Gary Holldman about Minimalism
Gary Holldman may not be a minimalist in the purest sense: He rejects creative limitations, loves technological innovation, and appreciates stylistic diversity. And yet, he took 15 years to come up with the merely ten tracks of his debut's warm, mesmerising techno. If that's not minimalism, what is?
Eoin DJ about Production, Technology, and Creativity
Only five tracks short, Eoin DJ's latest EP feels like a showcase of their production approach: A laser-sharp focus on groove and hypnotic sequences, pantonal frictions and unexpected sounds, as well as a sense of transportation – all grounded in human interaction and friendship.
Ciel & Mathis Ruffing about their Collaboration
Ciel and Mathis Ruffing's new EP is a true fusion of two worlds. Intricate sound design and alien sound effects collide with soulful textures and hypnotic drumwork. Especially the more atmospheric cuts all but scream for a full-length follow-up – which may well happen now the 2 have become friends.
Roman Rofalski about Directions in Contemporary Composition
“You're not selling out your artistic ideas when you start thinking about how to reach people as an artist.”
Emil Mark about Directions in Contemporary Composition
There is a cuteness to the refined compositions that Emil Mark coaxes out of a small ensemble of sampled practice-room pipe-organs. But the light - literally airy - sound of his virtual orchestra is merely an invitation to go deeper - and sink fully into these rotating cyclical patterns.
Gregory Hutchinson about the Pulse, Power and Politics of Miles Davis
For Gregory Hutchinson, Miles Davis' influence extended well beyond the trumpet, well beyond jazz – well beyond music even. On a star-studded new release, he approaches classics and rarely played tunes by Miles with a personal mission in mind: “Can we play time? Can I make you dance?”
Adam Pecho about Minimalism
Pecho's most recent productions are outwardly dancefloor-oriented. But they grew from his ambient work and a deep immersion in texture, mood, and states of drifting. This creates an intriguing paradox: The more of this music you strip away, the less minimal it becomes.
Laura van Hal about Directions in electronic music
The Dutch DJ and producer's compositional output is slim. But every track hits the spot. Van Hal's perspective is community-oriented and driven by a deep love for the roots of electronic music. Her trajectory may by now have become global but, as this interview proves, her heart is still local.
JL Segel on All Things Modular
“Modular systems are linked to ritual. You have to enter an intentional and spiritual space of creation.”
Emile Martinez about Directions in Jazz
“Jazz came from people who had very little and created something world-changing. That’s the part that always hits me: the personal and collective sacrifices it took to keep this music alive, to pass it down, and to evolve it.”
Arnau Obiols about Directions in Electronic Music
Krautrock was the gateway into electronic music for the Barcelona-based performer-producer. It continues to influence his work which spans a spectrum from psychedelic folk via drifty dub to house-driven spiritual jazz. It's not about being eclectic – it all slots together if you just let go.
OMA about Directions in Hip Hop
Sampling remains an important aspect of hip hop culture. But who is going to provide the material for future generations to sample once the well has run dry? OMA are stepping up to the challenge with dark, soulful instrumentals that feed from free-flowing improv and real time interaction.
Louis Matute about Directions in Jazz
The Swiss guitarist sees music as a different path for dealing with the topics of our time. The warm sound and elevating grooves of his new album are his personal way of processing anger, building bridges and transforming despair into hope.
Mathys Lenne about Minimalism
Frequencies and tension, these are the two elements that Mathys Lenne relentlessly focuses on while he builds the long, slowly transforming states of pulsation that define his approach. As they end, they inevitably open entirely different ones, as he stresses: “It’s a constant process of renewal."
Madame Blavatsky about Directions in Jazz
Claims of charlatanry aside, Helena Blavatsky's quest for "the synthesis of science, religion and philosophy" seems remarkable progressive. So does the music of the Ghent-based trio - which taps into dubstep and breaks it through the lense of jazz and sonic experimentalism.
DJ Hyperactive about Minimalism
The Chicago luminary's approach to minimalism is lightyears away from post-classical whispers and academic mindgames. This is techno with a capital T, a funk so acid that it burns, a reductionism so poignant it force-quits the hyperactive mind and submits you to its will.
GOME about Production, Technology, and Creativity
Let music be the food of love, Shakespeare demanded. In their deliciously seasoned club snacks, the Hamburg duo are following that creed to the t (for taste). Sweet and spiritual, warm, comforting and never too filling, this is house music for the gourmet generation.
Rob Pearson Shares his Creative Process
“The beauty of music creation is that there’s always something new to explore. It’s not just about finishing one project and then feeling empty; it’s about continually chasing that spark of inspiration.”
Liza Dries and Mathilde Nobel about Directions in Electronic Music
Sounds are letters, melodies words, beats the metre of the poet. Which means, Liza Dries and Mathilde Nobel argue, that we can twist these components into a new language. Their “Akyra” EP has a touch of magical realism about it, songs sounding like transmissions from a parallel galaxy.
Hugh Tieppo-Brunt of the LCO about Film Scores, One Battle After Another, and the Future of Sample Libraries
Just like a director is challenged to find a new vocabulary for each new movie, so, too, does the London Contemporary Orchestra have to re-invent itself for each score. This versatility at the highest artistic level made it the perfect partner for Jonny Greenwood's latest soundtrack.
Orchid Mantis Shares his Creative Process
Even the fuzziest song has a border. In the work of Thomas Howard, that border is a fractal - infinitely deep, returning to the same themes no matter how close you zoom in. Written for an audience of one, it creates a space for ephemeral connection: We're all travellers in life's airport terminal.
Bad Colours about Directions in Electronic Music
Bad Colour's new album revolves around themes of longing, desire and urban solitude, celebrating the night with references to garage, house, and jazz. It's soulful music literally lifted off the street, born from conversations and chance encounters.
Turqois Coloured French Tourists about Production, Technology, and Creativity
The Hamburg production duo don't have any complex ambitions – they just want their music to groove. But man, does it groove. As a contemporary, deep and introvert update of the classic French Touch sound, their new EP sparkles like Champagne and relaxes you like a good wine.
E. Live about Production, Technology, and Creativity
Eli Hurwitz's aesthetic is based on two factors: Subtlety and density. What may seem like a contradiction is in actual fact a recipe for dreams on the dancefloor: His new album draws both from the solitude of the studio and the experience of countless sweaty performances in funk bands.
Ramiro Zayas about Directions in Jazz
Some might say that our times need more action and less art. Argentinian pianist-composer Ramiro Zayas, disagrees. His new album, recorded with a classic jazz line-up but without drums reflects on global complexity with complete honesty – rising above the din, returning energy to the heart.
Hardt Antoine about Production, Technology, and Creativity
The French-Jamaican producer and DJ approaches the functional demands of the dancefloor from an experimental angle. Even if only traces of the original pure impulse remain, it lends his tracks that decisive sharpness – like a burning hot sprinkle of chili on a delicious slice of cake.
ZOiD about Directions in Electronic Music
Daniel Jacobson has more ideas than he could ever realise. Many of them originate from his performances as a jazz musician, where concepts turn into vividly dynamic social experiences. Others stem from a simple realisation: The human brain is still the most creative machine on this planet by far.
Robert Lippok about Production, Technology, and Creativity
On Lippok's new collaboration with Anushka Chkheidze, lush sounds grow into organic structures, nostalgic harmonies and crackling rhythmical fields. The substance of this world are dreams, yearnings, and visions – forever fleeting, forever out of reach, infinitely beautiful and haunting.
SHIMA about Production, Technology, and Creativity
“Everyone should go to Japan at least once in their lives,” Tokyo's SHIMA feels. Not everyone will be able to. But at least, you can enter the vivid world of her new album which combines sensual groove patterns, folk melodies, club moods and her vocals into a beguiling, neon-lit urban fantasy.
Béesau about Directions in Jazz
Only someone who takes the roots of jazz so seriously could come up with a vision of the genre this fresh: After getting kicked out of the Paris conservatory, Remy Béesau started forging his own curriculum, built around sampling, beats, deep moods, and his soaring trumpet lines.
Oh Voyage Share their Creative Process
For their debut album, the duo retreated to a small wooden house, away from the busy bustle of their Rotterdam base. Here, they sought to write the music which best represented their identity as “new nomads” and their reality as a creative part of the Turkish diaspora.
Sakura Tsuruta about Production, Technology, and Creativity
“I’m such a sucker for spatial effects like reverb and delay,” Tokyo producer, Ableton-trainer and composer Sakura Tsuruta says, “I probably overuse them!” On her latest EP, however, every note, treatment and sound is at its right place – it's the aural equivalent of a perfect Lemon Sour.
Tools of Creation: Oberheim Matrix 1000
Franz Scala about a modestly sized analog synthesizer with a gothic sound and the power of the big polys.
Fanatico X Share their Creative Process
For their new album, the duo covered Jefferson Airplane's classic "White Rabbit.” Astoundingly, their version turned out to be even more psychedelic and otherworldly than the original. Spirituality has little to do with it – it's all about “love, religion, and the nature of truth.”
Invexis about Production, Technology, and Creativity
Some producers struggle with over-seriousness. Not Invexis. His hard-hitting, high-octane techno sound is the result of a playfully open-ended process. One of his new tracks kept joyfully shapeshifting for an entire year – clearly, the journey is the reward here.
Guedra Guedra about the Magic of Sound(s)
The Moroccan producer builds sonic utopias from field recordings, found sounds and ferocious groove patterns. Listening is never passive, it's never just one thing – it's healing and transformative, questioning and consoling. As he puts it, it's “a way to read and understand the world around us.“
Closet Yi about Production, Technology, and Creativity
Many listeners experience mental images. But can the feet of dancers, too, sense the impulse behind a beat? In the music of Closet Yi, scenes, sounds, and sentiments collected while traveling translate into a architectural web of urban patterns – percussive, visionary, and beguiling at once.
Binary Algorithms about Directions in Electronic Music
In the club, dancers have been seen struggling to find the movements to match the Colombian producer's beats. At home, however, and ideally under a pair of immersive headphones, his music takes on the kind of soothing quality that some dystopian sci fi flicks convey.
Glass Museum about Directions in Jazz
The Brussels trio delivers the true Late-Night-Jazz. Based on dreamy piano licks, trance-inducing drumming, spiritual basslines and phantasmagoric synths, this is the soundtrack to a night filled with promises, headed for a morning that will never come.
Kush Arora aka Only Now about Energy & Music
Making music, to Indian-American producer Kush Arora, means placing energy at the right spot – or creating new ones for it to inhabit. Born in live situations and hyper-saturated with noise, the results have a meditative, hypnotic quality about them – although they have got him threatened as well.
Blue Earth Sound Shares his Creative Process
Spiritual jazz can get nigh-symphonic. For Blue Earth Sound, James Weir was looking for something more intimate. Mostly built around sweet piano riffs, soulful drums, and blissful flute and brass, the music takes you to safe places of healing and comfort.
Kobe Dupree about Minimalism
“I am learning from the masters that everything you have is right in front of you.”
Juri Seo about Directions in Contemporary Composition
Juri Seo's work explores “the continuum between timbre, harmony, and noise.” Yet its main goal is not experimentation, but exhilaration. Making consistently surprising use of just intonation, electronics, and traditional instruments, this music makes you forget the past and remember the future.
Steve Lawler about Production, Technology, and Creativity
Steve Lawler has gone through a “god awful” first record and overcome gear addiction to end up in a place where music is a pure expression of emotion. His new single is a relentless burst of energy – describing a place where euphoria and unfulfilled desire merge.
Kaj Duncan David Shares his Creative Process
David wanted his new album to be “strange, trippy and beautiful.” It turned into more than that: A fantasy for vocals, wind controller, MIDI guitar, and drum-synthesizer that goes from poetic babblings and insular sounds to mysterious structures. It's like witnessing the birth of a new music.
PARIS about Production, Technology, and Creativity
The Australian producer is wrapping huge emotions in a soft fabric, aiming for euphoria with small gestures. Her debut full-length encompasses and congenially blends dreamy house, sequencer electronica, and dancefloor anthems – this is what it feels like to truly be taken on a journey.
Furtherset Shares his Creative Process
Furtherset's work is brimming with a potential for synaesthetic confusion: Intuitions get “tuned,” images explained, visuals and sounds collide. It is music that has to bridge the divide: Richly resonant, menacing yet balletic, these orchestral ambient works are still-lifes at the cusp of eruption.
Daniel Brandl about Improvisation
His classical education and the accompanying mindset almost ended cellist Daniel Brandl's creative ambitions. Now, his music exists in a fascinating “inbetween-ness” - a driftstate which allows for a force beyond the players and their influences to emerge.
Patricia Wolf about Scoring for Film
The sonic scenes of the sensitive sound sculptor's soundtrack to a surreal Icelandic documentary never surrender to the striking images. The rhythm of the movie and the floating ghostliness of the synthesizers interlock, creating a dialogue across different layers of perception and consciousness.
Robinson’s Village Shares his Creative Process
Sometimes barely a minute short, James Burns' ambient work hovers weightlessly at the cusp between clip and composition. Every piece briefly opens a portal into a world of blurry outlines, unresolved grief and softly lingering tones – one step further, and you'd loose yourself.
Lingyuan Yang about Directions in Contemporary Composition
Maybe our narratives of the new are broken: Lingyuan Yang's latest album has the shape and the line-up of a jazz trio. Underneath, however, microtonal melodies, hyperreal virtuosity and constantly shifting constellations create a seductive sensation of inspiring disorientation.
Session Victim about Production, Technology, and Creativity
The German duo are playing trippy house with a jazz mentality, treating the studio like the stage, blurring the lines between downbeat and dancefloor. Their latest jams were only supposed to yield one EP's worth of material – then they couldn't stop themselves.
Mary Yuzovskaya about Minimalism
Mary Yuzovskaya's vision of minimalism is one of the most consistent in techno. Intriguingly, her creative process is the exact opposite: it knows no limitations, rules, or extraneously imposed boundaries.
Jeremy Delvila about Minimalism
Jeremy Delvila has always had a knack for minimalism. Born and raised near Paris, he also has the legendary “French Touch.” His new EP is based on the simple premise of making every single element sound as soulful as it possibly can.
Alastair Lane about Production, Technology, and Creativity
Melancholy and euphoria are closely connected in the Paris producer's oeuvre. The dynamic tension of indie songwriting melts into the sweet magnetism of deep house grooves, creating pockets between dream and desire.
Domenic Cappello about Production, Technology, and Creativity
In Glasgow Domenic Cappello is already a legend. The pieces of his upcoming EP could make him one far beyond the city's borders. Layering rich, dreamy strings over Kraftwerk'esque beatwork, it's his most personal release yet.
Farhot about Directions in Hip Hop
Born in Afghanistan, Farhot has become one of Germany's most acclaimed and exciting hip hop producers. The future? Is all about never being boring.
Dina Summer about Production, Technology, and Creativity
The Berlin trio places Kraftwerk's naïve melodicism and cool vocals on top of Moroder-style bass sequences. The result is sexy, nocturnal, and physically intoxicating.
Florian Zimmer of Bella Wakame on All Things Modular
“The modular's an instrument that I have to work on constantly. When I come back from a holiday, I often find myself wondering how it all works.”
DJ Psychiatre about Production, Technology, and Creativity
The French producer's hypnotic sonic dreams do not reinvent the rules of deep house. Suffused with warmth and a sense of wonder, they extend into worlds that retain their mystery yet feel like coming home.
Pavel Tchikov Shares his Creative Process
Pavel Tchikov had to face emotional baggage from childhood for his duo with Dutch vocalist G.W. Sok. It translated to a work of brutal beauty, industrial beats, glistening strings, and naked poetry.
Aron & The Jeri Jeri Band about XJAZZ! 2025 and Directions in Jazz
Translating their raw, propulsive electronic afrobeat to the stage remains a constant challenge for the trio. The real task, however, is to remain relevant: “Being an original artist today feels like survival.”
YASS about Dark Places
Something's hidden in the basement, something sinister and hypnotic, flooded in strobe light, smeared with pulsating synth streaks. If you want to feel safe here, you've got to make the demons your friend.
Konalgad about Production, Technology, and Creativity
Konalgad's debut LP sits at the cusp between dream and nightmare, reliving and exorcising a dark phase in his life. And yet, these pieces move towards the light, not away from it – testimony to the ideal of physically playing, singing and moving his body while composing.
Lullahush: Can Sound Change the World?
Beats, sampled and chopped lyrics, field recordings and processed instruments: In his wondrous songs, inspired by Irish culture and poetry, Daniel McIntyre excavates fossils from the future.
Sominaryst about Directions in Electronic Music
Ukrainian producer Anton Somin talks the talk on the future of music - and his meticulously crafted, future-high, sample-shot rhythmical sculptures more than delivers on the promises.
Chiminyo about Directions in Jazz
For the British drummer and producer, the stage is the studio and improvisation is instant composition. His collaborative performances have myriads of roots – but jazz and a love for randomised electronic systems are key components.
Mörmaid about Production, Technology, and Creativity
An inveterate perfectionist Live Sollid Schulerud could never finish a track in a few hours. Perhaps that's precisely what makes her inimitable electronic songscapes, often driven by deeply personal experiences, so unique.
Max Walker about Directions in Jazz
Max Walker is right – his hard-hitting fusion isn't avantgarde per se. But it is certainly part of the vanguard when it comes to rhythmical inventiveness, emotional complexity and the creation of deep, innovative textures.
Medlar about Directions in Electronic Music
Ned Pegler sees no reason to fear for the future. On his deep new album he is tapping into the unknown and building instantly relatable visions of dance music from improvisations.
Joan Arnau Pàmies about Minimalism
After once being blown away by Reich's 18 Musicians, the Catalan composer no longer looks at music through a maximalist or minimalist lense. It's all about finding and honing the ideas that truly matter.
Dilee D about Directions in Electronic Music
Sri-Lankan born Dilee D has found a new home in Chicago. A firm believer in the benefits of technology, his shimmering melodic house is inspired by the constant need to push the envelope.
Interview Review: Biomania – System D
A caleidoscopic continuum from hip to jazz, a transatlantic bridge, a showcase for a highly individual band sound.
Ibelisse Guardia & Frank Rosaly about Directions in Jazz
Experiencing the duo's debut album MestizX is “like downloading a mountain” - a mind-altering journey through trance-inducing vocals, multilayered drumming, naked emotion and psychotropic electronics.
Nite Kite about Directions in Jazz
From Protection-era Massive Attack via modular-synth-fantasies to stripped-down melancholia, Nite Kite is exploring personality over progress.
Simon Fisher Turner about the Magic of Sound
Even after five decades, Fisher Turner is still just "making it up."
Fifteen Questions Interview with Raissa Febriani
First, Febriani spent time in the Indonesian forest. Then, she translated the inspiratio into stripped-down, bass-heavy percussion-funk.
Biomania about Directions in Jazz
The French quintet shape their own vision of 21st century jazz, soul, and hip hop – seducing the mind, but keeping the body engaged.
Scratch Massive about Minimalism
Experience and the search for essence have turned the French electro duo into architects of sound.
Ionzi: Can Sound Change the World?
For Iona Evans, sheer determination in the face of rejection and belief in the world you are creating are crucial.
Bon Entendeur about DJing
As masters of Back to Back DJing, the French duo are constantly in conversation through music.
Jung Latch about Directions in Electronic Music
“The process of DAW to Bandcamp to CDJ is starting to run out of mileage. Exploring new ways to present your work is going to be the fun part.“
Xin Lie: Can Sound Change the World?
"My own voice isn't loud enough to be heard. So I'll let the music speak through big speakers."
Øystein Skar about Directions in Contemporary Composition
“This album has been a quiet form of personal activism—a subtle response to the outside world.“
KALI Trio about Directions in Jazz
"In a time when developments tend to draw people apart, creating something as a democratic collective is, in itself, a political act."
Joachim Spieth about Minimalism
"There is only one rule: does the music have an effect on me? Anything that doesn't fulfil this rule can go."
Sun Sone Shares his Creative Process
"You are not a machine which needs to endlessly churn out a ‘product.’ If you’ve only got one album in you that’s fine."
Alberta Balsam about Production, Technology, and Creativity
"Sound design is is just one piece of the puzzle. Creating something emotionally compelling or memorable should come first."
Bárbara Boeing about DJing
“Everyone has their own way to fight their demons. For me, dancing is one of the healthiest ways to do that.“
dot about Production, Technology, and Creativity
"The future is just as beautiful as it is frightening."
Ana Helder about Production, Technology, and Creativity
"I notice a certain darkness in AI generators. The word “fear” feels very relevant here."
Nathaniel Eras about Production, Technology, and Creativity
"I'm trying to create sonic worlds. Textured palettes, and sounds that can also be imagined as symbols."
Max D & Matt Papich (Lifted) Share their Creative Process
"I experience music making and releasing as one sort of long state of creative life."
Lawrence Hart about Production, Technology, and Creativity
"I like to make the distinction between when something needs to be performed and when it needs to be drawn in. There’s always a place for both."
Answer Code Request about Production, Technology, and Creativity
"The ability to customize, experiment, and constantly push the boundaries of sound is what keeps me inspired."
Darone Sassounian about Synthetic Instincts and Minimalism
“A minimalist approach allows me to push myself while I compromise my comfort.“
Bendik Baksaas about Production, Technology, and Creativity
"You could call my entire process a preset."
Mehmet Aslan talks Sound
“Music is about emotions, a narrative, a beginning and an end. Sound deals with what is there, what occupies the space.”
Housemeister about Production, Technology, and Creativity
"The matrix is coming. It's great and weird."
Bernhard Living about his Composing Grid and the Unrevealed Secrets of Western Music
"I do not regard my music to be an expression of emotions or feelings - but as an expression of musical ideas and of the unfolding of time."
Tensen Park on Production, Technology, and Creativity
"AI will become an integral part of our DAWs. But in a fun way."
Yuu Udagawa about Production, Technology, and Creativity
"The process of connecting sounds often mirrors life."
Renato Ratier about DJing, Production and Dance Music in Brazil
“I believe that my new club Surreal is a unique experience in club culture."
Joki about Technology, Creativity, and Producing for Britney Spears
"If original is something that’s never been done before, I don’t think anyone would enjoy it."
Passepartout Duo about Collaboration
"In an improvisation, every participant is putting a musical offering into the mix. All the others are called to respond to it."
Basile3 about Production, Technology, and Creativity
"Electronic music is escapism, it’s a dream, it’s fantasy, it’s the unknown."
Alejandro Mosso about Production, Technology, and Creativity
"It's essential to dominate the technology, not let it dominate you."
Alex Groves and Philipp Rumsch about their Collaboration
"I knew that whatever was brought to the table would enhance the project, presenting ideas and perspectives I would never have thought of."
Wild Anima about the Beauty of Rain and the “Sound of a Society”
“One of the things that attracted me to England was the rain!“
ASHRR about Production, Technology, and Creativity
"We always try to start from a place of simplicity."
COLA REN about Production, Technology, and Creativity
"There's a balance between embracing the vast potential of electronic music and using constraints to drive innovation."
Alexis Delong about Production, Technology and Creativity
"In electronic music, we are still pioneers."
Atelier about Production, Technology, and Creativity
"Making music is deeply personal and scarring. But I enjoy that. I guess I’m a sadist."
Holland Andrews talks Sound
"Electronic music can possess a specific kind of nostalgia. It feels like an open door to write something new."
Mirror People about Production, Technology, and Creativity
"You don't need infinite sounds. You need the right ones."
Odalie about Production, Technology, and Creativity
"Sometimes, technology is seen as a new God. That’s a dangerous path to follow."
Christian Löffler about Production, Technology, and Creativity
“I would love a tool where you paint a bassline and then convert it to sound.”
Taroug about Collaboration
"I want collaborators to have complete musical freedom. Too many words in advance can destroy that."
Nadia D’Alò about Production, Technology, and Creativity
"I'd rather be limited than have a problem I can't fix myself."
Temple Haze about his Voice and Singing
"Songs as we create them in the western world are in effect mathematical equations."
Cicely Goulder of Kaleida about In Arms, Production, and Creativity
“Jean D’Arc armed herself to fulfil her mission. Sometimes music feels that way.”
Voiski about Production, Technology, and Creativity
“I find something magical in not knowing too much.”
Jinjé (Vessels) about Production, Technology, and Creativity
“I build islands of creativity.”
Kees Berkers of YĪN YĪN about Drumming
"Programming drums in Ableton made me understand the beautiful math behind rhythms."
Kollektiv Turmstrasse about Production, Technology, and Creativity
"You can't replicate human creativity that easily with artificial means."
Nadia Struiwigh about Production, Technology, and Creativity
"We are made here to expand. We are here to discover who we are."
Nicolas Bougaïeff about Production, Technology, and Creativity
"Choosing constraints is a very important part of the creative process."
Damien Vandesande of Siraba and dOP about Production, Technology, and Creativity
"Oscillators are not percussive, not made of air or strings. They are made of electricity, of energy."
Max Sinàl of 2fox about Production, Technology, and Creativity
"Some of the time I may have a slightly unorthodox way of working."
Maike Depas about Production, Technology, and Creativity
"I love losing myself within a world where there is no absolute control."
Lauren Mia about Production, Technology and Creativity
"Having your studio work as ONE cohesive mind is something that I really encourage to those who want to level up their work flow."
JWPaton Shares his Creative Process
"To be considered a part of a lineage would be the ultimate compliment for me."
Will Hofbauer about Production, Technology, and Creativity
"I have to set some sort of limits. Otherwise I’d just spend a whole week putting phasers on fart samples."
Kombé about Production, Technology, and Creativity
"You can learn anything from tutorials. This can also be overbearing and stand in the way of your own distinction."
Amby Downs talks Sound
"Banging doors and people shouting – those things can completely throw me and send my heart racing."
Mike Sheridan about Production, Technology, and Creativity
"The experience of playing acoustic instruments can feel so weighed down by tradition. It can be really discouraging."
Lauren Mia about Playfulness, Production, and her Personal Path
"I have to love it, enjoy it. It's art. That’s what it's all about."
Malin Linnéa about Production, Technology, and Creativity
"We don’t need more stuff. We need less."
Foodman about Production, Technology, and Creativity
"Collaboration feels like a massage. It stimulates areas you couldn’t reach on your own."
Thomas Lemmer & Oine about their Collaboration
"We are now close friends - even though we haven't met in person yet!"
Echo Juliet about Production, Technology, and Creativity
"If you can do anything, where do you start?"
Mo'Horizons about Production, Technology, and Creativity
"Practical application with your own experiences is what makes the difference."
Azaria about Production, Technology, and Creativity
"I try to have an idea of the song in 3-4 hours. Finishing the production can take me weeks."
Dam Swindle about Production, Technology, and Creativity
"For us, progress is being in the studio every day, working on music and learning new things."
Ryan Crosson about Production, Technology, and Creativity
"I’ve always been a gear swapping M.F."
Mike Shannon about Production, Technology, and Creativity
"I like my modular world. There isn’t a preset in sight!"
Al Mackenzie (Field of Dreams, D:Ream) about Production, Technology, and Creativity
"Some of the greatest musicians make some terrible music!"
Pete Cannon (Mixtress) about Production, Technology, and Creativity
"Technology, technology! Can we all stop whinging and try to enjoy ourselves?"
Mila Stern about Production, Technology, and Creativity
"I was scared of Max for Live. It felt like opening pandora’s box."
Thomas Fehlmann about Production, Technology, and Creativity
"An important part of the creative process is forgetting."
Kawatin about Production, Technology, and Creativity
"Improvisation embodies the humanity and uncertainty that can often be lost in electronic music."
JakoJako about Production, Technology, and Creativity
"It’s important to experiment with new sounds. But it’s also important to vision your own style and do what you're best at."
Len Faki about Production, Technology, and Creativity
"If I may say so: There's some really wicked, high-quality shit on my new album."
ORKA about Production, Technology, and Creativity
"Playfulness is extremely important. When we overwork ideas they can become stale."
ITAI about Production, Technology, and Creativity
"If I could put on a helmet and translate my ideas directly into music ... I’d love to see where that takes me!"
Bushwacka! about Production, Technology, and Creativity
"I have a terrible habit of rarely using the same kick drum. It has cost me months of my life."
Bedless Bones Shares her Creative Process
“You can live your whole life as a work of art - from eating to dressing to loving.”
Benjamin Lackner about the Ear Magic of ECM and How to be a Band Leader
“People tend to play their best when they're comfortable.”
Nolan about Production, Technology, and Creativity
“Not many boundaries are being pushed - despite the technology enabling everyone to do so!”
Theo Travis of Soft Machine Shares his Creative Process
“Feeling creative is an animal that needs feeding!”
Onelight about Production, Technology, and Creativity
“A computer, Ableton and a keyboard - and the world is yours!”
Album Leaf talks about Technology and Music
"Put in the work, and it’ll just keep getting better."
Agents of Time about Production, Technology, and Creativity
“We have to embrace new tech to stay competitive.”
Reggie Dokes about Production, Technology, and Creativity
“Technology should not make you a lazy composer. It's an aide, not a crutch.”
Umru about Autotune and the Magic of Varispeed
“Autotune is a profoundly empowering effect for some artists.”
Me Lost Me Shares her Creative Process
"To be totally absorbed in making something is the best feeling in the world. It's kind of self care.”
Chloé Thévenin & Ben Shemie of High Season about Collaboration
“I need to feel secure with my collaborator. We need to communicate to move forward.”
Key Clef about Production, Technology, and Creativity
"On the modular, there has to be a thought before any action. You can look for inspiration in a preset.”
Kuf Share their Creative Process
"The most important thing is to play together – sometimes for hours without a break."
John Atkinson Talks Sound
“On some level I think we should have EPA standards for noise pollution just like we have standards for air pollution."
Umru (Charli XCX, Caroline Polachek) about Production, Technology, and Creativity
“The best music usually isn’t the most original, never-before-heard thing.”
Ramsey Neville about Production, Technology, and Creativity
“I’d take a laptop and headphones over a fancy, multi-room recording studio any day.”
L.Dre on Interpreting Classical Music from a Lofi Perspective
“Lofi Symphony is my masterclass of interpretation.“
Victor Ruiz about DJing
“People think the DJ is the most important part of the party. They’re not.“
Vinny Villbass of LAFT about Production, Technology, and Creativity
“Don't believe the hype! Quality, simplicity and emotions will always win in the long run.”
Sobolik about Production, Technology, and Creativity
“If you take away all the tools, and leave only “creativity” you just have ideas - and no actual music.”
Rezident about Production, Technology, and Creativity
“Most things in nature seem very creative without a consciousness.”
Dave Seaman about DJing
"Being able to travel the world as a DJ seemed utterly ridiculous when I started.“
Dubmatix about Production, Technology, and Creativity
“What tool can have a deeper impact on creativity? Learning. Learning will help improve the creative output for any artist.”
Başak Günak (AH! Kosmos) & Büşra Kayıkçı about Collaboration
“Collaborating potentially comes from our furious need to connect.”
Kurt Uenala aka Null + Void Shares his Creative Process
"Often the magic happens at night. So it helps that I live in a country with only 4 hours of sunlight in Winter!"
Stany about Production, Technology, and Creativity
"I like abusing effects. Technology should allow me to be crazier."
Massimiliano Pagliara about Production, Technology, and Creativity
"At some point, machines take control – and drive me to paradise!"
Robert Osterberger of Dubblestandart about Production, Technology, and Creativity
"I let go of equipment that I seem to ignore. Well at least I try to."
Viels about Production, Technology, and Creativity
"When I’m low on ideas I always try to buy new hardware or software to find new inspiration."
Mark Knight About Production, Technology, and Creativity
"I’ll have an idea and I’ll see it through."
Alexander Robotnick about Production, Technology, and Creativity
"The result of my work is always a surprise to me. Sometimes it's a good surprise, sometimes it's bad."
Joachim Spieth talks Sound
"Words sometimes only distract. Focusing on sound trains the imagination of the listener."
Pale Blue about Production, Technology and Creativity
"I’m selfish. I just want to find the best and easiest ways to make original music."
Nerk & Kirn about Production, Technology and Creativity
“We’re always building on tradition. There’s never really a blank slate.”
Casanora talks Sound
"Sometimes I walk through the city and inhale the noise. Sound is all around us, it is in everything."
MUST DIE! about Production, Technology, and Creativity
"I use a lot of what people might view as just noise or error sounds."
Tools of Creation: Trident Mixing Console
Dubokaj about a powerful mixing console with a silky sound.
Tools of Creation: Farfisa Louvre
Lake Turner about a bulky organ with an inspiring feel from a bygone era.
Tools of Creation: Novation Summit
Patricia Wolf about a synthesizer with effortless flow and almost limitless possibilities.
Shlomi Aber about Production, Technology, and Creativity
“If a producer tells you he managed to get exactly what he had in mind, it is sure to be a misrepresentation of the truth.”
Kamran Arashnia talks Sound
"There is music hidden in the sound of boiling water and burning firewood."
Halina Rice Talks Sound
"I love sounds that have an organic and yet unplaceable feel to them."
Janus Rasmussen of Kiasmos about Production, Technology, and Creativity
“Maybe humans are too weird to put into code.”
The Human League about Production, Producers and the Primacy of Ideas
"We've got a tendency to go into 48 tracks and wonder: Oh, what's that triangle doing?“
Felix Taylor talks Sound
"Sound is an invisible presence. It has the ability to completely occupy and fill a space it's in."
Abstract Division about Production, Technology, and Creativity
“With the birth of granular synthesis, the whole world changed for us.”
Emme Moises about Production, Technology, and Creativity
“We are already becoming cyborgs. Our intertwinement with machines is getting deeper every day.”
Tools of Creation: The Cello
Theresa Wong about an instrument that feels like a soundbox with infinite possibilities.
Rich Aucoin about Production, Technology, and Creativity
“I was given 15 minutes at Abbey Road. I ended up getting enough stuff for 2 records.”
Paul Kendall about the Influence of Technology on Creativity
"The Doctor Who theme music shattered any preconceptions of traditional timbre."
TRY about Production, Technology and Creativity
“We want to create things that people haven’t seen before.”
John Monkman about Production, Technology and Creativity
“In the world of modular synthesis I’m in discovery mode.”
Tools of Creation: Moog DFAM
BRUX about an analogue percussion synth that is keeping her on her toes.
Gimenö about Production, Technology and Creativity
"Working without a DAW totally changed the way I write music."
Lewis Thompson about Production, Technology and Creativity
"I usually find that a good song is easy to produce. Try producing a bad song, it’s really hard."
Stephen Mallinder (Cabaret Voltaire) Shares his Creative Process
"Little things eat away at you. Then they begin to take form."
Marco Cassanelli and Deckard about Production, Technology, and Creativity
“With live instruments and musicians, the music remains fluid until you record it.”
Chloe Alexandra Thompson Talks Sound
"Sound cannot exist in a vacuum. It is an urgent way to connect more with the world around us."
Alexander Kowalski about Production, Technology, and Creativity
"Some of my tracks take years to get finished. Some will never be."
Heavee about Production, Technology and Creativity
"I consider myself to be tethered to my studio."
Bag Raiders about Modular Synthesizers
"The modular is the ultimate starting point. A kind of limitless inspiration source."
Richard Talbot aka Prospector Sound talks Sound
"The kitchen is always rewarding. Some of my sounds are samples of saucepans."
Xinobi about Production, Technology and Creativity
"I believe in creative mixing. It's the ultimate personality stamp on a piece of music."
Khompa about Production, Technology and Creativity
"I think the element of surprise is fundamental. Isn't that why we make music?"
Rizomagic about Production, Technology and Creativity
"For us it’s really important to imagine the music before putting our hands on the instruments."
Polo & Pan about Production, Technology and Creativity
"Technology can be in service of creativity. But the concept of surprise is human."
KIDSØ about Production, Technology and Creativity
"Sometimes technology stifles creativity. Especially when you're more into technology than music."
Juheun about Production, Technology and Creativity
"Humans are not ready yet to give machines full control. I'm not sure we'll ever be."
Rizomagic about Identity, Tradition, and the Colombian Electronics Scene
"Music is as an instrument of union. It is a tool to demolish mind veils."
Vittoria Maccabruni About Collaboration
"Out of your comfort zone can be a very interesting place to be in."
Lewis OfMan about Production, Technology and Creativity
"It's like there's an ancient civilisation hiding behind the DX7 algorithm."
Blindsmyth about Production, Technology and Creativity
"You don't need technology to be surprised. That's a marketing trick of the industry."
Christina Giannone Talks Sound
"Sound challenges our beliefs of how the universe is supposed to be."
Peter Knight of Australian Art Orchestra Shares his Creative Process
"I can reach part of myself in music that I can’t in other spheres of life."
Jonny Wildey Shares his Creative Process
"I had this romantic notion of renting a shack in the countryside to work on my masterpiece. I now think that is ridiculous."
Beth Lydi about Production, Technology and Creativity
"I try not to have too many ideas before entering the studio. It's frustrating to recreate something from my mind."
Gagi Petrovic talks Sound
"I am curious about stimulating the brain with music that is not audible. Are we still ‘hearing sounds’?"
Blockhead about Beats and Production
"I’ve been doing this so long that the idea of “inspiration” doesn’t really exist."
Parallells talk Sound
"It's very hard to make the sound of a dental surgery appealing. But it's a challenge we are willing to take."
Almeeva about Production, Technology and Creativity
"Technology is meant to make sounds unique and personal. Sometimes, that means destroying a song."
Matt Robidoux about Improvisation
"Sometimes the ideal state and the creative thing are just taking a few deep breaths."
Frank Arvonio about Production, Technology and Creativity
"The element of surprise is crucial."
Fifteen Questions Interview with Theo Katsaounis of Hey!Tonal & Joan of Arc
Sit with the Pain
VITALIC about Production, Technology and Creativity
"I like music when it’s weird and poetic at the same time."
CYRK About Technology, Production and Creativity
"We have a lot of "unfinished" projects. We somehow always want to start fresh."
Noizu about Production, Technology and Creativity
"All the important plugins exist already. They just aren't 100% yet."
Keys N Krates about Beats and Production
"It’s all an experiment that you try to control. We are just passengers within."
Cluster Lizard about Production, Technology and Creativity
"If an AI isn't motivated by fame, greed, sex, and popularity – why would it develop creativity?"
Duane Pitre About Tuning Systems, Working with MAX & Music of the Spheres
"I like some order in my life. It helps the chaos in my brain."
Picard Brothers About Limited Options, Technology and the Super AI
"If I were my computer I would ask for publishing rights."
Fifteen Questions Interview with Sara Oswald + Feldermelder
Sounds that Make Your Brain Tickle
Steven Weston About His Studio, Gear and AI
"A computer that never crashes, that would have the best impact for me."
Jaberwocky about Gear, Technology and AI
"There hasn't been a major technologic revolution in music since the 2010s."
Alex Patterson of The Orb on Sound, Field Recording and Frog Song
"It's been a very, very surreal ride for me."
Jochen Rueckert About Technology and Artificial Intelligence
"I doubt AI will offer much beyond saving time or small variations."
Stephan Packe of LTO about Gear and Authorship
"I'm still waiting for a technology that enables us to create any sound simply by imagining it."
Fifteen Questions Interview with Christopher Bono of Nous Alpha & Ghost Against Ghost
Geometry in the Mind
Fifteen Questions Interview with Una Sveinbjarnardóttir of the Siggi String Quartet
A Larger Context
Fifteen Questions Interview with Christopher Farstad of Galaxy Express 555
Living in the Body
15 Questions Interview with Lukasz Polowczyk on the MNTN Software
Looking for the Coltranes of 3D
Interview with F. Gagliardi & D. Newman on the Lissajous Software
The Creator Inside the Instrument
Fifteen Questions Interview with Cosey Fanni Tutti
Shaping the Sound - Clean Studio, Dirty Mind
