Night Talk: Off The Deep End

Lukas Horst, better known as Night Talk, may not be spinning in clubs these days, but with A Thousand Tears, his first solo EP in four years, the Swiss producer proves that the music hasn’t stopped moving. Out now via Schiffer’s rising imprint Ocultismo, the three-track release marks a deliberate shift away from the DJ booth and toward something more inward-facing. “I wasn’t producing with the dancefloor in mind anymore,” he tells Type / 01, “and that freedom shows.”

Crafted in the quiet after a personal decision to step back from nightlife, A Thousand Tears drips with a meditative intensity. There are echoes of the rave here, basslines hum with late-night tension, but the architecture leans more toward reflection than rapture. The EP’s title, inspired by the delicate synth work in the lead track, feels less like an emotional outburst than a long, silent exhale. It’s a work suspended in space, inviting listeners to drift, reflect, and feel—not just move. For Night Talk, A Thousand Tears is more than a record, it’s a recalibration.

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

Hey, thanks so much for having me. It’s a real pleasure to be part of this. Right now, I’m sitting by Lake Zurich, soaking up the sun on this beautiful Easter day. Spring is finally making its way back to Switzerland, and you can feel everything slowly waking up again.

Well, let us kick this one off…Congratulations on the release of your new EP for Ocultismo, A Thousand Tears. We can imagine the excitement must be high! So, how are you feeling about this one? How has it been received so far?

Thank you so much! I’m really excited about this one, especially because it’s my first solo release in four years. Over the past few years, I was mostly focused on collaborations with other artists, which was great in its own way, but this EP feels much more personal.

To be honest, I’m not entirely sure how it’s been received on a bigger scale, but the reactions I’ve seen - some really kind messages and heartfelt comments on Instagram - have meant a lot to me. I think these tracks are closer to my heart than anything I’ve done before, and maybe that honesty is what’s connecting with people.

Now, let’s dive straight into the record. Is there a concept or emotion connecting all three cuts?

Not initially, but looking back, there’s definitely a thread running through them. I made these tracks after I decided to stop DJing in clubs. A pretty big shift for me after more than 25 years behind the decks. That decision came about two years ago, and it opened up space for me to focus more on studio work and my personal life.

So when I was creating this EP, my heart was kind of split. I did miss the energy of DJing, but at the same time, I felt completely free on a creative level. I wasn’t producing with the dancefloor in mind anymore. I think that freedom shows - there’s a certain rave nostalgia woven into all three tracks, but they lean more into song-like structures than pure dancefloor functionality.

“A Thousand Tears” is quite a powerful image/concept, something that almost feels intimate. How did it come about?

Letting go of DJing after so many years brought up a lot of feelings. Not necessarily sadness, but a quiet kind of reflection. A thousand small moments, memories, shifts. Tears, not just of loss, but also of release.

The title A Thousand Tears came from the sound itself, especially the lead synthesizer, which reminded me of rain. There was something delicate and constant about it, like a thousand little drops falling. That image stuck with me and felt like a fitting metaphor for the mood of the whole EP.

Throughout the EP, there’s a sense of movement, but at the same time, the pieces “invite” us to relax, or completely give into them in a mental way. Was this something you intended right off the bat?

That feeling probably came from the way I approach producing music nowadays, without any barriers or expectations. Maybe a more artistic approach? I wasn’t thinking about how a track would work in a club or fit into a set, which gave me a lot of freedom to explore different moods and structures.

Around the same time, I was also producing a lot of ambient tracks, just for myself really. That mindset naturally found its way into the EP. So even though there’s movement and rhythm, there’s also space to breathe, to drift. I think that balance between motion and stillness just happened on its own.

The EP is rounded off by Shiffer’s remix of “Fearless Echo”. What were some of your initial thoughts upon hearing it?

My first thought was, “How can someone destroy such a musical masterpiece?”

Just kidding - I loved it from the first few beats. I’ve been a big fan of Shiffer’s music from the beginning, and I knew he’d push the track in a fresh direction, bringing a new level of energy while still staying true to the original.

Funnily enough, he first worked on “Bellagio”, but wasn’t happy with the result. Then he sent me his version of “Fearless Echo”, and we both immediately felt it. This was the one. It wrapped up the EP in exactly the right way.

By the way, how did your relationship with Shiffer and his Ocultismo imprint come about?

It all started with the music. I heard his track “Drunk on Hope” and was honestly blown away. When I looked him up to find out more about this new kid in the game, I realized we were both living in Basel. We got in touch and met up in the studio, and from there, a real friendship started to grow.

I think we share the same understanding when it comes to electronic music. When he first mentioned over a beer that he was thinking of starting a label, I knew right away that if I was ever going to release music again, it would be with him. Since then, we’ve been sending each other demos regularly, always giving honest feedback. When I sent him the three tracks from the EP, he immediately wrote back saying he wanted to release them on Ocultismo. It all just clicked.

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?

Thinking about the future of electronic dance music, my hope is that social media becomes less important and the music itself comes back into focus. People like Shiffer and I are trying to follow that path, putting the art first and not chasing the algorithm.

At the same time, there are big artists who’ve built a strong presence through social media, playing massive shows with stunning visuals and phones in the air. That’s just another side of the scene. And if it draws people into electronic music, it can be a great starting point to make them want to dig a little bit deeper.

With regards to AI, artists - especially in electronic music - have always embraced new technology and found ways to incorporate it in creative and exciting ways. I think the same will happen with AI. It always depends on how you use it.

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

The honest answer would be: we’ll see. I’m quite busy with my day job at the moment, and over the past few months I’ve been in the studio with another artist from Switzerland, working on music for her upcoming releases. But the response to A Thousand Tears gave me another push to release new music again soon. We’ll see where it goes.

Thank you for your time, Lukas! We wish you the best of luck with A Thousand Tears. Catch you soon!

Thank you so much for having me. It was a real pleasure talking with you.

Night Talk’s A Thousand Tears EP is out now via Ocultismo. Purchase your copy here.

Deciduous & Atóm (IE): Closer To The Fire

When frequent collaborators Deciduous & Atóm (IE) come together, it’s less a formula than a feeling, equal parts friendship, raw instinct, and sonic chemistry. Bound by a shared commitment to emotional honesty and fluid genre exploration, the Irish trio have quietly carved out a corner of electronic music where unpredictability isn’t just welcomed—it’s essential.

Their latest work, House on Fire, released via ICONYC’s W imprint, captures that ethos in full burn. Across two cuts, the EP channels inner turmoil, vulnerability, and resilience through a series of high-tension moments and cathartic releases. But more than a technical statement, the record marks a deeper step forward for both acts: a reflection of their collective headspace and a testament to collaboration built on trust, experimentation, and emotional risk-taking.

As they tell Type / 01, this project isn’t about chasing trends or fitting into boxes. It’s about letting the chaos in, processing it, and repurposing it into something that hits hard and stays with you.

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

We’re all good guys - thanks for having us. Life is good, we’re busy as is everyone, but enjoying life! Two of us are currently in our home country of Ireland, while one of the guys from Deciduous is out traveling around Asia.

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

Very excited! This one has been in the works for a long time, and we’re excited to have it out in the world. The feedback around the EP has been amazing so far, and the big thing for us was to create something a little different from the norm, which we feel has been achieved, so we’re delighted to have found a nice home like W that supports the vision for this EP.

Now, let’s dive straight into the record. House on Fire is quite a suggestive name, like there's almost a sense of urgency to it. How did it come about?

As an idea, it began with Atóm, and then we worked through the piece together. As we listened more to what was there, we found a real sense of purpose behind the vocals. As you said, it’s suggestive. To us House on Fire isn’t just a title, it’s a whole feeling. The name came out of this idea that sometimes things have to fall apart - or burn down, metaphorically - for something new to be built.

“House on Fire”, the first track in this EP, is a thunderous piece with a really interesting main break, where everything seems to “malfunction” for an instant before coming back together again. What did you want to transmit through this particular cut?

That’s a great observation - and exactly the kind of reaction we were hoping for. That “malfunction” moment in “House on Fire” is like the musical equivalent of a system overload. It’s meant to hit you, make you feel like something’s about to collapse, and then suddenly, everything snaps back, like the chaos just barely got reined in.

We wanted to capture that feeling of internal conflict, when you're right on the edge emotionally or mentally. It’s messy, unpredictable, but there’s also power in that instability. It's loud, raw, but there’s resilience underneath all the noise.

On the flip side, “Let It Out”, is a growing hybrid that treads a fine line between genres. Where did the inspiration for “Let It Out” come from?

“Let It Out” came from a totally different headspace - more of a release than a confrontation. After the intensity of “House on Fire”, we wanted something that felt like an exhale, but not in a passive way. It's still pulsing, still layered, but there's more openness, more fluidity in how the genres blend.

The inspiration came from that in-between state - when you’re not quite okay, but you're starting to process things, starting to speak honestly, even if it's through sound. We were listening to a lot of music that didn’t fit neatly into boxes - some leftfield electronic stuff, a bit of alt-pop, even Irish trad - and that fusion really informed the track.

It’s called “Let It Out” because that’s exactly what it is: not holding back, not overthinking - just letting the emotion bleed through, however it needed to.

This is not the first time you’ve shared a project. So, how did the connection between the three of you come about? What was it that drew you to collaborate together?

The connection between the three of us is rooted in friendship, long before it became a creative partnership. We’ve known each other for years, and a lot of that time was spent talking about music, sharing tracks, and playing each other’s stuff we were working on. No pressure, no big plan—just mutual respect and that natural chemistry you get when you really get each other.

What drew us together creatively was that we all hear music in this very fluid, evolving way. None of us is too caught up in sticking to one sound or scene. We’re more interested in how a song feels, rather than what genre it ticks off. That openness and trust are everything.

When we work together now, it still feels like friends jamming, experimenting, and pushing each other. There’s a lot of honesty in the process, but also space to just be weird, be raw, be real. We think that’s why the music tends to always end up in a new space, as we don’t put huge pressure on where it needs to go.

All three of you have a heap of collaborations to your names. So, in your view, what makes for a successful collaboration? When would you consider a collaboration a success?

A successful collaboration, for us, is less about the end product and more about the process of feeling genuine. If everyone brings their voice, feels heard, and there's trust in the room, that’s already a win.

It’s about that balance between trust and surprise- being open to each other’s instincts while still pushing boundaries. If we leave a session feeling inspired or like we discovered something new, that’s success.

At the core, a good collab feels like a conversation, not a transaction. Something none of us could’ve made alone. That’s the sweet spot.

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?

Honestly, dance music’s at a weird crossroads right now. There’s still so much potential, but a lot of it has started to feel a bit flat, like we’re recycling the same sounds and formulas. The raw connection that made dance music so powerful in the first place - the energy between the track and the listener - feels like it’s getting lost in all the overly polished visuals and pre-packaged moments. It’s become more about the spectacle than the feeling.

Looking ahead, we’re going to need to strip it back a bit - bring the focus back to the music itself, the emotion, the human experience. That’s where the challenge lies: how do we reconnect people with the music on a visceral level, not just through a screen?

As for AI, it’s a double-edged sword. It can be a great tool, sure, but if it starts replacing the emotional core of what we do, then we’re in trouble. Music isn’t just about technical perfection. It’s about imperfection, tension, and release. That’s something AI still can’t replicate authentically. So we’re cautiously curious, but staying grounded in the human side of things.

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

The remainder of 2025 looks like a year of deeper exploration for both Deciduous & Atóm. We’re stepping outside of the familiar, trying to challenge ourselves sonically and creatively. There’s a lot of new material in the works, and we’re not afraid to take a few left turns with it. Expect more hybrid sounds, unexpected textures, and maybe even some cross-genre experiments that blur the lines even further.

Milestone-wise, we’re focusing less on numbers and more on impact - creating moments that feel real, whether that’s intimate releases or collaborations that actually mean something. We want to keep evolving without losing the core of what brought us here: honesty, connection, and a love for pushing boundaries.

So yeah—more risks, more heart, and hopefully more resonance with the people who’ve been with us from the start.

Thank you for your time, guys! We wish you the best of luck with House on Fire. Catch you soon!

A pleasure to chat with you guys! Thank you!

Deciduous & Atóm’s House On Fire EP is out now via W. Purchase your copy here.

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.