DISSECTING AN ICONYC FLORILEGIA

Comprised of ten original cuts, ICONYC’s Florilegia VA series returns with a striking new visual look and signals the brand’s first foray into the physical market as it makes its way to crates worldwide with its second installment.

With this new entry, ICONYC 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 shores, featuring music by Vomee, Yost Koen & Enes Çakır, Odeon, Gorgin, Jepe & Baime, Etri, Auggië, Mironas, OLING & Harald Björk, and Nuage.

Join Type/01 as we sit down with some of Florilegia’s new stars to dissect the mysteries behind ICONYC’s alluring aural compendium.

OLING & Harald Björk - “Jade“

Hey guys! Thank you for being here today. Congratulations on your contribution to ICONYC’s Florilegia VA Series. What inspired the creation of your single for the compilation, and how does it reflect your artistic vision?

OLING: Thanks for having us, guys—the pleasure is all ours! We've done a few sessions together before this track, and I really enjoy working with Harald in the studio. He always brings a load of analog gear in his backpack to my studio, which naturally opens up a whole bunch of new possibilities when producing fresh music.

We discovered a vocal sample on Splice just as we were bidding farewell to the Swedish summer—after a whirlwind of shows, late nights with friends, and more. I was feeling a bit exhausted and full of emotion from those months. We were both in a fall mood that day and started talking about how much we missed heading back indoors into a dark, intimate club. Harald then played an old Caribou track with a rhythm that instantly caught my attention.

The vision was to merge our signature sounds into a track with a rhythm that would ignite a club dancefloor and a dynamic melody that stands on its own.

So, what story or emotion were you aiming to convey with your contribution to the compilation?

Harald: I’d say something melancholic—haha! We’re two Swedes, after all. It’s in our DNA. As Oliver mentioned, we both love experimenting with melodies in our music. For me, melodies are everything, and working on this one was pure joy. I set up some gear on Olly’s desk, and we started playing around with sounds until we locked eyes and smiled.

That moment sums up what we wanted to capture with “Jade”—a melancholic yet warm, ever-evolving feeling. The beauty of a dynamic melody like this is that everyone connects with it differently. Some might love the softer moments, while others are drawn to the big, in-your-face peaks.

How does this track differ from or build upon your previous work?

OLING: For me, it's a lot—but in the best way. I usually don't work with much analog gear at all, but I absolutely love it. It gives you that hands-on feeling that only physical instruments can provide. Plus, being in the studio with someone who has their own ideas and perspectives on things I might not even consider adds so much value.

Harald: I totally agree. As a solo artist, you develop your own workflow, and after a while, it becomes second nature—you just go with what feels instinctive. That can be both a strength and a limitation. Collaborating with someone else brings a fresh perspective, which I think is really valuable.

With “Jade”, the process was all about having fun. We didn’t lock in any decisions early on. Instead, we experimented with different tempos, chords, and variations of the lead melody, just dancing around and feeling it out. When I’m working alone, I usually move things forward much faster, but this approach made the track what it is.

Can you share any specific techniques, instruments, or sounds you used that you feel are central to this track's identity?

Harald: The studio was a mess of tangled cables, modules, and gear everywhere—like a jungle of sound. We kept passing the signal through different machines, experimenting as we went. At one point, I remember hooking up the Roland SH01A, Elektron Analog Rytm, Octatrack, and my newly bought swEnigiser all at once. It was pure chaos, but in the best way. Every element added something special to the vibe, and now here we are, holding “Jade” in our hands.

What do you hope listeners take away from your track when they experience it for the first time?

OLING: It’s all about the playfulness and energy. I hope people connect with this track, listen to it, and dance to it in every corner of the globe. For me, those first five seconds are enough to make me keep listening and get my body moving.

Finally, what does it mean to you to have this single featured on vinyl, marking a first for the series?

OLING: Vinyl is always the best. The feeling of holding something physical in your hands is unparalleled. I can’t wait to drop the needle on my own copy as soon as it arrives—I’m so excited!

When you listen to vinyl, you truly listen. It’s a completely different experience than just shuffling through years’ worth of tracks on a playlist. With vinyl, you get to appreciate the cover art, feel the wax against your skin, and carefully set the needle onto the record. You lean back and listen as the song blends perfectly with those subtle crackles and pops. Trust me, it’s pure joy.

Grab your own copy before it’s too late, friends—you won’t experience the real magic of “Jade” until you press play on your record player!

Etri - “Did It Again”

Hi Etri! Congratulations on your contribution to ICONYC’s Florilegia VA Series. What inspired the creation of your single for the compilation, and how does it reflect your artistic vision?

Thank you! My single for ICONYC’s Florilegia VA Series reflects my musical style, blending acoustic drums, deep melodic elements, and an organic, evolving groove. The live-played bassline adds warmth and a natural flow, while house vocals bring a soulful and hypnotic touch. I wanted to create a track that feels immersive and emotional, striking a balance between energy and depth something that works both on the dancefloor and in a more intimate setting.

So, what story or emotion were you aiming to convey with your contribution to the compilation?

With “Did It Again”, I wanted to capture a feeling of joy and celebration, something uplifting and full of energy. The combination of acoustic drums, a live-played bassline, and soulful house vocals creates a warm, organic groove that feels both dynamic and emotive. The track is about those moments when everything just clicks, whether on the dancefloor or in life a sense of movement, excitement, and positivity that keeps you coming back for more

And, how does this track differ from or build upon your previous work?

“Did It Again” stands out from my previous work because it has a noticeably happier and more uplifting vibe, with a slight rock and pop influence. While I usually explore deep and atmospheric sounds, this track brings a more energetic and feel-good direction. The live-played bassline and acoustic drums add a raw, dynamic touch, while the house vocals bring warmth and soul. It’s a natural evolution of my sound, keeping my signature groove but with a brighter, more vibrant, and crossover energy.

Can you share any specific techniques, instruments, or sounds you used that you feel are central to this track's identity?

The acoustic bass is a cornerstone of the track, providing a warm, organic groove that really drives the rhythm. A good friend of mine, Edoardo Cipriani, a talented musician, came over to my place, and we spent the whole day experimenting with different basslines until we found the perfect one. I layered that with the rich, analog textures of a Moog synthesizer, which adds depth and character. Additionally, the drums were recorded live in the studio, capturing an authentic energy and dynamic feel that ties everything together. These elements combine to create a unique and vibrant sound that’s central to the identity of “Did It Again”.

So, what do you hope listeners take away from your track when they experience it for the first time?

I hope that when listeners experience “Did It Again” for the first time, they feel a sense of happiness and hope. The track is meant to uplift, bringing a feeling of joy and positivity. I wanted to create something that makes people want to move, smile, and relive the moment, whether on the dancefloor or in their own personal space. It’s about that energy that makes you want to come back and do it all over again.

Finally, what does it mean to you to have this single featured on vinyl, marking a first for the series?

Having “Did It Again” featured on vinyl is an indescribable feeling, it’s my first vinyl release, and I still can't believe it! There's something so special and timeless about having music pressed onto a physical record. Holding it in my hands makes the journey feel even more real, and I’m incredibly grateful to be part of this milestone for the series.

Odeon - “Used To Say“

Hi, Odeon! First of all, congratulations on your contribution to ICONYC’s Florilegia VA Series. What inspired the creation of your single for the compilation, and how does it reflect your artistic vision?

Thank you so much for the opportunity! This track started from an interesting piano progression I wrote during a break last summer. What really inspired me was the creative freedom I felt — I love exploring different directions, especially in production. I wanted to develop that idea into something that could fit my style, so I reworked it into a full piece, which I had only played during my live performances. Conceptually, both visually and musically, this compilation aligns perfectly with my aesthetic — clean, well-defined, and with a solid artistic vision.

What story or emotion were you aiming to convey with your contribution to the compilation?

The emotion I aimed to convey with my track is nostalgia. The chords always bring back memories of past moments, and I often try to find a way to express those emotions and experiences through music. Music has this powerful ability to bring you back to certain times or feelings, and with this track, I wanted to capture that essence — creating something that evokes memories and untold stories, even without words.

And, how does this track differ from or build upon your previous work?

“Used To Say” feels like a natural evolution of my sound. I’ve always loved experimenting with different styles, but I make sure to use the sounds that really represent me, never trying to blend in. There’s a lot of depth and exploration in my work, and this track is no exception. It draws from my past creations while offering something fresh and personal — something that stands out and feels uniquely mine.

Can you share any specific techniques, instruments, or sounds you used that you feel are central to this track's identity?

For this track, I used very particular, slightly detuned pianos from my personal libraries, which I’ve recorded in different studios around Europe. These instruments were chosen specifically to evoke that nostalgic and emotional feeling. As a sound designer by profession, I incorporated a lot of programmed sequences into my modular synth, using external modules and pedals to create spontaneous movement throughout the track's arrangement. I also recorded various foley and ambient percussion sounds to add character, carefully selecting each sample to fit the mood I wanted to convey. I really pushed myself with the production, especially with the mix, which was entrusted to someone I trust and who I gave a lot of creative freedom. I enjoy working with my team because it fosters a more dynamic and collaborative process, where the result can truly reflect everyone's input.

What do you hope listeners take away from your track when they experience it for the first time?

When listeners experience this track for the first time, I hope they feel a sense of curiosity. I want them to hear something different, something unexpected, that makes them want to explore my previous work as well. There's always something new to discover in each piece, and I love the idea of sparking that desire to dive deeper into the sounds and stories I’ve crafted over time.

Finally, what does it mean to you to have this single featured on vinyl, marking a first for the series?

Having my track featured on vinyl for the first time in this series is a huge honor. Pietro's vision for the project really sparked my curiosity, and I love the sustainable approach that went into making it all happen. Florilegia II has such a diverse sound, with a real depth in the way it blends genres. The careful attention to detail in the sound selection makes the compilation stand out. For me, vinyl is the perfect format to showcase this track — its warmth and tangible quality bring a different life to the music. It's a rewarding feeling to see my work presented this way, making the project feel more meaningful and lasting.

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

THE HAUNTING OF SEVERIN SU & JULIAN KOERNDL

An exquisite pairing, Severin Su & Julian Koerndl tap with enviable ease into the more emotional side of electronic music. Sophisticated, intricate, yet accessible, their union brings forth a fresh take where complex drum programming meets soaring synthetics that come alive in dazzling sonic puzzles.

This time around, Su & Koerndl come together to deliver W’s inaugural release, their two-track EP, Haunted. Inviting us to an evocative realm where lost souls come to feel alive once more, Haunted is more than a luscious outing from the pair, and signals quite a declaration of intent from the ICONYC-affiliated imprint.

Hi, Severin! Hello, Julian! It’s a pleasure to link up. How are you doing? How is this new year treating you so far? Thank you for joining us today.

Julian: Thanks for having us! The year is already filled with amazing music that we are excited to share. It’s the second year of releasing music to the public and we can’t wait to show our artistic vision to the world!

Severin: Hey! Thanks again. The year has started strong, and we’re feeling excited about everything that’s unfolding.

Well, let us kick this one off…Congratulations on the release of your new W Berlin record, Haunted. We can imagine the excitement must be high! So, how are you feeling about this one? Has the anticipation been high for you?

Severin: Absolutely! This release feels special because it came together so naturally. From producing the tracks to setting up the release with the guys from W—everything just fell into place. But of course, there’s always that moment of anticipation before a track is out in the world, like butterflies in your stomach, one might say. You wonder how people will connect with it, and if they’ll feel what we felt when making it.

Julian: With Haunted, we tried to produce a real heartmelter. A Track that was designed to mirror a set of feelings that we all went through and probably all have to go through again and again. We are very proud that we combined both our key elements into a sonic potpourri. It was the first track we ever did that really speaks to people that aren’t involved with electronic music. Of course, we can’t wait for this track to kiss ears and dance floors around the world.

Now, let’s dive straight into the record. As the name suggests, there seems to be a lingering sense of balance between nostalgia and a glimmer of “hopefulness” in “Haunted” as a single. A tightrope act between dark and light, if you will. Was this your intention from the offset? Did you have a clear horizon before you started this one?

Severin: The basic idea of the track, with vocals, drums, and harmonies, lay around on my computer for quite some time. When I first showed it to Julian, there was an instant smile on his face. We immediately sat down to work on it. It was one of those tracks that instantly sparked the process without much questioning—we knew we had to finish it. As Julian mentioned before, the goal was to make something that would speak to people emotionally, whether they are at home, in a club, or even if they aren’t into electronic music at all. To make something universal, so to speak. The idea was also to subtly blend genres—lush vocals, emotional pads, and a mid-2000s-inspired main melody.

Julian: From the beginning, it was clear for us to make a record that shows both of our personalities. Severin’s insane drum programming combined with my signature pad sound. We wanted to show the beauty of melancholy, the beautiful sadness, so to speak. Our mission was to sculpt the feeling of missing somebody that you can’t get back into a composition that reflects the celebration of looking back in happiness to the memories we had with this person. Those memories nobody can take away from you. In this case, it was really adding my sparkling pads on Severin’s drums and then the so called “clear horizon” was visible to us.

Then, the second cut, “Calling For You”, showcases a different side to this project with a very engaging dynamic that puts the notion of “tension” as a centerpiece with unstable gated acidic sequences and its finale. There’s almost like a thing of alchemy to it. What was the idea and process behind “Calling For You”?

Severin: The starting process was more or less the same as with “Haunted”. “Calling For You” is more restless, more urgent. Where “Haunted” lingers and embraces, this one keeps pushing forward. In my mind, it’s that feeling of reaching for something just out of grasp—maybe a person, maybe a moment, or maybe, an answer. The goal was to make a track that marches forward, not really looking back—possibly only leaving a blank spot and a question mark.

Julian: To me, “Calling For You” is a feeling. A feeling most artists will have experienced in their lives. It’s the “call to greatness”, the call to extraordinary artistry, but to achieve this goal you have to go through a lot of darkness, resistance, and pain. But this call is what keeps you going and alive because you know you will thrive one day.

And this is, indeed, the first release ever in W’s catalog. How do you feel about having been selected to conduct such an honor?

Severin: We often discuss the concept of where the whole music industry is heading. A good part of the scene has become oversaturated with tracks that sound more or less the same, where experimentation is taken with a grain of salt, and where playing it safe has become an everyday reality. With this release, we tried to open up new horizons, respecting all the artists striving to break new ground while also having the courage to open new chapters. What feels a bit surreal for both of us is that the W guys had exactly the same vision in mind—boldness, quality over quantity, and openness to new ideas. That’s why it’s an honor to be the first to put these ideas to the test.

Julian: Of course, it is a great honor to be the very first release on a label run by absolute professionals. The names that are coming up on this relabel are top-level stars in this game and we are still rather small underground artists, so it’s not only an honor for us, but it also showcases that this label is not about making music for cheap thrills.

By the way, how did the Severin Su/Julian Koerndl connection come about? Was the music connection instant?

Julian: It was around 5 years ago when I had my very first live show in our hometown Graz. At that time, I had just started producing and Severin was one of the biggest DJs in our town. I really admired him. A few days after I played, he sent me a message to see if I wanted to hang out with him at his studio – I was completely starstruck. He has been like a mentor ever since and I’ve learned a lot from him. We are best friends by now.

And having collaborated a few times, what does your studio process look like by now?

Julian: Collaborating, for me, is a complete pain, but with Severin, it’s really easy since we share the same vision 90% of the time. Often times it’s like telepathy. We know each other’s strengths and weaknesses and help each other where we can. The biggest advantage is that we 100% accept the decisions of each other and respect each other’s opinions, even if we disagree.

Severin: Since we exchange ideas and thoughts on a rather daily basis, it feels like we are nearly always on the same page and up to date. It’s just joyful to work in a respectful way, where you have trust in each other’s decision-making. And of course, it’s nice to exchange thoughts while sitting in front of a computer with a sofa and just listen to each other work on ideas, haha. Having fun is what it’s all about, I guess.

Now, let’s get to know the people behind the sounds. Beyond music, what is one passion or cause you care deeply about, and why does it matter to you?

Severin: If I have to choose one, I would say cooking—either for my loved ones or for myself. There is no more satisfying feeling for me than seeing the people I care about with full bellies and smiles on their faces, taking into consideration that the meal I made was any good.

Julian: I am really interested in art and design. I love going to exhibitions and I’m currently working on my graphic design skills. If only I had more time I would also love to dive into 3D modeling.

Stepping outside of the studio…how do you guys envision the coming years for electronic dance music? Which new challenges do you see arising for artists?

Severin: I must say that I have concerns about the whole music industry ever since we’ve devalued music through streaming services, social media, and unfair compensation for artists. Platforms like TikTok encourage fragmented listening, and major labels exploit artists by waiting for viral moments rather than investing in their long-term careers.

When it comes to the future of electronic dance music, a big part will be shaped by advancements in AI, immersive technology, and new forms of digital interaction, but time will tell.

Julian: The best analogy for the current situation is the fashion brand Gucci: they maxed out every well-selling product with a ton of different iterations and became more and more irrelevant as other brands had a rise because instead of capitalizing one model with 20 different colorways, they did completely new products. That’s exactly what has happened for years and will carry on. You can choose money, or you can choose something meaningful. For rising artists, the biggest challenge is that making good music is maybe 20% of the whole game.

Last one and we’ll set you free…What’s next for Severin Su & Julian Koerndl in 2025? What new milestones are you looking forward to now?

Julian: Soon we have a track together on Skala’s Amaeo label, where we explore the subject of mutation.

Severin: …Also, we have planned an EP on Elif’s Marginalia imprint that hits the house-y nerve. And of course, we are really looking forward to new music by our peers!

T</01: Thank you for your time, guys! Best of luck with Haunted. Catch you soon!

Severin: Thank you for having us!

Julian: We hope to see you again soon!

Severin Su & Julian Koerndl’s Haunted EP is out now via W. Purchase your copy here.

RE-TYPE: Enter The Echo Chamber

Belgian duo RE-TYPE operate on contrast. Their productions balance atmospheric depth with sharp, driving energy, shaping a sound that feels both raw and deliberate. With their latest release, Echoes on ICONYC, they continue refining their identity in the electronic music landscape, pushing beyond familiar structures without losing their core intensity.

Type </01 Magazine delves into RE-TYPE’s creative process, the ideas behind Echoes, and how they see their place in the evolving scene. In this exclusive interview, they reflect on their approach to production, the balance between emotion and impact, and what’s next on their horizon.

Hi, Lucas! Hello, Pieter! It’s a pleasure to link up. How are you doing? Congratulations on the release of your ICONYC EP, Echoes. We can imagine the excitement must be high! So, how are you feeling about this one? Has the anticipation been high for you?

We’re thrilled to announce that our Echoes EP is finally out on the legendary label ICONYC. This 3-track EP is a true expression of our artistry, blending deep emotion and irresistible rhythm.

During the summer we felt like we wanted to create some music that people could dance to, live in the moment, and connect with someone else on the dancefloor. That is what the Echoes EP is all about, the vibe, feeling, and energy you get from dancing with someone and feeling connected.

Diving into the record, the lead track, “Echoes”, features a very distinct sound that expertly blends past and future in a seamless manner. Did you have a clear horizon in mind before you got started?

The first track of the EP was such a fun project to create. While experimenting with sound design on the Jupiter-8, one of our favorite synths, we quickly came up with the initial melody that plays throughout the intro and first drop. A few days later, we stumbled upon a new melody using the exact same sound. We couldn’t decide which one to keep, so we ended up using both in the track!

Then, the second single, “Dalliance”, holds a very special sort of atmosphere that feels like a hazy memory, yet invites us to “live in the moment”. Was that your intention, to create that sense of juxtaposition?

The track began with those energetic, stamping chords that you can hear throughout the entire track. We often start by crafting the melody when creating music, and it also happened with this track. When we were creating the track we instantly had a Kölsch-esque vibe. One of the producers we deeply admire, who has taught us so much about music. He really is a master at creating impact with a single lead synth supported by percussion and drums. We took a similar approach with this track, focusing on one prominent synth leading the way while the rhythm section builds around it.

Finally, the last cut on the EP, “Voicenote” evolves in a very unique way, like almost a signal that cuts through the static to take on a life of its own. How did “Voicenote” come about? What can you tell us about this one?

After collaborating with Fideles, we were inspired to create something in the same vein. To start, we used a pluck sound similar to the one in “Are We Dreaming”, a kind of signature sound we’re confident some listeners will recognize. Additionally, we wanted to incorporate dialogue-like voices again, like the whispers you actually hear in that particular track.

The track “Voicenote” begins with an emotional voice note expressing love between two people—one reaching out, trying to connect. This sets a mysterious and heartfelt tone, establishing a dynamic interplay between the voice note and the instrumental. It’s a call-and-response structure: the voice note poses a question, and the instrumental responds, weaving a narrative of longing and connection.

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? What’s your dynamic in the studio like by now?

Our creative process thrives on our complementary dynamic, which often sparks inspiration. For instance, when one of us starts a track with a melody but feels their creativity waning, we pass it on to the other. They then add their own elements and ideas. When their inspiration dips, the track comes back to the first person. It’s like a game of table tennis, with the track evolving as it goes back and forth between us until we’re both satisfied with the final result.

Additionally, we draw inspiration from performing and engaging with other music enthusiasts. Moments, people, and our surroundings all play a vital role in shaping our ideas and fueling our creativity.

How would you describe your journey so far and the evolution of your sound?

Finding our own sound was a challenging journey, as you can hear in our early productions. However, the more we produce and explore electronic music, the more we understand our place within it—allowing us to shape a distinct style. We believe it's essential to balance rhythm and emotion, blending percussion and synths to create music that lets people both escape and dance on a night out. Energy is also crucial to us, as seen in the Echoes EP. When performing, we strive to both give and receive energy from the crowd—it’s an essential part of our music.

Back in September of last year, you guys took a break from social media to focus on studio time, correct? How important is it to you to be able to sort of “separate” those processes? Are they two completely different phases of something bigger? What’s your relationship with social media like?

Haha, yeah! We felt the need to process everything we experienced over the summer. It was our first real festival season, and with the pressure of performing 2-3 times a week, we didn’t have much time to fully enjoy it. By September, we were overflowing with inspiration and wanted to focus on producing new and exciting music. That’s actually when the Echoes EP was born—we felt the need for more high-energy tracks while still incorporating melody and continuity.

Now, stepping outside of the studio…how do you guys envision the coming years for electronic dance music? Which new challenges do you see arising for artists?

This is quite a difficult question since we can approach it from many different angles,.. we feel like it’s never been this hard, yet accessible to release music. We feel like the biggest challenge is not to release too much music. We both believe in fewer releases of higher quality than releasing just music to release music to stay “relevant”. This is the biggest challenge we feel like, coming up with cool, innovative, high-quality releases.

Last one…What’s next for RE-TYPE in 2025? What new milestones are you looking forward to now?

In 2025 we’ve hit it off strongly with a three-track EP. Secondly, we’ll be releasing a track together with Camelphat, which is insane because we both started producing because of Dave & Mike. Secondly, we’ll be trying to perform more outside Belgium (where we’re based) because we want to discover more cultures and get in touch with people who live and breathe electronic music.

Thank you for your time, guys! Best of luck with Echoes. Catch you soon!

Thank you very much for these wonderful questions! See you soon!

RE-TYPE’s latest EP, Echoes, is out now via ICONYC. Find your copy here.

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.