Tell me about your aesthetic preferences for picking effects like reverb, delay, compression, chorus etc … - what was the role of these effects in the production of your current release?

I’m a true believer that the less plugins you have the better.

I have my favourite go-tos that I used in almost every project like Valhalla Vintage Verb for all kinds of reverb, Fab filter Pro Q3 for all my EQing & Ableton’s Echo stock plugin for delays to name a few.

This allows me to work efficiently but every now and again I will venture into new plugin territory and come across something I love the sound of and/or its ease of use - like Waves Kramer Tape which I used on piano sounds and plucky synths to add more texture or Delay ETERNITY by Arturia for some wacky unusual delays.

Plugins that are minimal and more straight to the point seem to be the ones I’ll keep continuously using. I think that speaks to how lazy humans are!

Producers work with sound in a very direct way for very long stretches of time. What are some of its qualities that you appreciate now more than before, and how do you try to bring these to the fore in your work?

These days a few things stand out more than ever. I'm big on sound selection over heavy processing. If you pick the right sound from the start, you just don't need to mess with it as much. It's quicker, and the result feels more natural.

Also, it's all about the vibe, not over-analyzing every little detail. If the track feels right, that's what counts. A bit of imperfection often adds character anyway.

Ultimately, the magic's in the journey, not just the finish line. Having fun and letting things unfold naturally and enjoying the process usually leads to the best stuff.

The current production process allows for fast and infinite variations. Can you tell me about how you deal with this potential for the infinite and what ultimately decides on how many iterations to create and which version to release?

This simple mantra "If it sounds good, why fix it?" keeps me grounded and focused.

To avoid getting lost in endless iterations, I intentionally embrace limitations. This often means limiting myself to just one or two pieces of key gear or a small, curated collection of samples. These constraints are powerful tools that help me finish tracks quickly by narrowing down choices and fostering creativity within a defined space.

In the early stages of a session, my priority is always on capturing the vibe and identity of the track. I keep processing to an absolute minimum here. Overdoing the technical adjustments too early can quickly pull you out of a creative flow and into an overly analytical mindset, which ultimately slows things down.

By focusing on the core essence first, I ensure the creative spark remains at the forefront.

Production, as opposed to live performance, can be a lonely process and feedback from listeners isn't always tangible. What is it about it that gives you satisfaction?

There's something about that moment when you make something that sounds truly exciting to you. That feeling is pure joy and you just want to share it with the world.

It's like hearing a track you're obsessed with that gives you goosebumps and has your heart beaming but on top of that knowing you're the one that created those feelings. It’s very self fulfilling.

We can watch videos on production, take producer courses, and exchange deep insights on gear forums. Amidst these options to improve one's chops/skills, how do you keep things playful?

A few different things that help keep things playful for me are to produce in a completely new environment. It's amazing how easily we can be inspired by our surroundings.

Another strategy is to record sounds out and about on my phone and then start a project with them. This can really shake things up and inject some interesting and unique sounds.

Lastly, using a plugin I've rarely or even never used is a fun way to get my creative juices flowing.

AI is already capable of making something most people would recognise as music. I am curious, though, and will keep this question somewhat broad on purpose: What do you think that means?

To be honest, I’ve heard of some great AI tools for creating music, though I still don’t feel very drawn to use them.

I personally believe art is made from the heart and I don’t think AI can ever produce that essence.

Creativity can reach many different corners of our lives. Do you personally feel as though producing a piece of music is inherently different from something like making a great cup of coffee? What do you express through music that you couldn't or wouldn't in more 'mundane' tasks?

This is a tough one to answer as there can be a lot of crossover between the two. It all comes back to the intention and the emotion you put into the activity.

Even within producing music, for example - Do you intend to create art with emotion or do you intend to formulate a track for a business that ticks all the boxes.

Whatever the task is you have an option to make it something mundane or something meaningful that carries your energy with it.