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.”

Text

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.

Atelier: A Light That Never Goes Out

Lights Towards The Exit is Atelier’s second full-length studio album. After the release of Varsam Court at the end of 2019 on Lossless, run by mentors and friends Mathias Schober and Thomas Herb, the duo experimented with different ideas in the studio, and at the start of 2020, a common thread began to appear between a few of the tracks which laid the foundation for the sound of their second album.

In this interview, Type < / 01 Magazine caught up with Alexander & Jaś to dive deeper into the release of their new album Lights Towards The Exit, their evolution over the years, plans to revamp their live show and more.

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

Thanks for having us! We’re in a good place now that the album is out.

Yeah, we can only imagine! Congratulations on the release of your sophomore studio LP, Lights Towards The Exit! You must be psyched to finally have this one out. What has the initial reception been like so far?

So far so good. It’s always an odd yet special feeling to know that in this day and age, your music can be heard in so many situations and environments.

Being Lights Towards The Exit your second studio album, where does it find you in comparison to the Varsam Court sessions? In which ways have you changed as people and artists?

The first album was recorded in a beach house in South Africa and the second in Berlin, so right out of the gate there’s a strong separation that we feel. However, it’s very much still “us” at its core. Seeing as we took a long time to develop our sound even before the first album came out, we’re confident in our stylistic choices and have always treated the project as a “space to grow.”

And how would you define Lights Towards The Exit? What can your fans expect to find this time around?

We think there is a natural progression from the sound of our first album. Being in a new city with new influences and experiences shows in the music. There are more upbeat rhythms aided by recording live drums. There’s also a sense of maturity, in that over the years of working on it our technical knowledge grew but at the same time, we’re always known what we like and don’t like. The latter sometimes being more important.

As one can see, Lights Towards The Exit doesn’t feature collaborations, which is something fairly common, especially when electronic artists set out to complete a studio album…was this something that was premeditated?

We’ve always been open to collaborations, and have had some successful ones in the past - but we are also very selective. It’s an intimate space that you really have to feel deeply comfortable in with those around you in order to access that storytelling part of yourself. On this album, we had Robin Brink and a friend named Spike who recorded a lot of the live drums you hear, and in a way, our close studio friends and colleagues gave invaluable insight and feedback during the process.

Lights Towards The Exit sees you guys returning to Mathias Schober and Thomas Herb’s Lossless. Why did you guys decide to return to the imprint for this particular project? What is your relationship with the guys like by now?

After working with Lossless on our first album, they had a first option on our second album and when they heard it, they wanted to release it. We met when a mutual friend put us in touch back in 2017 and since then it’s been a bit of a rollercoaster, but predominantly in our personal lives with everything that went on in the world during that time period. They are friends and mentors and we’re happy to be a part of the Lossless family.

Reflecting on the sound of Lights Towards The Exit, 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?

We mentioned it briefly earlier but it’s something that many people are not aware of - we took about 3 years of making music together with zero pressure, no deadlines, and little outside influence in order to find out two things: who are we and do we really want to do this? It’s special to be able to answer these questions together with a childhood friend, we’ve both grown a lot during this time, and having Atelier as an outlet for the creative energy that lives within, not only gives us a sense of purpose but a light at the end of the tunnel. Pun intended.

And, are there any plans to present Lights Towards The Exit in a live setting?

This is the goal. However it’s gonna take some time, we’re moving away from club shows and into more live music spaces, so it comes with a different set of challenges, but we’re optimistic about this direction.

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 both have different views on this, some positive, some ambiguous. But the short answer is no, there was no AI used while composing this album.

Now that Lights Towards The Exit is out, what’s next for Atelier? What new milestones are you looking forward to? Where can your fans catch you next?

The future is unwritten. Right now it’s about enjoying the moment, enjoying the relief of having this album out, and refining our live show. We move at our own pace. All shows and news will be posted to our Instagram, so that’s probably the best place to stay informed.

Thank you for your time guys! Best of luck with Lights Towards The Exit. Catch you soon!

Thank you, Type < / 01 Magazine!

Atelier’s Lights Towards The Exit is out now via Lossless. Buy or stream here.

Moderate Kingdom: Somewhere Between Worlds

Fresh from a short hiatus as a producer, Italian artist Gianluca Annoscia is back with renewed passion and creativity as he kicks off a new era under his Moderate Kingdom alias with the drop of his new EP, Seyane. A genre-defying outing that juxtaposes rich Afro-laced flourishes with a modern allure, his latest two-track delivery sees Gianluca making his ICONYC debut as he sets forth to new lands.

Ahead of the release of Seyane, Type < / 01 caught up with Gianluca Annoscia, as we dove deep into the meaning of the record, how it was created, learned more about his studio process, new expectations, and more.

Hey Gianluca! How are you doing? Where are you at? Thank you for joining us today.

Hey guys! Thank you so much for having me here with you! Everything is fine here! I just got back home after finishing my daily workout by the sea and I'm super energized.

Nice one! We know the Italian coast is something to behold. By the way, congratulations on the release of your ICONYC EP, Seyane. We can imagine the excitement must be high! So, how are you feeling about this one?

Thank you! I'm actually thrilled about this EP because it's been some years now since I last released any music. Over the years, I traveled a lot and I've been deeply inspired by a wide range of musical styles and cultures, and I wanted to make these 2 tracks to materialize that diversity and innovation.

Well, digging into the record, there is a really eclectic feel throughout “Seyane”, in what is a true meeting of worlds, without ever being boxed in clearly in a genre. What’s the inspiration for this one? How did this one come about?

The inspiration for "Seyane" came from a desire to explore various musical influences as afro house vocals and electronic melodies blending them together in a way that transcends traditional genre boundaries. As for how it sees the light, it was a natural evolution of my creative journey, driven by experimentation, allowing me to come organically to create something unique and vibrant that fully represents me behind the decks right now.

And the B/side, “Zegama”...it’s this almost trance-laced take on Afro-house that feels like a moment of true hope. What’s “Zegama” to you? Where did this one come from? Is there a meaning to the word?

“Zegama” serves as a melodic voyage, a blend of African drums and trance-infused synths that transport listeners to a realm of genuine optimism and euphoria. this track transcends conventional boundaries, inviting listeners on a journey through pulsating beats and ethereal soundscapes. The word “Zegama” has no specific meaning, but it is a phonetic expression that encapsulates the essence of the energy and emotion I would like to spread to the listeners.

By the way, this is your 10th anniversary as Moderate Kingdom, right? What has the journey so far been like? Did you ever imagine that it would pan out this way?

My 10th anniversary as Moderate Kingdom is a milestone that holds deep personal significance for me. Reflecting on the journey thus far, it's been a remarkable path of growth, creativity, and shared experiences. The best is yet to come.

And music-wise? Are you making the music that you thought you’d be making when you first started with music production? What do you think of the voice you have found as an artist?

My journey in music production has been a constant evolution. the vision I had when I first started, has evolved so much over time. I've explored different genres, techniques, and sounds, allowing myself to be open to new influences and experiences. Along the way, I've discovered a unique voice as an artist, one that reflects my personal experiences, emotions, and creative impulses. I'm excited to see where it will take me in the future.

Do you usually take your time when composing a track? Or do you feel a need to get some core elements down as fast as possible?

When composing a track, my approach can vary depending on the inspiration and creative flow at the moment. Sometimes, I find it beneficial to take my time, allowing ideas to develop organically and exploring different possibilities before settling on a direction.

However, there are also moments when inspiration strikes, and I feel a need to capture the essence of a track quickly! In these moments, I focus on getting down core elements—such as melodies, chord progressions, or rhythms—as fast as possible to preserve the initial creative spark. Later, I can refine and expand upon these ideas during the production process.

And how do you feel about the use of AI in music? Have you implemented any form of AI in recent productions?

I've never used AI in my productions, and it doesn't particularly excite me. I prefer to rely on my instincts and creativity to make music, rather than using algorithms or automated software. I believe that the creative process is a personal and subjective experience, and I prefer to maintain complete control over my creations without the assistance of these tools.

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?

I find my inspiration in everyday life experiences, emotions, and personal reflections. Whether it's a profound moment of joy, a challenging situation, or a fleeting feeling, I try to channel these experiences into my music, infusing them with authenticity and depth. And listening to a variety of music also keeps me inspired and helps me discover new sounds.

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

For sure advances in technology and social media have made it easier for everyone to share their work with a global audience, fostering more collaboration and connection within the scene.

I believe it's essential to continually seek out new inspirations and embody them to make your sound unique. The music scene thrives on innovation and individuality, you just need to create something truly distinctive infusing the music with your own personal touch.

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

Looking ahead, my focus will be on making new music and reaching new milestones. I'm excited about the prospect of sharing fresh tracks with my fans and continuing to grow as an artist. You can catch me next at various festivals and parties here in Puglia. Stay tuned for updates on my upcoming performances!

Thank you for your time Gianluca! Best of luck with Seyane. Catch you on the dancefloor!

Thanks for the love guys, what a ride! See you soon!

Moderate Kingdom’s Seyane EP is out now via ICONYC. Buy or stream here.

Clér Letiv: Breaching Hope

Theatrical and compelling in equal meassure, the elusive Argentine producer/vocalist opens up about his two narrative-driven cuts that feel sensually intimate as he explores the inner worlds of his own device.

Allowing us to take an exclusive peek beyond the veil of mystery that shrouds his newfound persona, Cler links up with Type < / 01 to talk in-depth about the moments that inspired his new EP on ICONYC, his intricate workflow, his ability to translate complex experiences into music, and more.

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

Fantastic. Thank you for having me, I’m very happy to do this, especially with my new Breach EP around the corner. Sorry for being a bit on the spot. I had a long night, and stayed up late working around a production…I had a good idea and couldn’t just let it hang there.

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

Well, by now, all I want is to share these new cuts with everyone, haha. I don’t tend to get anxious, because I’ve had them for months, so that tends to deflate as time goes by. But I am excited, as these tracks represent a new direction for me, sonically speaking. It’s more about the club now.

Speaking about the record, we really enjoyed the darkness present in both cuts, which also seem to be cut from the same fabric. What’s the emotional trigger to these new tracks?

Thank you! I do love the idea of them working as a “couple”, or in tandem. I was done writing “Breach”, and I had one of those revelatory moments. “That’s the sound I want, this is the direction I’m going to pursue.” After that, I played it at a club, and I just loved the reaction. So I went back home and immediately got started on “The Surface”.

And yes, just as you say…there is a sense of darkness in them, but it works to validate a notion of hope. I think the contrasts help us better appreciate the components. Regarding “The Surface”, this one’s about “letting go”, but as a conscious decision…d’you know? Without the hurt and the pain.

Obviously, they do feel highly personal. Yet, at the same time, it's these sort of “universal” feelings that almost everybody goes through, eventually. Was this something that you felt aware of during these sessions?

I think I always try to be transparent in that sense and express myself from my point of view. But, beyond the lyrics having a highly personal component, I think that it’s the overall production that elevates the message. And, when you factor in the “club setting” component, then the experience becomes a sort of “larger than life” kind of thing. That itself then becomes hope.

By the way, your release catalog seems to be closely curated, as if each step is meticulously planned. Is this something that you’re conscious of?

When it comes down to making music, I definitely don’t operate on a conscious level. It’s just pure bliss. But, regarding the “design” of the catalog itself, yes. I did release music before under different names, and I have learned from that experience, so to speak. Now, I have so much faith in this project that I want to do it consciously. I have invested everything in this, and I understand it as something necessary to sustain my development. Whenever this comes up in a conversation with colleagues, I always try to tell them, “Plan out what you’re about to do”.

So, how do you feel about starting from scratch?

Obviously, I understand that, for many, the blank canvas might be daunting…but, in all honesty, it gives me hope. And I have no problem with navigating that parallel feeling of uncertainty. I mean, we’re kind of used to that already…whenever we finish a piece, we never know where it's going to end up…the process itself is a bit of a drag, but the experience helps a lot with taming anxiety.

And are you making the music that you thought you’d be making when you first started?

Haha…Oh, boy…Well, I’m not going to lie to you. Just know that I’m not proud about this, haha…So, thing is…I started music production at the age of 15, so that’s like 7 years now. And, like many others, I started out listening to EDM and producing on FL Studio. Full disclosure, I just made the jump to Ableton like a year ago. In fact, Breach is my first EP on Ableton. And I did sense an “improvement”, the workflow is much better. But yeah, I started out with EDM.

I like to think so, that I have found my own voice. And I would like to dive even deeper into experimental stuff. As time went by, I started listening to a lot of rock, both in Spanish and in English. So, I would like to try my hand at something like that, eventually. I’m already working on something there…but that’s as much as you’ll get today. But yeah, I like where I’m at right now, and where I’m going.

By the way…you’re from a small town in Cordoba, Argentina…right? So, how do you come across electronic dance music?

Santa Rosa de Calamuchita, actually. In Cordoba. But the big bright lights aren’t that far away.

The first contacts came through friends of mine who would purchase CDs by Skrillex. “Bangarang” was the shit. But there is a club here in my town which actually has an electronic dancefloor. So, by the time I could, I would start going by myself. Illegally, obviously. My friends all started clubbing a bit later, but today we can all go together, and that is something that makes me very happy. In fact, that is how I got acquainted with the underground.

So…Having gone over the recent past and the present, what’s next for Clér Letiv? What new milestones are you looking forward to?

I just want to keep working in order to grow. And I’ve got a ton of new music ready. I’ve got a lot of releases, some stuff already signed, and enough material on the way, so it won’t be long until you guys hear from me again.

Thank you for your time Clér! Best of luck with Breach. Catch you soon!

Thank you. I had a blast doing this one. Wishing you all the best, and see you soon!

Clér Letiv’s Breach EP is out now via ICONYC. Buy or stream here.