Ivory: Alchemy In Motion

Beyond sounds, Daniel Tagliaferri’s Ivory project has become a sanctuary of surreal beauty. Unique in his approach, the Italian artist has graced some of the most significant imprints in the circuit, and his latest delivery for Berlin / New York-based ICONYC is nothing short of exceptional.

Type </01 Magazine ventures into the intricate world of Ivory (IT), uncovering the creative alchemy behind his new ICONYC single, When It’s Cold. In this exclusive interview, the Italian maestro opens up about the inspirations driving his music, his perspective on the rise of AI in the industry, the closure of ASLICE, and his hopes for the future. Through his thoughtful reflections, Ivory reveals the artistry and vision shaping his unique contribution to electronic music.

Hey Daniel! How are you doing? How have you been? Thank you for joining us today.

I’m good. Thanks for having me over. I’m excited to answer your questions!

Congratulations on the release of your ICONYC single, “When It’s Cold”. We can imagine the excitement must be high! So, how are you feeling about this one?

Well, releasing new music is always rewarding, it’s the realization of a long process that started in the studio months before. This time is very special because “When It’s Cold” is the first original track to see the light of day in 2024, having produced it in the same year.

Speaking about the record, what can your fans expect to find on “When It’s Cold”?

I think people can just expect a track in perfect Ivory style: groove, melodies, and synths.

“When It’s Cold” has a very kaleidoscopic feel to it, but never in an overbearing kind of way. It’s almost like it resembles the intricacies of a snowflake. Was that your intention? It feels like one of those rare moments in electronic music where the music really matches the title.

As the title suggests, when it’s cold, we tend to huddle ourselves to find warmth, this could be seen in a physical way but also with a more philosophic meaning, a way to take time to explore ourselves, our deepest part and find the warmth in us.

Obviously, we know that every track is different, but could you share a bit of your artistic process with us? What was the process behind “When It’s Cold” like?

Yeah, sure. The workflow for this track was really interesting and easy to explain. The idea came out during a quick study about the piano chords used by the French composer Erik Satie. I was really intrigued by his atmospheres, so I decided to study some chords and harmonies to replicate that particular melancholic sound.

With releases on ICONYC, Innervisions, Exit Strategy, microCastle, and more…are you making the music that you thought you’d be making when you first started? If not, what do you think of the voice you have found as an artist?

I don’t think I ever expected myself to make music with a certain sound or style. I strongly believe this has to be the first requirement for an artist, to take and give shape to your art as it comes out of you, without curbing creativity in response to a model to be achieved.

Talking particularly about my sound, I’m happy with it because I feel it’s “mine” and very personal, even though I constantly work to discover new ways to approach music production.

And where do you usually go to for inspiration? Do you have a set of “routines” that you know are bound to get you in the right mind frame?

No, not really. I have no routines to “find” inspiration. I just wait. For me, it’s like a physiological need. When inspiration comes, I go to the studio to squeeze out every single drop of it.

By the way, in the past weeks, we’ve seen the closure of ASLICE, which was intended to bring some balance to the DJ/producer dynamic. What do you think of its closure? Should big-name DJs be sharing their fees with the producers who create the tracks they are playing?

Well, I have been part of Aslice from the very beginning as a producer, and I have to say it was a fantastic tool made by one of the truest DJs out there. The closing of Aslice is a very complex subject that should stimulate necessary and bigger thoughts about the entire club/dance music industry.

Going into detail, Aslice was a good effort to bring fairness to the club music scene, but, actually, we’re talking about receiving a few hundred euros every three months. I mean, is this enough to really change something? And I know that the idea behind Aslice was more than good and for sure is not their fault if just a few DJs joined the project.

There’s a gap so big in terms of earnings and exposure between the DJs who play other artists' music and the producers who made that music, I really think that we can bring more balance giving producers a real chance to grow up as artists. For example, why do we see always the same line-ups in clubs and festivals all over the world? Because it’s not about music. It’s about money and selling tickets, which is totally understandable from the promoters' side, but we are also forgetting to give the right acknowledgment to the creativity and the talent of those who spent a lot of time in the studio making that music, which is necessary for an entire market that asks for new music so quickly and constantly.

But, it’s not just the promoters' and big DJs' fault, it’s also a cultural problem because the audience first is not educated to dig for new music, and explore artists and their productions. They just take what the market gives to them. I know of many people going to see the same artist playing even 10 times in a year, but never attending the shows of the producers who have made those tracks played by their favorite DJ.

How we can change all of this? There’s only one way. By putting back the music on top in the music industry because, at the moment, it’s not.

And with AI? What is your relationship with that like? Have you implemented any form of AI in recent releases? Do you think this is one of those things that will drive the scene forward?

Honestly, I never used AI I'm my productions till now. There are some different and opposite opinions about the use of AI in music, and I know many people are worried because we don’t know where it will lead us. For example…will musicians and producers be replaced by AI in the future? Can the rising use of AI in music production destroy or heavily change the music market? It’s a possibility. Will AI redefine the way we make music, opening new frontiers, and becoming a very versatile tool for musicians? It’s a possibility too. For sure it’s something we haven’t explored enough, but I think that in every way we’ll see human creativity gaining more and more value in the future as something very special and extraordinary.

Finally, having gone over the recent past and the present, what’s next for Ivory? What new milestones are you looking forward to now?

Thinking about my path as a DJ and producer, I always think that I’m at the beginning…there are so many clubs, festivals, and countries where I never played, even if in these past years I have traveled around the world performing in so many countries; also, talking about studio work, the music changes so fast, there are so many influences, and approaches to explore…

Thank you for your time, Daniel! Best of luck with “When It’s Cold”. Catch you soon!

Thanks to you! I’ll see you around then!

Ivory’s latest single, “When It’s Cold“, is out now via ICONYC. Find your copy here.

Naji Arun: The Elegance of ‘Elangeni‘

From The Netherlands to the rest of the world, Naji Arun’s eclectic take on electronic dance music is transcending borders with every beat, as he expertly combines sheer technological prowess with our most guttural feelings for a primal experience.

Elangeni, Arun’s first outing for New York / Berlin-based imprint ICONYC, is a testament to the producer’s sonic quest, with African singer Soul Star delivering two rousing vocal performances that elevate the EP to a class of its own.

Join Type < / 01 Magazine as we dive inside the elegance of Naji Arun to learn more about the release of his new Elangeni EP for ICONYC, his inspirations, views on AI, the closure of ASLICE, his hopes for the future, and more.

Hi, Naji! How are you doing? How have you been? Thank you for joining us today.

Hey! I’m doing great, and I hope you are too. Thanks for having me.

Congratulations on the release of your ICONYC EP, Elangeni. We can imagine the excitement must be high! So, how are you feeling about this one?

Thanks a lot. I’m very excited for this EP. It’s a very special EP for me, and I couldn’t have wished for a better label than ICONYC to have it released on.

Speaking about the record, Elangeni features two new original tracks, yet they do feel as if cut from a similar thread while managing to sound really unique. Was that your intention from the offset, to seemingly explore different faces of a similar “headspace”?

My concept for this EP was to experiment with Afro influences in my music. So you can hear a blend of my style with a new spin to it. I wanted to create something unique and with a deeper feeling to it. Nowadays, you hear a lot of the same music and you have to stand out bringing something new.

The lead track, “Elangeni”, as a single, has a very ethnic-laced feel combined with a modern sense of production and direction. Is that what you were going for? Do you tend to find inspiration in the music of other cultures/scenes?

Yes, I definitely find inspiration in other cultures/scenes. As I’m normally more of a “Melodic Techno” artist, this EP is my first Afro-styled EP. I always want to experiment with new styles, and I’m a fan of Afro House, but I do like the faster bpm and energy from Melodic Techno, which this EP also has.

By the way, Elangeni sees you linking up with African singer Soul Star on both tracks. How did the connection with Soul Star happen? How did the idea for this EP come about?

As my concept for this EP was to experiment with Afro, what’s better than to have some original African vocals on it?

I first heard Soul Star from his track with Soulroots, “Sala Papa Ye”, being played at a festival I attended. The vibe of the track and his vocals are just amazing, so I reached out to him via Instagram and send him the instrumental version of “Elangeni”. He loved it and started working on the vocals and that’s how the track came to be.

In the second cut, “Mane” sounds a bit darker, but also feels like it's brimming with life at every turn. What was the process for “Mane” like?

After we created the track “Elangeni”, which was signed to ICONYC, we needed a second track for the EP. So I reached out to Soul Star again, because I thought the concept of having a full EP with us together would be great. For the second track, I wanted to go for a darker more club vibe. I already had this hypnotic instrumental with a lot of focus on the bass lying around, which I then sent to him. This is how we created “Mane”.

With releases on ICONYC, Black Rose Recordings, and more…are you making the music that you thought you’d be making when you first started? If not, what do you think of the voice you have found as an artist?

This release on ICONYC, and now seeing all the great artists that are releasing on it, is definitely a milestone in my career again. This was always my vision and it’s amazing to see it working out after a lot of years of late nights in the studio.

And where do you usually go to for inspiration? Do you have a set of “routines” that you know are bound to get you in the right mind frame?

I personally get a lot of inspiration from just making music itself. I just start something from scratch and do not have too many references about which direction the track should to go. I just make what I feel like making in that moment.

By the way, in the past weeks, we’ve seen the closure of ASLICE, which was intended to bring some balance to the DJ/producer dynamic. What do you think of its closure? Should big-name DJs be sharing their fees with the producers who create the tracks they are playing?

It’s a shame it didn’t work out. I love the concept. I do think more can be done in different ways. Give upcoming artists more chances to perform at shows. Now it’s almost always the same big names that are on the line-up.

And with AI? What is your relationship with that like? Have you implemented any form of AI in recent releases? Do you think this is one of those things that will drive the scene forward?

I’m not a fan of AI, I love creating something that comes out of my heart, so I don’t see myself using it in the future. Maybe some kind of AI mix plug-in, but not something that would create music on my behalf. I think it could set the scene back because in the future everyone could make music via AI without having musical knowledge.

Finally, having gone over the recent past and the present, what’s next for Naji Arun? What new milestones are you looking forward to now?

I’ve ended the year on a big high, and I intend to set this forward in 2025. You always have to set new goals if you want to make progress.

Thank you for your time, Naji! Best of luck with Elangeni. Catch you soon!

Thanks for having me. See ya!

Naji Arun’s new Elangeni EP is out now via ICONYC. Find your copy here.

Modeling The Sound Of Dorian Craft

Hailing from the glistening French Riviera, Dorian Craft has carved a name for himself in electronic dance music with an illustrious career spanning over 14 years that has seen him garnering support from industry heavyweights like Black Coffee, Bedouin, and Maceo Plex.

Owner of an eclectic sound that blends organic rhythms, iridescent melodies, and captivating vocals, Dorian Craft’s music takes on a distinct shape at every turn, defying expectations, and his much-anticipated outing for ICONYC certainly lives up to its billing.

Join Type < / 01 Magazine as we dive inside the kaleidoscope of Dorian Craft to learn more about the release of his new “Models 24” single, his inspirations, views on AI, the closure of ASLICE, his hopes for the future, and more.

Hey Dorian! How are you doing? How have you been? Thank you for joining us today.

Hey, glad to have a talk with you guys! I’m in Bali right now, so I guess it could definitely be worse!

Congratulations on the release of your ICONYC single, “Models 24”, which has been heavily hyped up throughout the year. We can imagine the excitement must be high! So, how are you feeling about this one?

Yeah! I’ve been following the label ever since Pietro became the A&R, and I liked his vision. I’m super happy to add my piece to this puzzle.

Speaking about the record, “Models 24” features a very distinct sound that expertly blends new wave, electronica, indie dance, and a bit of rocking attitude. Did you have a clear horizon in mind before you got started?

That’s a great description. Yes…When I’m not listening to electronic music, I dive into my 80s/90s Spotify playlists, and yes…New Wave and old-school rock often inspire me. I like the saturated, powerful basslines that rock music offers and this is what I wanted for “Models 24”.

And what was the creative process for “Models 24” like? Did you first stumble upon the vocals, or was it a case of finding something that just "felt right"?

I started to play with this vocal that a friend sent to me. It’s an easy hook but catchy enough to remind us of something by Phoenix. I knew it was going to be a short track, so early on, I added that dramatic harmony and used my recipe: to bring the climax at the second drop with the addition of an unexpected element.

We do know that every track is different, but do you have a sort of "playbook" that you tend to go to? Or does every track ask for something different in that sense?

I would say, nowadays there’s kind of a playbook. When I go through my promos, sometimes I feel like I listen 3/4 times to the same track and I instantly forget them. I have decided to take the risk of releasing something different. My last release on Bedouin’s was an Iberican vocal combined with an acid bassline…kinda unexpected, right? It would be so much easier for me to use that same Afro-house template, but I know it would be a lie deep in myself.

With releases on ICONYC, Diversions, When Stars Align, and more...are you making the music that you thought you'd be making when you first started? If not, what do you think of the voice you have found as an artist?

When I started 16 years ago, I was into Tech House - big time! My sound has swayed into something more melodic, I’d say, more emotional. As a DJ, I love to play a wide palette of sounds during my sets, and somehow, it affects my way of producing. I like to have one of my own tracks for every moment of my set. I will never focus on producing one genre.

And where do you usually go to for inspiration? Do you have a set of "routines" that you know are bound to get you in the right mind frame?

I’m happy to have the ability to produce on the road. I don t need expensive studios, just some ideas, and my laptop. I like to work spontaneously. The inspiration comes from everywhere…a good bit of news, a party I played the night before, or just, one more time, a listen to my 80/90s playlist, haha. Artists are emotional sponges!

By the way, in the past weeks, we've seen the closure of ASLICE, which was intended to bring some balance to the DJ/producer dynamic. What do you think of its closure? Should big-name DJs be sharing their fees with the producers who create the tracks they are playing?

I think it is complicated. It would be unfair for these big names to be « taxed » like this. Who’s a big name? Who’s not? For sure it’d help the small producers, who most of the time earn nothing from their music, but not that way. No, in my opinion, we need better exposure and royalties shares from the streaming platforms.

And with Al? What is your relationship with that like? Have you implemented any form of Al in recent releases? Do you think this is one of those things that will drive the scene forward?

A computer will never be replaced by a human sensitivity. I used AI to tweak and layer some vocals. In fact, “Models 24” has an AI layer on the vocal. I use it more like a VST, let’s say, for sound design.

Finally, having gone over the recent past and the present, what’s next for Dorian Craft? What new milestones are you looking forward to now? How would you like to be remembered in the scene once you're done?

Well, I have a collaboration with Da Mike set to release at the end of the month, and some remixes confirmed for 2025 for the likes of Rüfüs Du Sol and Nico Morano. Obviously, I’m also working on my next single, plus a collaboration with Samm. I hope that with these tracks, maybe, I will be remembered at least a bit, hahaha!

Thank you for your time, Dorian! Best of luck with “Models 24”. Catch you soon!

It was my pleasure. Keep going, guys!

Dorian Craft’s latest single, “Models 24“, is out now via ICONYC. Find your copy here.

Keith Holland: The Ideals Of Evolution

Emerging from the colorful streets of Sao Paulo, ICONYC presents rising DJ and producer Keith Holland and his sensual take on the house-ier side of dance music with his new Idealisimo EP. With an impressive string of releases that have seen him grace some of the hottest labels in the globe, Holland now arrives on the New York/Berlin-based imprint with a stellar two-tracker that bares the signature of an artist constantly on the move.

Join Type < / 01 Magazine as we dive inside the vibrant studio of Keith Holland to learn more about the release of his new Idealismo EP, his inspirations, views on AI, the closure of ASLICE, his hopes for the future, and more.

Hey Keith! How are you doing? How have you been? Thank you for joining us today.

Hey guys! Everything is great here in São Paulo, I was just in my studio working and I took a break to be here with you... very honored to be part of this interview, thank you!

Congratulations on the release of your ICONYC EP, Idealismo. We can imagine the excitement must be high! So, how are you feeling about this one?

Absolutely! Yeah, very excited! I love both tracks on the EP! In addition, the build-up to the release date was killing me, haha!

Speaking about the record, Idealismo features two new original tracks, yet they do feel as if cut from a similar thread. Was that your intention from the offset, to seemingly explore different faces of a similar “headspace”?

Exactly! The idea of ​​the EP was to have a similar sound from one track to the next. Working with a stabed groove and also adding a sequencer, so as not to lose my hypnotic identity.

“Idealismo” as a single has a very retro-laced feel combined with a modern sense of production. Is that what you were going for? Do you tend to find inspiration in the music of the past?

Honestly, this happened naturally. I love the sound repetition that this song delivers on the dance floor. I always listen to music from the past like Marvin Gaye, Stevie Wonder, Curtis Mayfield, and many others... no matter how much I do House or Techno I always try to pull references from the past in my productions.

On the flip side, “Classuda” sounds a bit more “aggressive”, but also feels like a homage to the halcyon days of rave music. What was the process for “Classuda” like?

“Classuda” was inspired by House from the 90s. Bass, stabs, and the vocals coming in some parts of the track are the focal points. However, I looked to add something modern by adding a sequencer and a riff in the second drop.

With releases on ICONYC, Innervisions, TAU, Sum Over Histories, and more…are you making the music that you thought you’d be making when you first started? If not, what do you think of the voice you have found as an artist?

I think that the artist has to always be in constant evolution. When I started releasing my first tracks, I gained notoriety for producing a line of sound that automatically began to be labeled for having a unique sound identity. Honestly, I never looked for this, it ended up happening naturally. On the other hand, I don't want to just stick to one sound identity, always looking for something new.

And where do you usually go to for inspiration? Do you have a set of “routines” that you know are bound to get you in the right mind frame?

For me, the best way to find inspiration is to listen to artists you admire from different genres.

By the way, in the past weeks, we’ve seen the closure of ASLICE, which was intended to bring some balance to the DJ/producer dynamic. What do you think of its closure? Should big-name DJs be sharing their fees with the producers who create the tracks they are playing?

This question is excellent, it's really cool that you touched on this point. It was a huge loss for the industry, I was very upset by the news... the idea and objective of the platform were incredible. It was a brilliant incentive for producers who spend hours in their bedrooms or studios producing their tracks to be recognized and paid for their art. Here in Brazil, a lot of people asked me what it was and how it worked... when I explained it, everyone was delighted with the purpose of the platform. And yes, in my opinion, renowned DJs who have a busy schedule should share their fees with the producers making the music that they are playing.

And with AI? What is your relationship with that like? Have you implemented any form of AI in recent releases? Do you think this is one of those things that will drive the scene forward?

I've never implemented anything AI in my tracks. I think this is a path of no return, we will increasingly see the presence of AI not only in the music industry but also in numerous areas. On the other hand, maybe I will end up using it on my next track because as I answered in the other question, the artist always has to be constantly evolving.

Finally, having gone over the recent past and the present, what’s next for Keith Holland? What new milestones are you looking forward to now?

Well, my focus now is to play around the globe and continue producing my tracks. In the near future, I want to create my own label and give space to new talents, especially here in Brazil.

Thank you for your time, Keith! Best of luck with Idealismo. Catch you soon!

Thank you guys, I loved the interview and see you next time!

Keith Holland’s new Idealismo EP is out now via ICONYC. Find your copy here.

Henri Bergmann: Guarded by Angels

A sonic alchemist who fuses vibrant rhythms and melodies, Henri Bergmann has captivated global audiences with both her magnetic DJ sets and high-quality productions. Over a decade of hard work has earned her a place among electronic music's elite, with affiliations to respected brands such as Afterlife, Zamna, Watergate, and her own Automatik imprint. Bergmann’s unique sound—rooted in deep emotion and driven by contagious structures—has become synonymous with the full spectrum of human experience.

Fresh from her performance at WE ARE ICONYC X Di.FM during this year’s edition of the Amsterdam Dance Event, Type < / 01 Magazine caught up with the electric artist to dive into her latest release, “Guardian Angel”, her balancing act as a mother and label owner, her take on the state of the scene, her involvement during the Venice Film Festival, and more. Bergmann’s reflections offer a deeper look into the mind of an artist who continues to shape the melodic landscape while staying true to her core identity.

Hi Henri! Thank you for sitting down with us. How are you? How was your summer?

Hey guys! It’s my pleasure. I’m well. It's been quite the busy summer, intense, with lots of traveling. I’m just coming down and still recovering (laughs).

Haha! Yeah, we’ve seen your Instagram feed! So...You recently debuted your new track, “Guardian Angel“, at Pacha & Hï Ibiza with your husband Wennink on vocals. Congratulations! How did it go down? Can you share with us how this one came about?

Yes! It was “Guardian Angel”, which came out last month on Damian Lazarus’ Crosstown Rebels, featuring remixes by Stimming and Hardt Antoine, who have both done a fantastic job. I’m very excited to have this one hitting the shelves.

And, about how this one came to be…that’s a tough one, ha! I’ve done SO much music together with Oli, it is hard to keep track of how it originated.

Having said that, I’m pretty certain I was re-listening to a mix I did for Ibiza Sonica Radio a while back and came across a track I had never ended up releasing. I was like I love this vocal hook, so I went and dug the project out and dismantled it completely, keeping some specific sounds and that one vocal hook, and began to work on a completely new entity, which eventually became “Guardian Angel”.

Do you and Oli [Wennink] usually show your tunes to each other? Or does the feedback get “too technical”?

Oh, yeah, we share a lot of what we do, especially now that we share the same studio. We used to have two different studios in our house, but we decided to build one common space now. We’ve been working together for so long now, that sharing ideas and the process is seamless.

And the fun times didn’t stop there, did they…? Can we talk about the Venice Film Festival? That must have been quite a surreal experience. Have you been to something like this before?

My god, it was so surreal. It’s one of the most glamorous things I’ve ever done. I mean, I’ve done things like playing at private events before and all that, but this was just so luxurious. And the A-list celebrities…I was totally starstruck. I was there because I was DJing at Aston Martin’s latest car launch, and you had people like George Clooney and Daniel Craig standing next to you…It was really something else.

Music wise, well…you know. It’s not something that is going to provide a transcendent experience. It's more about “cocktail music”, just being in the background. The people are not there to dance, so its more about setting a “vibe”. Still, getting the playlist together was a bit stressful, but it was a lovely experience. And I have to say I just loved staying at the Danieli. It was one of the most gorgeous places I’ve stayed in.

Since we’re still scrolling down your Insta…we also saw that you even got to enjoy some quality time with your kids this time around. Being a mother of two, how do you balance your time as you also pursue your professional career? Are they aware of what mommy does by now?

You mean like… ”Why is mommy never home on weekends?” (laughs).

Well, YOU said that…not us, ha!

Haha! Yes, they are aware of what I do now. I mean…we’ve got the studio in the house, and we’ve got our decks set up in the living room, so I think they have a good grasp of what I do for a living and they like to watch all the videos of me Djing when I come home and ask me “is that you at work?”.

Spending time with them this summer was great. Every summer, I play for a hotel in Greece, and in exchange, I get to stay there for a few days. This was the first time they could actually stay up late enough to see me perform. It’s definitely not a rave, but it was really fun to wave our hands in the air.

I have to say that I was really lucky to get pregnant pre-covid…that really helped me out, as I didn’t need to take time off, since we were all locked up. However, I did try to hide my pregnancies until I was 6 or 7 months pregnant, especially my first one. It’s not like it is nowadays…I know this was only a few years ago, but in these past few years, with figures like Amelie Lens…I think there’s a way better reception and understanding of this. At the time, I was really worried about how it would come to impact my career… I was more relaxed with my second child and got really into pregnancy fashion. My biggest revelation was to wear really tight or see-through clothes and not dress like a sack. I’d love to go on tour now fully pregnant but no chance of that happening, haha!

Obviously, my daily life can get hectic. You know…traveling from Thursday/Friday to Sundays, coming back home, waking up, getting the kids ready for school, hitting the studio, playing with the kids, trying to catch up with friends, maybe going to a fashion show or event, dinner, and then getting up to do it all over again…I really have to say that Oli is a big part of what makes this balance possible.

Now, into the music…being a label owner and a curator, what do you usually look for in a tune? What’s a MUST?

Probably something with a cool drive. I’m always on the lookout for something original, something unique. I know that’s not saying much…I guess I mean some sort of hook, a vocal, a sample…something that’s instantly recognizable, that bit of a memorable moment and not just a clone of what everyone else is doing, you know?

Now, I’ve read somewhere that you are working on a Live set….is this right? Have you attempted something like this before?

Oh, no. Well…yes, and no. It’s not like I’m working on something right now. Oli has joined me live on a couple of occasions, but he’s not a constant part of the set. He has some sporadic appearances, singing on the tracks that we’ve worked on.

However, I would definitely love to explore that further, doing some special one-off tours or a special show, where we interact and share the stage during the whole show, like a hybrid set. And the more songs we do together, the easier it will be to pull something like that off. Obviously, this is a bit more complicated than just getting two people on stage because of the logistics…but I do have that somewhere in my mind.

Speaking about live performances, I also read somewhere that you learned Logic when you were in a band some 11-12 years ago…What kind of music did you play?

Ha! I see you came prepared! Well, that is true…but it's been longer than 11 or twelve years, I think. I really don’t know. Oh, God…if I’m being honest, I can’t remember how long ago I got married, or for how long I’ve been a DJ. In fact, I think I’ve been telling people for over 15 years that I’ve been DJing for a decade now.

Anyhow…yeah, I was in a band. This was when I was living back in Los Angeles, and it was a psychedelic krautrock band.

What the…? That is oddly specific…I guess I wasn’t ready for that!

Yeah, I know…we were so into CAN. We really wanted to emulate them.

Does one become a better DJ as they become a better producer? Do you think one informs the other?

Hmmm…No, I don’t think that one informs the other. Nonetheless, I do think that you need to make music in order to be able to market yourself in today’s landscape. I don’t think you can cut it by just being a “selector” or a cratedigger. You need the marketing that comes along with releasing your own music, and it's a way of setting yourself apart from the rest.

You once said that if you had not become a DJ, you would have probably worked with books. Is this real? Did you write books once? What about?

Well…I used to write books. Nothing that would have gotten me a Nobel Prize for literature, but I did work for a publishing house back in LA, so I mostly wrote what they told me to write about. However, I did write some academic-related books, like one I did with Larry King about “what beyond a reasonable doubt really means”.

I found this quote of yours, which I actually found to be quite refreshing…“I haven’t curated the tracks according to how I would play them in a set or how you would have heard an album from start to finish in the old days because that’s not how streaming and people’s attention span works in our current climate.”

I mean, I guess you can if you’re Fred again.., or Taylor Swift, or Beyoncé. Those players can do that, properly promote a concept album, and have everyone willingly engage with the record from start to finish. But if you’re not one of them, then yeah, you have to work the landscape in your favor if you want to cut through the static.

Of course, if you really want to make a statement, then I get the concept album thing. Hell, I’d love to eventually get there and do a concept album. I should even add my own vocals, which I always say I will and never do.

Making the most out of this level of sincerity…I know that as artists we try to make “timeless” music…but, as a label owner, does music have a shelf life?

Yeah, I think it totally does, but mostly because of the genre. I’d say it’s genres that have a shelf life. Of course, if you make pop music, that’s probably going to be in style forever. Or maybe a memorable vocal hook, in regards to electronic dance music. But again, if your sound becomes too “gimmicky”, then yeah, it’s going to have a shelf life.

I do tend to think about this, and I also try not to pay much attention to it, and maybe that’s why I think my music is hard to describe or peg down…But I know it's hard not to follow a trend or be influenced by other people’s music. Even if you're trying not to…that works on a subconscious level, you know? Like, not too long ago, I found out that one of the lyrics we wrote was very close to an 80s song I always liked. It wasn’t completely the same, and the execution is different, but I can see the connection.

Now, back to your travels…You have just come back from the Middle East, right?

Yeah, that’s correct. I did Dubai, Doha, and Jordan. It was absolutely fantastic. I had been to Dubai before, but this was my first time in Doha and Jordan. I can tell you that Jordan has a real soul. The people are so nice, I just couldn’t believe it. Everyone was doing their best, helping me feel welcome. It was the most hospitable place ever. For its part, Doha is very similar to Dubai…but with fewer people. It’s crazy to think there was pretty much only one hotel there in the middle of the desert in the 1980s and how much it’s been developed since. There’s a very international crowd now, but since it’s so eclectic, it feels like you can really push your sound there and go further out.

And now you’ve got ADE done and dusted, including your performance at ICONYC x Di.FM at the A’dam Torren on October 18th. How do you feel about ADE?

I love ADE. It's one of those places with its own special vibe, there’s no networking event for electronic music like it. You’re mainly DJing to other DJs and producers so it does feel like one of those places where you can be more experimental with your sound. This time around I did ICONYC, ZAMNA, 1001Tracklists presents b2b with Mila Journeé, and another event with Fedele’s Obscura Music, where I went b2b with Hardt Antoine.

I’ve seen you go back-to-back quite a few times this year. What would you say is key to a good b2b set?

Yes, that’s quite true. Before the start of the year, I think I only had done one back-to-back with Biesmans. And now I’ve done a whole bunch, including like five with Magit Cacoon, one with The Element at Pacha, a couple with Jamiie, one with Elif, and now a couple more during ADE. It’s the year of the b2b.

I tend to speak to the other artists, exchange music, and all that, so it’s not a random thing, but I still like to wing it. You don’t want it to feel like two different sets, but you do want to exercise some level of freedom. I think you’ve really got to have some kind of chemistry and enjoy each other’s company. You know…the first time I went back-to-back with Magit, I was so focused on what I had to do that I barely looked over at her once. It looked like we had no chemistry and people thought we weren’t friends, which is the farthest thing from the truth…so it’s about enjoying it, for sure.

Thanks for this fabulous talk, Henri. We’ll see you on the dancefloor again soon! Take care!

Thanks guys! This was a great chat. See you soon!

Henri Bergmann & Wennink’s “Guardian Angel“ is out now via Crosstown Rebels. Purchase your copy here.

John Falke: Through The Prism

Originally hailing from Northern Germany, John Falke has risen through the ranks aided by a colorful menagerie of releases that have earned him coveted spots in the catalog of revered brands, including Innervisions, TAU, and Sum Over Histories to name a few.

Now based in Berlin since 2016, Falke’s ascent continues with superlative aplomb as he joins the revamped ICONYC crew with the release of his wondrous two-tracker, Octi. With some state-of-the-art weaponry, John Falke’s latest outing is an imperial assault on the dancefloors that goes beyond the traditional confines, redesigning and rewiring the way pleasure is perceived for a weirdly exquisite joyride.

Join Type < / 01 Magazine as we dive inside the creative world of John Falke to learn more about the drop of his new Octi EP, his studio process, views on AI, and more.

Hey John! How are you doing? How have you been? Thank you for joining us today.

Hello, all good - I’m happy to be here, thanks for having me.

Congratulations on the release of your ICONYC EP, Octi. We can imagine the excitement must be high! So, how are you feeling about this one?

Thank you very much. Yes, I’m really looking forward and I’m just so happy to release new music again.

Speaking about the record, Octi features two different cuts that explore a similar “headspace”. Was that your idea from the go, to showcase that facet of your sound and explore how deep that emotion can go?

To be honest, I hadn't planned to release the two songs together. It just happened, and I'm very happy about it. However, I believe that there is a certain recognizability in all my tracks, which is also my goal.

“Octi” is quite a unique name for a track. Is there an emotional trigger or story here? How was it that “Octi” came about?

Yeah, I'm a bit picky with names - I like it short and it looks cool too. Regarding “Octi“, it's funny because it's the name of a jewelry brand I admire.

And on the B side, we’ve got “Tuk”, which also feels like a very “guttural” piece. It really feels out there. What’s the angle for “Tuk”?

Yes, “Tuk“ is very special to me. I finished it at the beginning of 2023, and since then, it has been sitting on my hard drive. A few DJs have played it, but regardless, I knew that it had something special. I really trust my gut feeling, and with this song, it was clear to me that it needed to be released. That's why I'm even happier that ICONYC was open to releasing it so that everyone now has the opportunity to listen to it.

With releases on ICONYC, Innervisions, Sum Over Histories, and more…are you making the music that you thought you’d be making when you first started? If not, what do you think of the voice you have found as an artist?

First of all, I feel very lucky to be working with such labels. Regarding my sound, it took some time to find myself, or rather, to find my own sound. When I first started 8 years ago, I had a totally different sound inspiration, and the outcome was definitely different from what it is now. But I think that’s healthy, and I hope to continue evolving in the coming years as well.

We know that every track requires something different, but do you have a “process” that you can rely on by now? Where do you usually go to for inspiration?

Actually, I often stick to a certain mood/vibe that I feel at the start of the process. And then it begins. My inspiration to create music actually comes from everywhere: fashion, movies, art installations, and friends. It can be anything, like go watching a movie at the cinema. It always fascinates me.

By the way, in the past weeks, we’ve seen the closure of ASLICE, which was intended to bring some balance to the DJ/producer dynamic. What do you think of its closure? Should big-name DJs be sharing their fees with the producers who create the tracks they are playing?

The loss of ASLICE was very sad, for all of us producers, who saw their first money ever for their music through the platform. It's just really a shame.

Whether big DJs should share part of their feed, I think so. It would be fair, but nowadays I’m thinking more carefully about whom I send my unreleased music to.

And with AI? What is your relationship with that like? Have you implemented any form of AI in recent releases? Do you think this is one of those things that will drive the scene forward?

In my opinion, AI is extremely fascinating. I don't use it nearly as much as some others do, but sometimes I like using it to create stuff. There are already some really cool plugins with AI features and so on. Yes, I find this whole topic extremely exciting and gives also hope for the scene to continually find new opportunities and ways to develop further.

Finally, having gone over the recent past and the present, what’s next for John Falke? What new milestones are you looking forward to now?

I keep working hard to produce good songs. There’s so much more to discover and learn. Also, I’m looking forward to playing some gigs in the near future.

But the most important thing is to stay healthy and enjoy life.

Thank you for your time, John! Best of luck with Octi. Catch you soon!

Thank you very much! See you around.

John Falke’s new Octi EP is out now via ICONYC. Find your copy here.

Tim Walche: A Bigger Sacrifice

Coming in hot via ICONYC, Tim Walche’s Sacrifice EP promises to be one of the most resounding works from the Kyiv-based producer and mix engineer, who already holds a distinct place in the catalogs of renowned brands, including ATLANT and This Never Happened.

Making the impossible to thrive in Ukraine’s current hostile landscape, the studio savant returns with an unadulterated fix of the finest electronic music, providing a colorful insight into the inner workings of a bold producer on the rise. Uncompromising, Tim Walche’s vision and design go past the traditional confines of the dancefloor in search of lasting thrills, and his sacrifice surely won’t go unnoticed.

Type < / 01 Magazine sat down with Tim Walch to dig deeper into the release of his new EP, his inspirations, workflow, collaborative process, lessons learned, and more.

Hey Tim! How are you doing? How have you been? Thank you for joining us today.

Hello guys! I appreciate being here. Thank you for having me. All good, especially with the drop of my new Sacrifice EP just around the corner.

Speaking about that, congratulations on the release of your ICONYC EP, Sacrifice. We can imagine the excitement must be high! So, how are you feeling about this one?

I have been waiting for this release for about two years, to be honest. I made about two or three versions of this song before it turned into what it is now. So yeah, I'm really excited and happy.

Speaking about the record, Sacrifice features two wildly different cuts. Was that your idea from the go, to showcase a broad palette to your sound?

I love blending different moods and tones, mixing emotions as if I have a palette in my hands, like a painter. This is the general signature of the Tim Walche project, where each of my songs and releases are not similar in style to one another or to other artists.

“Sacrifice”, as the name implies, seems to stem from a highly personal place. Is there an emotional trigger here? What was the creative collaborative process with Safe Travel like?

In a way, this is more of a question for the vocalist, because I gave him the freedom to write about his emotions, what he feels at the moment, and how he perceives this track. We have a very friendly relationship. We've never met in person, but we communicate remotely. I hope one day we'll work together in a studio on a release, but that’s something we’ll plan for later.

And on the flip side, we’ve got “Hidden Palace”, which is a very unique piece. It really feels out there. What’s the angle to “Hidden Palace”? Have you ever done something like this before?

As I mentioned earlier, each of my works must be unique. This is the philosophy of my project. I experimented with techno grooves and house synths, and I accidentally came across a really cool sample on Splice, which completed the whole composition and entered the track almost unchanged.

Since we’re in the studio…You were a mixing and mastering engineer for a really long time before you had your “official” debut, right? Had you made music during that period as well? Was there something preventing you from taking that jump?

Actually, I’ve always made music, but I was heavily involved in ghost production, gaining experience to launch my own project. I wanted to start at a high level, at the level of those tracks I worked on as a mixing engineer for my clients.

And, are you making the music that you thought you’d be making when you first started? If not, what do you think of the voice you have found as an artist?

I started making music more than 10 years ago. It was melodic techno and progressive trance, so I haven't strayed far from the genres I began with. At the same time, I produced tracks in any genre for my clients, from pop music to all kinds of electronic genres.

So, what are some of the most important lessons that you learned from that particular period, having collaborated with notable industry names?

Work every day. Never stop learning.

Finally, having gone over the recent past and the present, what’s next for Tim Walche? What new milestones are you looking forward to?

Probably the biggest achievement I’d like to reach right now is the opportunity to collaborate with one or several artists who have inspired me throughout my life.

Thank you for your time, Tim! Best of luck with Sacrifice. Catch you soon!

See you around, guys. This was a great time. Thank you.

Tim Walche’s new Sacrifice EP is out now via ICONYC. Find your copy here.

Khainz: Finding Infinite Space

Swiss DJ and producer Khainz is a major force in the contemporary techno scene, with releases on leading labels like Spectrum, Tomorrowland Music, Eleatics, Katermukke, and his own imprint Module.

​Khainz's music has been featured at prestigious festivals such as Tomorrowland, Time Warp, Sonar, Exit, and Awakenings amongst many others, and he has collaborated with some of the biggest names in the industry, making him one of the most exciting and innovative artists today.

Type < / 01 Magazine sat down with Khainz to learn more about the drop of two of his latest EPs, including his double-tracker with KhoMha for Joris Voorn’s Spectrum, his own Module Music imprint, his take on the current state of the scene, AI, and more.

Hey Simon! How are you doing? Thank you for joining us today. It’s a pleasure to have you here.

Hello Axel! I'm doing great, although this week has been a little hectic because we had a lot of preparations to make for the Friday release on Spectrum. I appreciate being here.

Sounds like exciting times ahead! First of all, congratulations on the recent release of your electric new single, “Find Me”. So, how are you feeling about this one? What has the initial reception been like?

There's usually a lot of excitement around new releases, especially ones from my own label. We recently entered the Beatport Top 100 in Melodic Techno, which is always a positive indication. The single has been perceived very well from what I’ve seen so far.

“Find Me” seems like a very suggestive name for a track. How did this one come about? There’s a very cool hook to it…What was the creative process to get there like?

I stumbled upon the vocal sample a while ago and felt it was quite catchy, so I imported it into the DAW and built a track around it. As the vocal is quite rhythmic, I decided to go with something that has more of a progressive pattern. The name I actually chose because I feel that with all the music getting released nowadays (on Spotify it surpasses some 60000 releases a day), you gotta dig deep to find the music you like.

And “Find Me” is out via your own Module Music imprint, signaling its 6th release. How would you describe this start for Module Music? What drove you to pursuing your own label?

I started Module almost two years ago (the idea was actually there since 2016) in order to encourage up-and-coming artists and release my own music. However, I might be a little too particular about the music I release…as of late, I've solely released my own songs. When I worked with other labels, I didn’t like the fact of having to wait a long period between finishing a track and its release. Sometimes you want the music to be published as long as it sounds fresh to you.

So, what can we come to expect from Module Music? Where would you like to see Module Music in 5 or 10 years time?

I would like to release songs on a somewhat more regular basis; currently, I release a single every two to three months. So I definitely want to work on that.

At some point, I also want to have a few artists that can call Module their home and also do label showcases. There is still room for improvement but I feel after every release it’s getting better and I learn a lot of things over time.

By the way, as you said, we’re also on top of the drop of your new Spectrum EP, Infinite Space. Congrats, again. What can your fans expect to find on this one?

It’s a 2 track EP in collaboration with my friend KhoMha from Colombia. The lead single has been received great support by many artist and we have quite high expectations for this release. It’s a mixture of progressive house with some elements of techno and trance.

As mentioned this one sees you linking up with KhoMha. What was that process like? What would you say are some keys to a “successful” collaboration?

I received a message from KhoMha on Instagram asking if I would be interested in working with him. It was a really easy procedure because our perspectives on music are similar. We discussed some of the projects that we had each started and decided which ones had potential. So in the end he completed one of my projects and I did one of his, and we both were very satisfied with the outcome.

Khainz & KhoMha - Infinite Space EP

By the way…how do you feel about the use of AI in music? Have you implemented any form of AI in recent productions? If so, how do you feel about the results?

AI is a great tool to help you with things in production, like plugins that use AI to detect things that can help you with mixing records, for example, or even to get inspiration from different chord progressions or vocal ideas.

In a way, it’s a bit scary to see how far it has advanced in the creation of music. With a few simple “prompts” it can write you a full song - mostly something quite generic thought. I think as AI learns from music that has been done by humans, it never will be able to do its own creative process and the “human touch” will be missing, even if its difficult to detect whats done by AI in some generic genres.

Spotify already has taken down tens of thousands AI generated tracks - as they had to pay out royalties for those. There is no tool yet that can detect all of it. So. people are still making millions with AI-generated music on different streaming services.

Since we’re on the production front…where do you usually go to for inspiration? Do you have any routines or activities that help you open up creatively?

Since I work in the studio practically every day, my inspiration primarily comes from my emotions on that particular day. I often have 5 - 10 different tracks with distinct moods I’m working on at the same time. So I always have something to continue producing when I’m in the right mood for a specific project.

Stepping outside of the studio now…How do you feel about the current state of our scene?

I believe the last several years have seen significant growth in the electronic music scene. There was a shift following COVID-19 - larger productions and, in my opinion, an increase in the number of people drawn to electronic music.

Currently, I feel that there's a lack of personality. Everything that is created and gets “big” seems to be replicated repeatedly, in my opinion. Additionally, a track might become outdated in just one month. Some individuals frequently follow trends blindly, moving on to the next “big thing” as soon as the last one fades.

Having gone over the recent past and the present, what’s next for Khainz? What new milestones are you looking forward to? Where can your fans catch you next?

I have a quite packed agenda for the next couple of months, playing at Ushuaia for Tomorrowland, ADE and an upcoming tour in Mexico…definitely shows that I’m really looking forward to. I’m also planning the next release from myself on Module for October.

We’ll keep an eye out then! Thank you for your time, Simon! Catch you soon!

Thank you for having me!

Khainz & KhoMha’s Infinite Space EP is out now via Joris Voorn’s Spectrum. Find your copy here.

You can also check out Khainz’s “Find Me“ here.