Part 2
Many writers have claimed that as soon as they enter into the process, certain aspects of the narrative are out of their hands. Do you like to keep strict control or is there a sense of following things where they lead you?
For me, it’s a bit of both — I tend to follow where things lead me, but I still keep an overall sense of direction in mind. I think after years of making music, I’ve developed a strong understanding of my sound and what I’m aiming for, so I don’t really have to consciously think about every little decision. It’s like I know my flavour, my style, and I trust that it will come through naturally as I work.
That said, I’m not rigid about it. I don’t want to box myself in or let any kind of formula limit my creativity. I believe the beauty of music, like with any form of art, is in the unexpected moments — those times when things take on a life of their own and lead you somewhere you didn’t plan. I’ll follow that path as long as it feels right, and sometimes that’s where the magic happens.
I think I’m a bit of a control freak when it comes to my own productions. I like to be very hands-on and involved in every element of the track. But there’s also a time and place where I need to let go and allow the process to unfold more organically. This is especially true when I’m collaborating with others. In those cases, I’ve learned to trust my collaborators and give them space to contribute their own ideas.
The key is finding the right people to work with — people whose skills and vision complement mine, and who understand the sound I’m aiming for. With the right collaborators, you can let go of a bit of that control, knowing they’ll bring something valuable to the table.
So, while I might initially steer the project in a specific direction, I’ve learned to embrace the moments where things evolve outside of my original plan. Ultimately, the best results often come from that balance of control and letting go. It’s about staying true to your vision but also being open to the unexpected.
There are many descriptions of the creative state. How would you describe it for you personally? Is there an element of spirituality to what you do?
For me, the creative process is less about forcing ideas and more about stepping out of the way and allowing things to unfold. It’s almost like entering a trance-like state, where I’m not trying to control every detail — I’m just following the sounds wherever they lead me.
There’s a certain freedom in that, a letting go of all the expectations and overthinking. It’s more about feeling the vibe and allowing the track to evolve naturally. There are times when it almost feels like the music was always there, just waiting for me to tune into it — like I’m uncovering something that’s been buried beneath the surface all along.
As for the spiritual side of things, I wouldn’t say it’s about rituals or anything overtly mystical, but there is definitely a sense of connection to something larger than myself. When I’m in the studio, or even when I’m DJing, it’s as if I’m tapping into a deeper energy. You can feel it when the crowd locks in with the music, or when a track just falls into place effortlessly.
In those moments, it feels less like I’m creating and more like I’m channeling something — like I’m just a conduit for something that’s already there. It’s raw, it’s primal, and it’s about surrendering control.
Once a piece is finished, how important is it for you to let it lie and evaluate it later on? How much improvement and refinement do you personally allow until you're satisfied with a piece? What does this process look like in practise?
Once a track is ‘finished,’ I usually let it sit for a while before I really go back and evaluate it.
Some tracks I’ve been playing out in DJ sets for months and sometimes even years before I give them that final polish. I like to see how they feel in the real world, in the club, with people moving to it — that gives me a better sense of what’s working and what needs tweaking.
After I’ve played it a bunch, I’ll go back in and add the extra production touches, the little things that can really elevate it — maybe some finer details or a bit of extra depth that I didn’t catch the first time around. Once I’ve got that, I’ll take it to mix and master.
I’ve learned not to rush that process. Sometimes, when I think something’s done, I’ll realize it needs a bit more time to marinate. The thing is, I’ve never really believed in the idea of perfect — it’s all about the vibe. As long as the track has the energy and emotion I want, I’ll let it breathe, make those small tweaks, but never overthink it too much.
It’s about finding the right balance between refining and letting go.
How do you think the meaning, or effect of an individual piece is enhanced, clarified or possibly contrasted by the EPs, or albums it is part of? Does each piece, for example, need to be consistent with the larger whole?
I make a lot of music depending on where my head’s at — I’m constantly moving between different mindsets and moods. Sometimes, I’ll go through a period where I’m making a batch of tracks that all fit together perfectly because they reflect a particular time or feeling in my life. That mood will carry across the entire EP or album, and you can hear that in the cohesion of the tracks.
Other times, I’ll pull together tracks from completely different periods, and they might seem worlds apart, but when I listen back, they all capture the same kind of vibe or energy that feels right for a release. That’s the beauty of making music — each track has its own identity, but there’s always a thread that ties it all together, and for me, that’s usually my production sound. That sound is consistent enough to bring a project together, even if the tracks themselves vary in emotion or style.
When it comes to an EP or album, I think it’s important to have variation, light and shade — a journey. Each track should have its own nuances, its own character. If everything on an album sounds the same, there’s no movement, no dynamic. And I’m not into that. I want listeners to be able to flow through the project, feel different things at different moments.
The shift to digital music has changed things, though. Nowadays, even with an album, some listeners will only pick the 2 or 3 tracks they connect with most, so the idea of making a full, cohesive project where everything ties together — that still matters to me. I want to make sure that, whether you’re playing the whole album or just picking a few tracks, there are no fillers.
Everything should be killer, no wasted space. It’s about creating something that works as a whole, while still giving each track its own space to stand out
What's your take on the role and importance of production, including mixing and mastering for you personally? In terms of what they contribute to a song, what is the balance between the composition and the arrangement (performance)?
Personally, I don’t really think of what I make as ‘songs’ in the traditional sense, unless I’m working on a project with a vocalist, in which case it may take on a more classic song structure.
For me, the production aspect is everything. I view the studio as my instrument, and the gear setup is integral to the creative process. Whether it's the synthesizers, drum machines, or effects units like analog filters, how everything is connected and configured plays a crucial role in shaping the sound and ultimately the finished track.
There’s a lot of experimentation that goes on, and I embrace that freedom — sometimes the process feels very much like a journey of discovery. That said, even though I approach music more like constructing grooves, rhythms, and vibes than writing traditional songs, there are times when tracks do start to feel like ‘songs’ to me. Especially when I start weaving in certain vocal phrases or melodic fragments.
The more I work on these elements, the more they start to feel like they were always meant to be together. It’s like the pieces gradually fall into place.
Ultimately, my goal is to create moments — moments on the dancefloor, moments in DJ sets. The balance between the initial idea (which might start as just an 8 or 16-bar loop) and the final arrangement of a 7- or 8-minute track is where the magic happens. The key is keeping the original vibe intact while also ensuring the track stays interesting over time. This requires a shift in mindset from simply creating the loop to shaping the entire track.
Sometimes, that process is effortless, and the track almost arranges itself. Other times, it’s more about carving and sculpting: editing small pauses, adding drum edits, building tension, and then releasing it at the right moment. Mixing and mastering are where everything comes together, but the real art for me is in the arrangement — ensuring that the track holds attention and drives energy throughout its full length.
It’s all about balance — balance between the composition, the arrangement, and the production itself. That’s what makes a track feel complete.
