Florilegia: Nurturing ICONYC’s latest Compilation

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

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

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

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

Way Of Thinking

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

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

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

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Momery - “Who Are You”

Momery

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

Anido - “Elijah”

Anido

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

Vaert - “Need You“

Vaert

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

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

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

Naeiiv - “Digital HUman Scan“

Naeiiv

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

Crudito Sava - “Solskjaer“

Crudito Sava

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

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

Bar.ba, hanami (IT) - “Blossom”

Bar.ba

hanami

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

Baardman - “Natura Ly”

Baardman

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

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

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

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

Solique: No Ordinary Thing

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Reflecting on the sound of Ordinary Things, are you making the music that you thought you’d be making when you first started? If not, what do you think of the voice you have found as artists?

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

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

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

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

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

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

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

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

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

Esoteric Circle: An Invitation To Move

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Reflecting on the sound of Sierra Maestra, are you making the music that you thought you’d be making when you first started? If not, what do you think of the voice you have found as artists?

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

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

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

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

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

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

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

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

Thank you, it was great! See you around!

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

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.

ROMAN KYN: EXPLORING SUNSETS OVER TOKYO

A citizen of the world, Roman Kyn is a music composer, vocalist, and electronic producer whose music is grounded by an underlying ethos to combine sonic realms with meticulous care. Roman’s sound marries a steady rhythmic ritual with a rich melodic journey. A strong aesthetic is injected into his live performances, combining live instrumental improvisation and the manipulation of modern machines.

Fresh from an inspiring vacation in the vibrant and buoyant city that is Tokyo, reserved French storyteller Roman Kyn links up with Type < / 01 to talk in-depth about the solar movements that inspired his new EP on ICONYC, his intricate workflow, his ability to translate complex experiences into music, and more.

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

Hey! Thank you! All good over here in Paris, enjoying some nice weather and really excited about the release of my new EP for ICONYC.

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

Great actually, because this is a very important EP for me. Both tracks in the EP share a rather similar creative process in terms of sound, but they are directed to different audiences. The first cut is clearly more club-oriented, while the second provides more of a listening experience, which is something I have been wanting to do for a while now.

Digging into the record, there seems to be a sense of hope in the lyrics for “Exploding Sunsets”. What’s the emotional trigger here? How did this one come about?

I believe it’s a very simple feeling, but yet very powerful. It’s about when you’re facing something very beautiful but melancholic in a way, and still finding the “good” in it. It’s the same motif that is used in “Tell Me Why” as well. See, I record a lot of videos, and recently I recorded a sunset while in Tokyo, very high up, and I was inspired by that. For the lyrics, I was imagining something very apocalyptic. I believe there’s some beauty in that. But, like with most music, maybe it’ll mean something else to someone else, and I’m cool with that.

And on the flip side, “Tell Me Why” almost resembles a sort of “built-for-radio” kind of tune. Where did you learn to manage and understand the sensitivity required to pull this one off? I mean, it’s a bit of a different ball game when compared to “conventional” electronic dance music.

Well, when I was younger, I used to write a lot with the guitar and piano. Also, I had bands, and another project with my brother, so that helped to understand music from a different standpoint.

Of course, the music is very personal, but when thinking about club music, I always picture myself playing it live, and imagining the reaction of the crowd and the moment. So that’s kind of how I know that whatever I’m doing will work, or not. But for “Tell Me Why”, it was totally intentional. It’s something that I'm starting to implement more and more on new tracks, and in the end, it leads to more powerful and personal songs for me.

We know that you kinda grew up all over the globe, including Chile, Mexico, Belgium, and Spain. How did this shape your musical taste? Do you still keep up with the music that’s coming out of those scenes?

To be honest, I don’t think it had an impact in a regular way, like getting into this or that sound or vibe. It's more about adapting to different cultures and constant changes, which in turn translates into consuming a broad palette of sounds. So I draw inspiration from many places, but I can’t really say that I have been inspired by the scenes themselves.

And in terms of music production, you’re self-thought, right? Do you remember the moment when you decided you’d take a swing at music production?

Well, discovering that I could do it all myself was very liberating. Obviously, having been in bands, I know that sharing ideas is great, and good things can come out of that interaction. I was a massive fan of The xx, and seeing how this band used electronic elements to do the work of more people was amazing. I guess that was the moment, and it’s been more than 10 years since then.

So, 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'd say there has been a philosophy that I have pursued throughout the years, which is bringing a band sound to the club. So I have always evolved around this concept. But getting to a place where I’m happy was a very exponential process, and I have a feeling that these past two years have been very important in terms of sounding how I want and the development of that. In that sense, “Tell Me Why” is very personal, and represents me very much. It's a tough process. You share your music and everyone will have a different opinion, but I have become very stubborn in the past years in terms of fighting for what I believe, so I know how to shut the noise out when it’s needed.

In terms of the sound itself, everything goes in cycles, and indie dance has that sort of 80s feel. Bringing in stuff from the past to the future and finding a new purpose for it…that is something that excites me.

From what I understand, you usually finish your tracks within a certain window of time. Why is that? Is it because of how hard it might be to replicate the feeling that motivated you to sit down in the first place?

Yeah. I tend to work really fast, but I think all the main creative stuff has to hold up. I work like that because, if I don’t, I’m probably going to overthink, and then doubt sets in, and I just sort of derail from there.

I know others like to take their time, but it doesn’t really work for me. I have a few folders with projects in different stages, so every now and then, I have listening sessions to determine which ideas I’m going to work with, which helps me keep the process interesting.

Since you tend to play “live”, is this something that you have to take into consideration when producing music? Do you ever go like “Nah, this is too convoluted for me to play it live on my own”?

Honestly, no, never…Maybe on the vocals, that’s the only place where I feel like it might become a limitation. The thing is…I’ll always have to pick parts, I can’t do it all on my own. But I’m OK with that. Sometimes, I’ll even end up with different versions of the same track because of things I had to adjust. But the trick is that everything that I write is always played out, so the origins of the idea are very hands-on, very organic. So they come from a “real” place.

As you mentioned before, you have just spent almost a month in Japan. Was this your first time in the country? I always thought that it would be a sort of alienating experience. Have you ever felt like that before anywhere around the world?

It was my second time, actually. I visited last year. I have friends with an amazing music studio. It’s super inspiring, and a perfect place to have a break.

And yeah, it’s completely like that. Everything is amazing, and people don't speak much English, so navigating this is so much fun. The first time, I did a tour of 2 or 3 weeks, and I was very lost. But I still managed to do the trip, met some lovely people, and had a blast. There’s a “zen-state” in being lonely. A lot of people go out and eat alone. Some restaurants even have seating for one. And there’s this thing about taking your time for quality, which is something that doesn’t happen around the world. Maybe a cookie bakery will only do 5 cookies a day, but they might be the best in town. And there’s pride in that. Some don’t need more than that.

Speaking about traveling…I know it might be hard to put into words, but how does all this traveling translate into the music that you make? I mean, it’s something that is rarely channeled through a local instrument, right?

For me, it’s an emotional trigger. Different places trigger different emotions, like the inspiration for “Exploding Sunsets”, which has a great juxtaposition of in terms of emotions. It's like taking a photo of a particular moment and translating it into music. It can be something simple, like watching from the window plane as it takes off after a great gig. It's about embracing moments. Personally, I like to take tons of videos and pictures, which I might then upload to Ableton and that serves me as a guide.

Having gone over the recent past and the present, what’s next for Roman Kyn? What new milestones are you looking forward to?

Releasing more music, definitively. My last release was almost a year ago, and that’s just too much time. So I'm going to amp the frequency in terms of that. Also, I’d like to play some bigger shows, so we are preparing for that. A major milestone would be to be able to keep on releasing more of this music that is not really “club-oriented” while still adapting it for the club-oriented live set.

Thank you for your time Roman! Best of luck with Exploding Sunsets. Catch you soon!

Thank you guys for sharing your time with me and for this wonderful interview. Much appreciated. See you around!

Roman Kyn’s Exploding Sunsets EP is out now via ICONYC. Purchase your copy here.

PIETRO CASELLA: SHAPING AN ICONYC FUTURE

Exuding that classical Italian-made confidence, Pietro Casella has abruptly risen through the ranks in the electronic dance music industry. Despite being just 27, Casella is smart beyond his years and has already spearheaded brands such as Adriatique’s Siamese to the upper echelons of the circuit. Now, back in Milan following a formative stint in the cold nights of London, Pietro is a precocious visionnaire called to imagine an exciting tomorrow for John Johnson’s ICONYC as its new A&R in this new phase for the imprint.

Join Type < / 01 Magazine for a distended conversation with the reserved, yet poignant Pietro Casella as we link up to discuss the future of ICONYC, his understanding of electronic dance music, views on the current state of the industry, limiting inspiration, and more.

Thank you for being with us Pietro. Are you ready? Let’s take this one all the way back to its origins…How and when did you first come in contact with electronic dance music? What was it about it that caught your attention?

There wasn't really a specific moment or situation that I am able to recollect now, yet what I have always been able to track was indeed a method, a personal approach, my way to engage with music in general from the very beginning till now. Furthermore, I must say the emotive exchange with the subject has also remained intact and intense through time. I guess, the focus on electronic music and its multiple shades eventually just settled and narrowed definitely after quite some different musical phases I went through, which were very far from one another and totally disconnected, but in some way turned out to result complementary and precious for my actual knowledge, which continuously shapes.

Through the years, surely something came from a more direct and physical approach, such as clubbing or personal sensorial experiences, but I'd say that most of the feelings, both positive and negative, the passion, the curiosity, and a sort of necessity I feel towards music still just develops within myself, in a very introversive way. I just never really feel satiated, neither in control nor dominant about it, as in a continuous yet beautiful sort of submission to this art, specifically.

Are those feelings still there? Or have your views on electronic dance music changed over the years as you dove deeper into the industry?

Tough one. As said before, feelings are somehow just untouched and undamaged and still a valid reason for me to pursue this in whatever possible way, including the professional one. Honestly, what's been changing for me are just the sources or specific scenarios that allow me to consume my emotions, whatever they are in the moment.

Regarding the actual scene, I am totally aware that things are and must be happening on a larger scale than ever before or that I was used to. However, it often does occur to me to remember the recent past with a sort of melancholy and I still tend to enjoy the more intimate sides of it. I would say that work, thinking through the creative process, and all that happens behind the curtains are surely included there.

We do seem to cling to the past more often than not…Are you aware when this happens to you? Do you automatically tend to discard the past when trying to look forward?

Well, the comparison is always there. I mean, if you’re not doing well at the moment, but you look back to “happier” days, then, yeah, that’s probably going to affect you. In a way, I’m always tied up to the past. I do try to move forward, but, eventually, I’ll return to that which was good for me. Like music. I always listen to the new stuff but might find myself stuck to an old record. I think it's about how we can tie and connect things from the past back to the future.

Everything moves so fast these days that I don’t think that we have time to appreciate or understand the present, and it kind of slips from our hands. I tend to suffer from this, so things like retrospect are good tools that add value to what we do.

Speaking about understanding the present…You have already managed some top-tier brands. So, what was it that drew you to ICONYC?

Embracing the ICONYC project felt quite natural and smooth to me. Circumstances might change around us, but I think in this field, keeping intrigued and stimulated is the key. As renovation is one of the label's focal points for the future, that's basically where my needs and wants match with the other part. I am very grateful and pleased to take up this opportunity.

And now you’re poised to usher in a new era for ICONYC. What’s your vision for the future of the label?

In the very end, it is all about making records and music. From my side, it's about stating my vision through something that does not belong to me directly and at the same time giving back a suitable and dedicated space for talented artists to express their vision. I really hope that anyone who interacts or works with ICONYC will be able to feel that.

So, how would you like people to perceive ICONYC in the coming months?

In a way, this ties back to the approach I take. For now, I can tell you that every release will be different from the last. However, there is a phantom thread connecting what we have planned. The main idea is to push music that is both functional to the dancefloor, and something that could be understood and appreciated by merely listening in a more intimate and chilled situation. It’s more about a “feeling” than anything else. I’m not really trying to force anything in particular. You’ll find quite a broad range of sounds in the coming months, and not everyone will like what we do, but we know that’s part of the game as well.

As an A&R, would you say “genres” limit labels and stifle innovation? Or is it all about having people know what to expect?

From my personal experience…I grew up as a big fan of labels like Ninja Tune, Innervisions, City Slang, Warp Records, XL, and Music From Memory, to name a few. In a way, I was dragged around by the music. Without much expectation, other than finding quality music, these labels pushed me to new things.

The fact is that I have grown since my early days as an A&R. A while back, I might have heard something, and if I didn’t “get it” right away, I would have dismissed it. Now, I understand that context is not EVERYTHING, but a quite important and sensible key factor. Call it personal growth and evolution, I guess. I feel like I used to be really selective of what I was hearing at that particular moment. Today, I understand that what I might not like is probably down to the context it was presented. So now I try to listen beyond that, imagining how things might work given different scenarios.

So, is it all about the music these days? Or do you also take into account the artist and how the artist is portrayed?

Honestly, I listen to every demo sent to me. Every day, every week. I really have no personal preference. You know, if the music is a 10, then it’s a 10. But that is a truly rare occurrence. And, at the end of the day, this is also a business, so when it comes down to the wire, we do look at everything. But I will never seek to change someone’s nature. If I know someone is not the most active on social media, I can’t really expect much from that artist on that particular front, can I?

Taking this into consideration, what are some of the most important things you’ve learned so far as an A&R? Have you ever passed on a song that went on to become a hit?

Yeah. I have. At most labels, decisions are taken in groups, so most of them are rarely unilateral. One has to also keep in mind that, a lot of times, running a label goes beyond just selecting the right music, so there’s a certain “flow” to consider. However, I’d say that this is an extremely intuitive area. When I see that everything is there, then I don’t question it too much, I just go with it.

Where do you go for inspiration? Are there other brands that have had some sort of success that you seek to replicate?

I mainly love these simple drawn-out ambient sounds and industrial sonorities that seem to set a story to music and leave me enough space to fill the whole with my imagination, simultaneously and accordingly. About it, at the minute I am digging Mica Levi, Oliver Coates, and Clint Mansell.

What’s your take on the current landscape? Can you visualize any coming changes in the coming months or years?

Honestly, I listen to a rather copious amount of records. There’s still music that I like….but I would say that most of it is out of the spotlight, in the shadows. But that’s because I listen to a lot of music, so it’s easier to feel “disenchanted” by certain things. I don’t really like much of the industry nowadays, but there are gems around, that’s for sure. It’s a matter of perception, but there’s always value to it.

Unfortunately, most of it has become super commercial or trend-driven. It’s hard to find the good stuff. The music isn’t front and center anymore. Today, at least at festivals, it all relies on big LED screens. I’m not saying that the music is not enough anymore, but I’d say that the answer lies somewhere in the middle. I’m certain that if you take the screens away, people would still dance. The music is good, we’re just overloading our senses, and that is what takes away some of the inherent magic that the music has to offer. It’s just harder to connect in that way these days. Like Icarus, we’re flying very close to the sun, and we will eventually burn up. But that’s a good thing. The big names will evolve, and move on to bigger things. And, in turn, there will be space for more creative-minded individuals and forward-thinking labels. I’m certain some fads will come to an end in the near future.

A last one then before we let you go…As an A&R, what’s your take on AI? Are things gonna change for the worse?

This is something I haven’t really concerned myself with. There’s a natural selection with my process, so I just happen to find most things organically. I tend to work with certain names and people who absolutely love the craft, so I know where things and ideas are sourced from. So it’s not something that I have had to work around or with. But if I do find out, I might be put off. I’m more of a traditional guy…