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.

Florilegia: Nurturing ICONYC’s latest Compilation

With a revamped sound and a striking visual image, ICONYC has been turning heads throughout 2024, fronting releases by Solique, Roman Kyn, and more. Now, the sophisticated brand unveils the first installment in its newly-minted Florilegia compilation series.

Featuring eight new cuts, ICONYC’s Florilegia showcases a refined search for something that lasts beyond the confines of the traditional dancefloor, exploring the borderlines between house and techno, uncovering its endless shares.

Join us, as we dissect the moving parts inside the handpicked anthology, with exclusive insights from Momery, Anido, Bar.ba & hanami (IT), Way of Thinking & Sofia Lorena, Naeiiv, Baardman, Crudito Sava, and Vaert.

Way Of Thinking - “Get Out Of My Way (Ft. Sofia Lorena)”

Way Of Thinking

"Sofia and I didn't really know each other. I went to visit my friends Frankey & Sandrino at an event in my city, and on the dance floor, Sofia introduced herself and told me that she was the vocalist of Tribu Oro, a band from Malaga that I was familiar with. We decided to exchange contact information, and a few weeks later, she sent me some material.

Sofia has a very soulful voice, and she reminds me a lot of the legendary Amy Winehouse. She sent me her work, but I wanted to create a track that was more special, something more unique, kind of weird, and out of the ordinary. I asked her to get angry and try rapping or just screaming. She completely stepped out of her comfort zone.

When I start a track, I don't really know where it's going, but I always try to create music that's a bit more special. As I was working in the studio, I aimed to capture a sense of coldness while also infusing warmth into the melody. I also wanted to include unexpected moments, all within a span of less than six minutes.”

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Momery - “Who Are You”

Momery

“Who Are You is an inspiring track dedicated to everyone's self-search, something that can be found through the sample in the bridge. A fast melodic arp with an intense bassline complements the main flow of the track, while granular sounds have been used to frame it.”

Anido - “Elijah”

Anido

“Elijah is the result of the union of contrasting - but at the same time - compatible sounds. what makes it exciting is the choice of harmonious and celestial sounds that support his movement. The voice, that keeps the attention alive, stands out, arousing a climax of sensations till the very end.“

Vaert - “Need You“

Vaert

“I wrote this track in a tough period of my life, and I put on it all my feelings at that moment. Need You is a statement for those people who experienced the frustration of being misunderstood about what you need from the other person, which is essentially when we talk about love. For me, it has to be just about the person, the soul, and being there. Nothing more than this.

I decided to explore my House side for this record because I felt it was the right vibe I wanted to achieve.

The process of writing the track was really spontaneous and organic and I usually experience this feeling when there is a strong message behind that I need to share. This is the reason why I do music.”

Naeiiv - “Digital HUman Scan“

Naeiiv

“With my track Digital Human Scan, I intentionally worked with cold digital synths. I wanted to create a futuristic, cold track. Hence the monotonous vocals. To stay true to my emotional and expansive sound, I incorporated a brief euphoric scene just before the second break. With this track, I aim to maintain my existing style while exploring new directions, keeping it as dancefloor-oriented as possible.”

Crudito Sava - “Solskjaer“

Crudito Sava

“Making the tune was some sort of catharsis, my music is usually way more sweeter and calmer, I was trying to explore violence through music.

I intended to catch all the modern sounds available and fit them into my sound design, with aggression as a premise. To keep a huge amount of aggressiveness and forbid me of the urge to add soul and kindness to it, I decided to do no melodies at all, and work with fx, horns, stabs, and hits only, which turned out great.“

Bar.ba, hanami (IT) - “Blossom”

Bar.ba

hanami

“Blossom is a tribute to the birth of hanami, Andrea Vaccaro's new project, born from the collaboration with Bar.ba on a rainy winter Sunday. Sweetness meets depth, creating a track a little different from the usual, where the artistic facets of the two Bergamo-based producers stand out.”

Baardman - “Natura Ly”

Baardman

“This was quite an experimental track for me as I explored some more unconventional sound design techniques for the lead sound. It involved layering multiple midi effects within Ableton to create interesting rhythmic structures for the sound.

Since this was the main focus and took up a lot of space in the mix, I kept the rest of the track minimal with some additional harmonies and a sampled vocal to enhance the emotion.

I didn’t want to lock this track in with any genre or trend so thanks to Pietro & ICONYC for believing in that vision.”

ICONYC’s Florilegia I is out now. Purchase your copy here.

Solique: No Ordinary Thing

Based in Germany, Solique is a dynamic production duo consisting of Julien and Can. Drawing inspiration from artists like Adriatique, Denis Horvat, Dixon, Fideles, and more, Solique has carved out a unique space in the electronic music scene. Despite being partners, friends, and roommates, it is their shared passion for electronic music and their collaborative efforts in playing and producing that truly solidify their bond.

Solique's performances are marked by a rare sense of mutual connection, offering meditative and assertive experiences that challenge listeners with unexpected yet intuitive twists and turns. Their sound is characterized by a deep understanding of rhythm and melody, creating immersive musical journeys that captivate audiences.

The duo's ability to seamlessly blend their influences into a cohesive and distinctive style sets them apart, making Solique a name to watch in electronic dance music. Whether through live performances or studio productions, Julien and Can continue to push the boundaries of their craft, delivering innovative and engaging music that resonates with fans worldwide.

Ahead of their performance at “WE ARE ICONYC x DI.FM“, and the drop of their new Ordinary Things EP for ICONYC, Type < / 01 Magazine caught up with Julien & Can for an in-depth look at the record, their creative process, the evolution of Solique, and more.

Hello Julien! Can! How are you doing? How have you been? Thank you for joining us today. It’s a pleasure to have you with us.

Hey, it’s also a pleasure for us. Thanks for the invite. We are doing just perfect, summer finally arrived in our city and we are preparing for some busy months.

Sounds like everything’s under control. By the way, congratulations on the recent release of your latest single, Ordinary Things! You must be psyched to have this one out. What has the initial reception been like so far? How has this one gone down with the crowd? Do you remember the first time you played it in a club or festival?

Thank you! We're not entirely certain if it was the very first time, but one of the earliest instances was definitely at our own event series, Punkt Punkt Komma Strich. The crowd reaction was always fantastic, and many people asked us about the track. With ICONYC we found a great home for that track.

So, what can your fans and ICONYC devotees come to find on Ordinary Things? Is there an emotional trigger driving this cut?

We aimed to create something that not only gets people moving, but also touches them on an emotional level. The emotional trigger for this cut is nostalgia. It brings back memories of simpler, happier times, making us long for the past.

There’s a very alluring vocal sample sitting at the heart of Ordinary Things. Something that stands between warmth and melancholy in a sense…or nostalgia, as just said. What can you tell us about this bit? Did you guys create the piece around it? Did that come into play later?

Absolutely! We love that kind of vocals, and the sample was definitely the cornerstone for us in creating "Ordinary Things". It served as the key element that inspired the entire track. Once we had that sample, the rest of the instrumental naturally fell into place around it and we completed the track in a pretty short amount of time.

What’s your relationship in the studio like by now? Do you guys have you have set roles in the studio? Do you tend to play on each other's strengths?

Initially, we did have distinct roles in the studio, however, over the past few years, we both contributed to all aspects of the production process. Nowadays, we are sending sketches back and forth and we are working on them together a few days a week.

And where does Ordinary Things stand in your catalog? Does it bring something that wasn’t there before?

It's definitely our fastest track to date, clocking in at 126 BPM, which brings a high-energy vibe that we're really excited about. We designed this track with the intention of making it perfect for bigger stages and large audiences.

By the way, you guys are Austrian and Swedish and met in Australia. Is that right? How did you guys come to meet? Was the idea for Solique an instant thing or did that come with time?

We've been friends since we were quite young. Both of us grew up in the same area in Cologne. We always shared the same taste in music. The idea of forming a duo naturally developed over time as we started going out frequently and listening to many DJs. We began by teaching ourselves everything from scratch. After some time, we started to get opportunities to play a few gigs around Cologne.

Reflecting on the sound of Ordinary Things, 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 artists?

I think it's crucial for an artist to evolve. We've definitely grown since we first started, and our music now reflects that progression. While "Ordinary Things" is different from our early work, it represents the unique voice we've discovered along the way.

Moving into a hot topic…what do you guys think of the implementation of AI in music? Has any form of AI been implemented in Ordinary Things? What’s your relationship with that likes?

There’s always a good and a bad side, for now, AI gives you a bunch of new options in the form of useful tools.

However, we believe that the heart and soul of music still come from human emotion and intuition. For us, the key is blending the innovative power of AI with the authenticity and personal touch that makes music resonate with listeners.

Now that Ordinary Things is out, what’s next for Solique? What new milestones are you looking forward to? Where can your fans catch you next?

We have some things in store. Can’t say much about it, but there are some really exciting collaborations and labels coming up. And we have a nice little tour coming up next month with Istanbul, Dubai, and Baku and an India tour, for example.

Thank you for your time guys! See you at ADE for “WE ARE ICONYC x DI.FM“!

Thanks for having us. We hope to see everyone on the dancefloor!

Solique’s Ordinary Things EP is out now via ICONYC. Purchase your copy here.

Esoteric Circle: An Invitation To Move

The latest release on ICONYC welcomes brothers Julien & Raphaël Piacentino, known as Esoteric Circle, to the label for a brand-new EP. The French artists are widely recognized for their unique blend of intricate sound design. Their genre-defying sound has remained fresh over the years and their discography features releases on Spectrum, Future Romance, and Oddity as a result.

Type < / 01 Magazine caught up with Julien & Raphaël Piacentino for a candid conversation where we discussed the release of their Sierra Maestra EP, their creative partnership, the evolution of Esoteric Circle, their future endeavors, and more.

Hello Julien! Raphaël! How are you doing? How have you been? Thank you for joining us today. It’s a pleasure to have you with us.

Hi there! We are doing well, thank you. We’ve been pretty busy the past few days, working on some content for the release and on our different projects. Thank you for having us today; it's a pleasure to be here with you.

By the way, congratulations on the recent release of your latest EP, Sierra Maestra! You must be amped to have this one out. What has the initial reception been like so far? How have these cuts gone down with the crowd?

Again, thank you! We're really pleased with the initial feedback we've received for Sierra Maestra. Unfortunately, we haven't had the chance to play these tracks live yet as we haven't had any gigs in the past weeks. However, we are very excited and eager to perform them soon and can't wait to see the first videos from artists who have already played them.

So, what can your fans and ICONYC devotees come to find on Sierra Maestra? Is there an emotional trigger behind these cuts?

I think this EP is more personal, especially the tracks "Eldritch Knight" and "Sierra Maestra." We really let our inspiration flow without setting any boundaries. Raphaël sings on "Eldritch Knight," which is a first for us, and I believe it adds an even more personal touch to the track. With "Move," our followers will find a more dancefloor-oriented track in the vein of our latest EP on AMAEO.

Featuring three new original tracks, Sierra Maestra definitely paints a broad picture in terms of your creative palette and sound...Was this something that you set out to achieve from the onset? Do all three cuts stem from the same studio sessions?

It wasn't really planned or premeditated. We composed "Eldritch Knight" several months ago and sent it to Pietro, who really liked it. When he contacted us a few months later to propose an EP on ICONYC featuring this track, we quickly composed "Move" to add a more house and dancefloor-oriented side to the EP. "Sierra Maestra" was composed very quickly just a few days before finalizing the EP, so we were able to include it because it fit perfectly with the other two tracks.

There seems to be a sense of boldness running through the EP, yet all tracks manage to “undress” themselves and showcase a really “emotional” core. Is this duality something that you have consciously worked for?

Yes, this duality is something we've consciously aimed for. We believe that combining bold, energetic elements with deep emotional cores creates a more engaging and memorable listening experience. For instance, in "Eldritch Knight," the intensity of the beats is balanced by Raphaël's heartfelt vocals, adding a personal touch. Similarly, "Move" maintains a dancefloor vibe while still conveying a strong emotional resonance. "Sierra Maestra" ties everything together, showcasing both our creativity and emotional depth. This contrast is something we enjoy exploring and it reflects our artistic vision.

You guys are actually brothers, and while you have worked in music for quite some time, Esoteric Circle is a rather “new” project. When and how did you guys connect with what Esoteric Circle would come to be?

We've actually been working on Esoteric Circle for several years now. It took us some time to find our musical identity, but we've been making music together for about 5 or 6 years. Even before officially forming the duo, we were creating music together. We're happy to have finally found the sound and musical direction that suits us after all these years. Making music together has become enjoyable again, which we had somewhat lost along the way. Now, we don't set any barriers for ourselves and have a lot of fun in the studio.

So, do you have set roles in the studio? Do you tend to play on each other's strengths?

To be honest, roles tend to dissipate over the years with everyone gaining more experience. In our early years with Esoteric Circle, Raphaël was more focused on the melodic aspect of tracks since he didn't have much technical experience. Nowadays, it just depends on our respective ideas. If one of us has a melody, groove, or sample we really like, we send it to the other who adds something to it, and so on. We try to let things flow naturally.

And, being brothers, how would you describe your dynamic in the studio? What’s the age gap between you two? How do you resolve any creative differences that may arise?

We have a 7-year age difference, with Julien being 33 and Raphaël 26. We live 700 kilometers apart, so our physical studio sessions together are rare. Most of our tracks are composed remotely; we send files back and forth and discuss ideas through video calls. It works quite well, but nothing can replace our in-person studio sessions. We're quite honest with each other—if one of us doesn't like the direction of a track, we say it right away. Most of the time, though, we are on the same wavelength.

Reflecting on the sound of Sierra Maestra, 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 artists?

As many can see, our style has evolved quite a bit over the past few years. The simple reason for this is that we've always wanted to compose music that we appreciated at that particular time. Where I believe we are more fulfilled is in this feeling of creative freedom that we find ourselves in today. Even though we still love the same music and are club lovers, we no longer hesitate to constantly experiment, whether it's in terms of effects, instruments, or other aspects. Using guitars or other real instruments would never have crossed our minds a few years ago. And today, that's what we've done with this EP. Perhaps it means more in that regard than the others.

By the way, moving into a hot topic…what do you guys think of the implementation of AI in music? Has any form of AI been implemented in the new album? What’s your relationship with that like?

We don't really have an opinion on artificial intelligence. For us, it's a very interesting tool and particularly efficient for certain specific tasks.

Programmers, editors.. will surely become avid users of AI, but when it comes to art in general, we are quite old school. We have a fairly clear vision regarding the prominent role of humans in artistic creation, and I think that pieces composed by AIs rather prove us right.

Now that Sierra Maestra is out, what’s next for Esoteric Circle? What new milestones are you looking forward to? Where can your fans catch you next?

We've released a lot of music since the beginning of 2024, with our two releases on AMAEO and this EP on ICONYC. We have another EP set to come out before the end of the year, which features more dub techno-inspired tracks. Additionally, a more dancefloor-oriented track might be released in the coming months, but we can't say too much about it yet as nothing is fully signed and official.

We've also launched our solo projects—Julien has created the Avero project, focusing more on Afro House, while Raphaël is launching his solo project with a style much closer to Berlin techno.

Well, thank you for your time guys! Catch you soon!

Thank you, it was great! See you around!

Esoteric Circle’s Sierra Maestra is out now via ICONYC. Buy or stream here.