ANDREW SAR: Born Anew

For years, Andrew Sar operated under the alias Messier, carving out a name with emotionally charged progressive releases that hinted at a talent with far more to say. But with the launch of this new phase, the Miami-based producer signals more than just a new alias under his own name. It’s a rebirth. One defined not by genres, but by intention: to fuse powerful and melodic elements with experimental flourishes and a heightened sense of emotional urgency.

Now stepping into the light with Mahaba, his debut EP on ICONYC’s W imprint, Sar unveils the full scope of his transformation. Across two tracks, he blends the tactile with the transcendent—drawing from a deeper well of rhythm, tension, and atmosphere. But beyond the production fireworks, what emerges is an artist newly in command of his identity, channeling the lessons of his past into something unpredictable and unbound.

In this interview with Type / 01 Magazine, Andrew Sar speaks on his newfound vision, stepping into the unknown, and why Mahaba marks just the beginning of a much larger story.

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Hi, Andrew! It’s a pleasure to link up. How are you doing? Where are you now? Thank you for joining us today.

Hello! And thank you for having me on the magazine. I’m doing great! Thank you for asking. Right now, I’ve been at my studio in Florida, making a lot of new music, restless for this new Afro / Melodic Project that’s becoming very promising with many releases this year.

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

Absolutely, I’m thrilled about my debut EP as Andrew Sar, and where else better than the great ICONYC’s W. They have been a major support through my entire career as an artist. I can’t be more excited about the Mahaba EP, which represents a fusion of many powerful and melodic sounds that will make this one a very exciting record. We already count with major support from many renowned artists, so. Get ready for the madness…

Now, let’s dive straight into the record. Mahaba is quite a unique name. How did it come about? Is there a particular meaning to it?

Well, the story of Mahaba came from an experiment that turned into something that I wasn’t even expecting. I sent John the demo, and I remember him saying, “Leave as is, don’t touch it! This is the best I’ve ever heard from you”. And that was just the beginning. At that point, I’ve discovered a new phase of myself that I didn’t know. Then I started creating more music of the same style, and things were turning out better than what I’ve imagined. And then, with a very convincing idea that I loved, I created the track “Rage”. “Rage” was a very challenging project that took me a lot of time and work to put all elements together to make it work, however, I was almost giving up on it due to the amount of work that was needed to put together to finish. Even so, I never gave up on it, and “Rage” is one of those tracks that represents this new sound, and the support has been just massive. “Mahaba” was supposed to be the lead track till “Rage” took place in representation of this project. At the end of it, “Mahaba” means love in Swahili, that’s what this new EP represents.

Now, “Rage”, the first track in this EP, really feels like a “perfect storm”, if you will, something that one can particularly appreciate in its core moments. How did it feel to channel such a powerful emotion? Did you feel like you were “laying it all on the line”?

You won’t believe this, but “Rage” is a sound that represents me as a whole. To those who have followed me with my other music projects, they know that every single track comes fully loaded with power. At every element, every part of the composition, every note. The feeling and this emotion that I’ve accomplished on this amazing production have been achieved. And its mission is to bring this euphoria to any dancefloor that’s been played in.

The second cut, “Mahaba”, is an Afro-melodic hybrid that follows a similar vein to ‘Rage’. Where did the inspiration for “Mahaba” come from?

I can’t be happier about this EP. “Mahaba” has a very original and powerful drum design, complemented by a strong bass, and the melodies are very exciting. The intention behind “Mahaba” was to create a futuristic idea coming to life that also represents the new Andrew Sar project.

Now, some people may not know, but you have been known as Messier for a long time now. So, is the Messier project over for now? Is it only taking the back seat for a while? Why did you need to start creating as Andrew Sar?

Messier is well known as a Progressive / Melodic act. I owe a lot to it. I wouldn’t be here without it, to be honest. Messier keeps growing and gaining support all over the world over time. I’ve made a decision after a whole year of overthinking whether it was a good idea to change the sound as Messier, or if I was going to create a new alias. It wasn’t easy. But these 2 paths were pointing to different directions, so I’ve made the decision about creating Andrew Sar and make this new project more expansive, and I’ll be continuing releasing music, playing at clubs and festivals as Messier, but only dedicated where it belongs, which is the Progressive crowd, I will not take that away from all the supporters we’ve gained this far. Messier is warming up for another big year as well. But Andrew Sar has awakened a new passion that will take over anything that comes as Afro, Melodic, and Indie from now on.

Did your approach in the studio change as well, or your relationship with music?

Yes. A lot of people that I work with have told me the approach has changed. Andrew Sar blossomed the inner me that has always been there, but never allowed it to get out. I get a lot of compliments about my new project. I can materialize all my new and fresh ideas that come along together naturally. I’ve found more inspiration, and I’ve regained that passion about making more music, and the results speak for themselves.

Now, stepping outside of the studio…how do you envision the coming years for electronic dance music? Which new challenges do you see arising for artists? What’s your stance on AI at the moment?

The electronic music scene, or music in general, is always changing; new trends, new artists, and new ways to create music always come up. As an artist, creating this new alter ego was a big challenge that I’m betting on, and willing to take the risk. I’m grateful that I’ve found people in this career who have supported me and given me advice to realize that if an artist can’t reinvent themselves and can’t pivot between every change, they’ll get burned or stuck somewhere along the way. About AI, I work with technology for a living. AI can be a powerful tool for any creator, as long as you use them the right way. In fact, I’ve. Been using AI for vocals that can make tracks more original, instead of using audio samples that have been used over and over by many artists. I think that AI can bring some more originality and uniqueness when it comes to producing instead of copying or automating the process. The feel and emotions that a human can create in the process can never be substituted by AI.

Last one, and we’ll set you free…What’s next for Andrew Sar in 2025? What new milestones are you looking forward to now?

I have high goals and expectations set for 2025. Being part of ICONYC and W was one of them. Now I’m focused about making music till the point where I can start preparing sets with Andrew Sar music, same as I do with Messier. I’m getting ready to keep sending music and work with the best labels I can partner with. I’m preparing a whole new image for the project, recording new sets in Mexico, visiting Europe in the Summer and Fall seasons while I keep partnering and meeting promoters in the US, where I’ve had so many limitations as Messier. The path is set, and we’re coming with everything.

Thank you for your time, Andrew! We wish you the best of luck with Mahaba. Catch you soon!

Thank you so much for having me again. To all ICONYC crew, you guys are amazing. I’ve been working with you all for a few years now, and I’m always excited with every release. ICONYC has given a home to many of my productions, and by this point, it feels like a Family.

Andrew Sar’s Mahaba EP is out now via W. Purchase your copy here.

MOMERY: Remembering a Future Past

Memory is rarely linear. It bends, fractures, reshapes itself over time—sometimes seamlessly, sometimes in stark contrast. For Greek electronic duo Momery, this fluidity is more than a concept; it’s embedded in their DNA. Formed by George Papadopoulos and Charis Giachanos in 2022, Momery is a reconfiguration of past experiences, a new frame for their creative instincts. Both artists arrived with established identities—Papadopoulos as Symmetric, Giachanos as Future of Matter—but their coming together marked an opportunity to rewrite the script, blending their respective visions into something neither could achieve alone.

Their approach is as much about feeling as it is about form. Working from their base in Thessaloniki, the duo crafts electronic soundscapes that move beyond traditional melodic techno tropes, balancing precision with spontaneity, and introspection with dancefloor energy. Their music thrives on contrasts—crystalline textures against raw club sensibilities, intricate arrangements that remain emotionally direct. It’s a sound that doesn’t just evolve but reinvents itself, much like the memories they reference in their name.

Following their contribution to ICONYC’s acclaimed Florilegia series, Momery now returns to the New York / Berlin-based imprint with Still Love You. Across three carefully sculpted cuts, the record offers a prismatic reflection of their artistic intent—sleek, immersive, and deeply evocative. Melodic structures unfold like shifting patterns of light, underpinned by a rhythmic foundation that feels both urgent and hypnotic. There’s an unmistakable sense of movement, a cinematic quality that lingers long after the final beat fades.

In conversation, Papadopoulos and Giachanos are thoughtful, engaged, and brimming with ideas. Their partnership is built on a shared instinct for storytelling through sound, yet it thrives on the interplay of their differences. As they prepare for this next chapter, we sit down with the duo to unpack the creative process behind Still Love You, the tension and synergy that shape their work, and what the future holds for Momery.

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Hi, Charis! George! It’s a pleasure to link up. How are you doing? Where are you now? Thank you for joining us today.

Hey! It’s a pleasure to be here. Thanks for having us! We’re doing great and feeling super excited about the release. Right now, in Thessaloniki, Greece. We really appreciate the opportunity to chat with you about this project!

Well, let us kick this one off then, shall we? Congratulations on the release of your new ICONYC EP, Still Love You. We can imagine the excitement must be high! So, how are you feeling about this one? Has the anticipation been high for you?

Thank you! We’re incredibly excited about this release. Still Love You is a project that’s really close to our hearts, and seeing it come to life on ICONYC makes it even more special. The anticipation has definitely been high—not just for us, but also for our listeners and supporters who have been with us on this journey. We’ve put a lot of emotion and energy into this EP, so we can’t wait for people to experience it and see how it resonates with them.

Let’s dive straight into the record. As the name suggests, there seems to be a thoughtful balance between nostalgia and a sense of hopefulness throughout the EP as a whole. Was this your intention from the offset? Did you have a clear horizon before you started this one?

Yes, absolutely. From the start, we wanted Still Love You to capture a blend of nostalgia and hopefulness. The idea was to create something emotionally resonant—music that evokes memories but also feels uplifting and forward-looking. While we always had a vision of making something deep and heartfelt, the creative process shaped the final outcome organically. It was about channeling emotions into sound and letting the music tell its own story. In the end, we feel like we struck that balance naturally, and we’re excited for listeners to experience it in their own way.

So, how did the titular cut come about?

“Still Love You” was born out of a moment of reflection. We wanted to create something that felt intimate yet expansive, blending deep emotions with a driving energy. The track started with a simple melodic idea—something melancholic yet uplifting. As we built around it, layering textures and evolving the groove, it naturally took on this cinematic, nostalgic feel.

The first cut, “Wanna Know”, sees you going a bit deeper but still maintaining the energy while paying homage to the vocals of yesteryear in a way. What’s the story behind this one?

“Wanna Know” was all about blending deep, hypnotic grooves with that classic vocal touch. We wanted to craft something that feels both nostalgic and fresh—taking inspiration from the soulful vocals of the past while keeping the energy alive for modern dance floors. The track started with a deep bassline and a hypnotic groove, and once we found the right vocal sample, everything clicked into place. It’s a journey through emotion and rhythm, designed to keep listeners locked in while evoking that timeless, old-school feel. It’s one of those tracks that bridges eras, and we love how it turned out.

Vocals seem to play a rather prominent role in this particular EP. How do you go about finding these bits? Do they feel like a way to better tell a story to you?

Absolutely! Vocals play a key role in shaping the emotion and atmosphere of our tracks. We see them as a storytelling tool—sometimes they add meaning, and sometimes they just evoke a certain feeling without needing to be fully understood. When we’re searching for vocal bits, it’s usually an intuitive process. We dig through samples and old recordings, or even experiment with vocal processing until something clicks. It’s all about finding that one phrase or texture that resonates with the mood we’re trying to create. In this EP, the vocals helped reinforce that balance between nostalgia and hopefulness, making the music feel more personal and immersive.

The second, and reminding cut on the EP, “Lose My Mind”, also follows a similar vein but goes all-in with that irresistible lead. What was the process for this one like?

“Lose My Mind” was all about capturing that peak-time dancefloor energy while staying true to our melodic and emotional roots. We wanted to create something that really drives the momentum forward—something you could lose yourself in while dancing. The process started with the lead melody, which had this raw, hypnotic quality that instantly stood out. From there, we built the bass and percussion to give it that rolling, club-ready feel, and the vocal elements added an extra emotional layer. The result is a track that’s both powerful and immersive, designed to hit hard on the dancefloor while still carrying that deep, emotive edge.

Now, taking this one back to your origins…How did you guys first connect? Was the chemistry for Momery there from the start?

We first connected in Thessaloniki when George came back from Rome. We hit it off right away, sharing a love for music and production. The chemistry was there from the start, and it just felt natural to create together. That’s how Momery was born, and since then, it’s been an amazing journey.

And what does your relationship in the studio look like? Do you guys have set roles, or does that vary from track to track?

In the studio, it’s very collaborative. We don’t really have set roles—it's more about who takes the lead on certain parts, depending on the track. Sometimes, George focuses on the deeper production elements, while Haris might be more focused on the melodies or arrangement. But overall, we’re always bouncing ideas off each other and making decisions together. It’s about playing to our strengths and allowing the track to guide us.

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?

The future of electronic dance music is always shifting, and we think it’s going to keep growing in exciting and unexpected directions. With more access to tools and platforms, there’s an endless stream of new talent and sounds emerging, which is great for the genre. But that also means standing out is becoming tougher for artists. One challenge we see coming is finding a balance between staying true to your creative vision and keeping up with the fast pace of trends. As the industry grows, it might become harder for artists to maintain that personal connection with their audience, so it’ll be crucial to stay grounded and authentic.

Last one, and we’ll set you free…What’s next for Momery in 2025? What new milestones are you looking forward to now?

In 2025, we’re focused on continuing to push boundaries with our music and exploring new sounds. We’re excited to share more releases and experiment with different styles while always staying true to what makes Momery unique. We’re also looking forward to playing more live shows and connecting with our fans in person, which is something we’re really excited about. Every year brings new milestones, and we’re excited to see where this journey takes us next!

Thank you for your time, guys! We wish you the best of luck with Still Love You. Catch you soon!

Thank you so much for having us! We really appreciate the support and the opportunity to chat about the EP. We can’t wait for everyone to hear it. Catch you soon, and thanks again for the love!

Momery’s Still Love You EP is out now via ICONYC. Purchase your copy here.

JEFF EVELINE: Between Reality And A Mirage

With a distinctive approach to music production, Jeff Eveline exists somewhere out of time. His use of vintage distorted sounds, blurry and evocative vocals, and themes of love and introspection all come together in a seductive mirage as we wander into the mind of a modern artist yearning for the elusiveness of the scene’s halcyon days.

His recent Echo Valley EP on the ICONYC-affiliated W imprint is an immersive vision lingering on the outskirts of the desert, coming to life through a meticulous production approach. Embued in a narcotic, heady shade, Eveline proposes a gripping voyage to the heart of a forgotten place that still beats brimming with life with every sundown.

An elusive, yet refreshingly open figure, Eveline sits down with Type/01 to discuss the intricacies behind his new Echo Valley EP for W, his creative process, origins in the industry, the concept of “fast food music“, and more.

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Hi, Jeff! It’s a pleasure to link up. How are you doing? Where are you now? Thank you for joining us today.

Hey, it's awesome to link up! I’m out here in LA, just grinding with meetings and connecting on some cool new projects. Super excited for what’s ahead this year, and chatting with you is definitely a solid start!

Love that energy. So, let’s kick this one off…Congratulations on the release of your new W EP, Echo Valley. We can imagine the excitement must be high! So, how are you feeling about this one? Has the anticipation been high for you?

Thanks, I’m really excited! This isn’t just another release for me. It’s the start of a solid collaboration with W and the next level of my friendship with Pietro Casella. He’s been amazing, letting me really express my vision through the music. From the jump, we had this great creative connection, so this release is way more than just music. Plus, the feedback has been great from some top DJs, which gives me even more energy to keep pushing forward.

Now, let’s dive straight into the record. Is there a story or concept behind Echo Valley? How did the idea for the title come about?

Honestly, the process was super quick and flowed really naturally. I started with this dark, percussive beat and thought about adding psychedelic and catchy melodies on top. The main inspiration came from cruising through the Hollywood Hills at night and during the golden hour. Those kinds of atmospheres always spark my creativity, but the process can get hectic. I might start in one direction and then totally switch gears.

Comprised of 2 original cuts, Echo Valley paints quite a vivid picture, almost immersive. What was the process for this EP like?

After I got the beat done and had the idea clear, I linked up with my partner Squarehead, and we started laying down some melodies. We played with the arpeggiator that kicks in after the drop. I love distorted, grainy sounds as you can hear in the track; it’s got this melancholic, edgy vibe. While we were working on that, I wrote some bars, sent them over to Madishu, and she absolutely nailed it. She totally captured that vibe of driving through the hills at night. “Echo Valley” feels like the chant of a siren, but this time, she’s not lying in the water singing—she’s calling you from the top of the City of Angels! After a couple of weeks, the track was done.

Where do you go to for inspiration? What is it that usually fuels your tracks?

Strip clubs! But seriously, I find inspiration in the most random places. The more you think about it, the harder it is to make it happen. I just let my feelings guide me, and then the music and lyrics follow. I try to create an entire world around my music. Collaborating with the right people is also huge; when you’re surrounded by artists who vibe with you, it can take your work to the next level.

Now, taking this one back to your origins…How did you first connect with electronic music? What was it that drove you to produce your own tracks? What role do you occupy today in the industry?

Honestly, I can’t really pinpoint when or why it all started. I’ve just always had this creative mindset and gravitated toward things that most people overlook. I don’t really play instruments but I know how to make things happen. My lifestyle is pretty different from what a lot of electronic DJs and producers go through when they’re starting out. I was into wrestling, fashion, muscle cars, and I listened to artists like Kanye, Travis Scott, Future, and Marilyn Manson. I’ve always been drawn to American culture, especially everything connected to Black American culture—it’s something I really resonate with. Then I started listening to DJs like Koze, Sven Väth, Damian Lazarus, and DJ Tennis, and that’s when I mixed it all together and created my own sound.

For me, it’s all about personality. If you don’t have a strong image, you’re probably not going to catch my attention. You don’t need to be a villain, but you have to stand out. So, for me, making electronic music is all about vibing with something unique.

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

The industry’s always changing, and it’s especially tough for up and coming artists like me. The game’s shifting, but that’s not a bad thing—it keeps you sharp. We’re in the era of social media and what I call “fast food music,” where thousands of songs are released every week, and all that matters are the numbers. Often, the real artist, the one who makes music because they have to, gets lost in the noise.

Don’t get me wrong, I love the celebrity status and the lifestyle, but I’m doing this because I need to. Right now, there are a lot of fake producers and artists out there, thanks to social media and easy access to free samples. So, to stand out, you really have to fight for your space. But here’s my advice: just do your thing the best you can, don’t follow trends, and don’t worry about what the audience thinks. No rules! Just do what you feel and don’t be afraid of it! You’re your biggest supporter, and your time will come. Try to surround yourself with the right people, those who support you without getting jealous or trying to compete for no reason. Go catch a flight and say “hi” to the DJ you want to collaborate with. The personal, face-to-face approach is key! Be proactive and invest your money wisely—it’s tough sometimes, really tough, but just never give up! There’s no secret formula, anyone can find their way to get noticed and stand out. But that real, in-person connection? That’s a total game-changer!

Last one, and we’ll set you free…What’s next for Jeff Eveline in 2025? What new milestones are you looking forward to now?

2025 is shaping up to be a busy year. I’ve got a new single dropping under Yulia Niko’s new imprint in a couple of months. I’m also finishing up some new tracks for W/ICONYC, and there are other projects still waiting for the right moment.

On top of that, I’m running my label COBRET, where I’m producing American alternative hip-hop and pop. My crew and I are building a strong roster of artists, and I can’t wait to drop everything we’ve been working on. One of the main artists is Chris Moner, my brother from Detroit. He’s in the “Echo Valley” video with me!

Thank you for your time, Jeff! We wish you the best of luck with Echo Valley. Catch you soon

Appreciate it! Thanks for the chat, and I’ll see you out there!

Jeff Eveline’s Echo Valley EP is out now via W. Purchase your copy here.

CONVOLUTE: Decoding Complexity

A project born anew now under the sole vision of Sander Postma, Convolute creates striking aural pieces that tread across the gray areas in electronic dance music with immaculate ease. Conveying a narcotic blend of emotions and memories that come together in an intricate package for Shiffer’s Ocultismo, Convolute returns to the spotlight with the highly anticipated Everyday In My Life EP.

Comprised of 5 gorgeous cuts, the new record signals a bright new future for Sander Postma, and finds the Dutch producer delivering 5 immersive gems that showcase his unique approach to sound design, inspired by the electric metropolitan life.

In this interview, Type/01 sits down with Sander Postma to uncover the inner workings of his convoluted project, learn more about his creative process, revisit the inspiration for Everyday In My Life, his relationship with Shiffer, and more.

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Hi, Sander! It’s a pleasure to link up. How are you doing? Where are you now? Thank you for joining us today.

Hi guys, first, thanks for having me! I’m doing very well. In 2025, Mathijs decided to leave Convolute to focus more on his work life. It’s with fresh energy that I will start off now. It’s been a long time since I last released some music. But 2025 will be a very productive year.

Sounds like it’s time to kick this one off then…Congratulations on the release of your new Ocultismo EP, Everyday In My Life. We can imagine the excitement must be high! So, how are you feeling about this one? Has the anticipation been high for you?

Thanks! I’m really excited about it. It’s the first EP release since the one in 2019. In the current music scene, it’s very hard to find a label that matches your sound and vision. With Ocultismo, I found the perfect place; it’s a place that allows a sound for a more introspective listener. I’ve got my favorite producer, Map.ache, to remix a track, so that is a big milestone for me.

Now, let’s dive straight into the record. Is there a story or concept behind Everyday In My Life? How did the idea for the title come about?

It’s not that every track of the EP has a deeper meaning. But I made the title track “Everyday In My Life” with the idea to show that no one is alone. In the first break, you hear a girl having therapy. She is kind of lost and has a really empty feel about her. After the break, the main vocal comes through, saying that someone needs her every day in his life; her loneliness is relative.

Comprised of 5 original cuts, Everyday In My Life paints quite a comprehensive picture of your current sound. What was the process for this EP like? Was it all done in one sitting, so to say? Or did it take you some time to compile the record?

Over the last 2-3 years, when there were no releases, I really focused on getting my own sound and identity. Within that period, I created a big catalog of unreleased tracks. I picked the tracks that fitted the vision of Ocultismo best.

With the sound I have now, I feel I’m a bit in nowhere-land. I’m not too niche/alternative for the Berlin scene, but I’m also not too big-room for the Melodic scene. This has its advantages but also its disadvantages. I feel my music is not ideal for big groups or pre-parties. It’s not to hype someone up per se, I’d rather have that it touches people. When I make music, I always picture the listener alone in his car back home. The music gives room for thought.

Where do you go to for inspiration? What is it that usually fuels your tracks?

Cities always fuel my tracks, being away from my computer. Going for a walk and looking at people doing all sorts of weird things is my favorite activity. Also, the sound of surroundings can inspire me a lot. I like to record the street/park ambience myself. When I start a new track, it’s always the first element that I add in.

By the way, the EP is actually Ocultismo’s second release. You must be proud to be one of the first artists on the label. Congrats! How did the opportunity and the connection with Shiffer come about?

That’s indeed a big honor! So, a couple of years ago, I sent some promo over to Shiffer. He liked it, and he tried to help me with opening some doors to other labels. When he decided to get his own label, he messaged me to ask if I wanted to join Ocultismo. With the vision he had for the label, it was an instant yes.

Besides him being the label head and a great producer, he is the loveliest guy out there. The only problem with him is that he supports the wrong red-shirted English football club!

Now, taking this one back to your origins…How did you first connect with electronic music? What was it that drove you to produce your own tracks?

Before I knew how to make music, I always had ideas in my head for a track, but of course, I had no idea how to work them out. After I learned how to produce, it was heaven for me. To this date, I still figure some tracks out in my head, sing some chords/basslines in my voice note app, and work it out. For example, “Psychotherapy” was made like this.

My origins are not really with electronic music but with rock music. I feel music should be emotional and passionate. Back in the days when I listened to a lot of rock music, I had a thing for Bring Me The Horizon. When you look at their discography, every release is a completely different genre, but the common thread is emotion and passion. The same goes for Post Malone.

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

I feel artistically we are in challenging times. With the 3-second attention span and people constantly needing impulses/drops, it’s a small area where artists can maneuver in. It has come to the point that I have lost my passion for going clubbing and finding new artists. You hardly see original artists anymore.

Actually, all the artists I used to like are going in that same direction. I always make the comparison with football players going to Saudi. I’m not the one to blame them for going for the money, but I don’t follow them anymore.

That aside, I think we are past the hill already. More and more artists speak out about the lack of a real audience. They prefer people in front of them who are open to new sounds/ideas instead of hearing the Beatport Top 100 hands-in-the-air music.

Last one, and we’ll set you free…What’s next for Convolute in 2025? What new milestones are you looking forward to now?

In a couple of months, there will be a full vinyl EP coming out. Currently, I’m finishing my first-ever unreleased live set, which I’m very stoked about. I will try to release this in late 2025.

Thank you for your time, Sander! We wish you the best of luck with Everyday In My Life. Catch you soon!

Thanks for having me; it was a pleasure!

Convolute’s Everyday In My Life EP is out now via Ocultismo. Purchase your copy here.

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.

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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.