Name: Paul van Dyk
Nationality: German
Occupation: Producer, DJ
Current release: Paul van Dyk's new single "Seven Seas" is out via VANDIT.

If you enjoyed this Paul van Dyk interview and would like to know more about his music, visit his official homepage. He is also on Instagram, Facebook, and Soundcloud.  
 

What were some of the musical experiences which planted a seed for your interest in electronic music?

I always used to listen to the radio doing homework when I was a kid and that was when I heard a band called The Smiths.

For the first time, music was something other than background noise and was the door into another realm.

Most genres of music make use of electronic production means. what does the term “electronic music” mean today, would you say?

I remember being part of the Grammy screening committee, where we assessed whether a piece of music truly belonged in the category it was submitted for. One of the main questions we asked was whether the music was intentionally crafted to fit a specific genre, or if it was simply reflecting the sounds of the moment. I think this approach is still relevant for today’s evaluation.

Electronic music, for instance, is far more than just the instruments used; it’s an audible expression of freedom. No rules, just pure creativity – ideally.

I grew up mostly listening to electronic music, but lately, like many others I’ve spoken to, I’ve been a bit disappointed by most of the new releases. I’d be really curious to hear your thoughts on this - the “creative health” of the scene and what might be behind this sense of disappointment.

I hear a lot of sounds and samples from the past. The interesting bit is that this resampled music wasn’t even part of the club culture in the '90s. It was more the sound of cheesy discotheques - stuff that would never have been played in clubs or at electronic music festivals.

That said, there is so much amazing music too, maybe not on the mainstages or technostages anymore but if you dive into the music of Fuenka for example, you find another musical world.

Just listen to their track “Ricochet” and you know what I mean.

What were some of the recent releases, or performances of electronic music that left a deep impact on you?

As I mentioned, a set by Fuenka is always inspiring.

But I also have to say, going back to your previous question, there have been some unique performances that left an impact on how not to do it.

What kind of musical/sonic materials, and ideas are particularly stimulating for your work right now?

I usually have some ideas floating around that develop over time into more complex structures.

The set up I use while touring is basically a small recording studio so I'm always able to record and experiment with new things.

Where do most of your inspirations to create come from – rather from internal  impulses or external ones? Which current social / political / ecological or other developments make you feel like you need to respond as an artist?

When it comes to social or political response, I handle that as a private person. My art, my music, is a platform for escape from reality and a way to receive positive energy.

My inspiration usually comes from everything I experience, from the very personal to all the way out there.

Music has become a lot more global, and incorporating elements from other parts of the world or the musical spectrum is commonplace. Do you still think there are city scenes with a distinct, unique sound? How does your local scene influence your work?

I don't think that a certain city or place stands for a particular sound anymore. Music is, as you said, global and people / musicians move around. If you moved to Berlin five years ago, you’d hardly have anything to do with the sound of Berlin. And that’s the case with any place.

My local scene is global, so my inspiration comes from all over the world, through all the people I meet.

Today, electronic music has an interesting relationship between honouring its roots and exploring the unknown. What does the balance between these two poles look like in your music?

I don’t think there’s any honoring of its roots, and it doesn’t explore the unknown at all. The popular techno music and most of its affiliates are, quite frankly, a deliberate rip-off of the past, with no real direction toward new ground.

In my music, I try to forget the past and focus on creating something that, most importantly, I like, with all my inspiration shining through.

How much potential for something “new” is there still in electronic music? What could this “new” look like?

Electronic music especially has the potential to explore new grounds and aesthetics. How that will sound, I don’t know.

But like I said, I don’t overthink things in the studio while writing music, I just feel it.

What were some of the recent tools you bought, used, or saw/read about which changed your perspective about production, performing, and making music?

The whole boutique series of Roland is probably one of the most amazing tools.

It allows the honouring of the past by creating something new and not just copying it.

Do you think that there is a limit to what can be done in sound design – and what defines these limits?

The only limits are our ears because this is the audible entrance to our imagination.

In as far as it is applicable to your work, how would you describe the interaction between your music and djing/dj culture and clubs?

It’s essentially the difference between listening to music in your car versus in a club. The interaction is vital to turning it into a full experience.

My equipment allows me to be very interactive, as I don’t play finished stereo files. Instead, I work with production elements that let me remix and adjust on the fly to the maximum of the moment.

How would you say your live performances and your recording projects are connected at the moment? How do they mutually influence and feed off each other?

Both belong and influence each other.

As I mentioned, my set up is what gives me the possibility to bring my music across.  
 
Even if AI will not entirely replace human composition, it looks set to have a significant impact on it. What do the terms composing/producing mean in the era of AI, do you feel?

If AI is used as a helpful tool, like a plugin, then I hope it will make all the difference in the world.

But if it's used to overshadow a lack of skill as a musician and take over the creative process, then that’s where it’s wrong.

Are there approaches, artists, festivals, labels, spaces or anyone/-thing else out there who you feel deserve a shout out for taking electronic music into the future?

I mentioned a few throughout the interview, but you can find more in anything we release on VANDIT and VANDIT Alternative.

What drives us is the love and passion for music.