Your sound inhabits this space between trippy, groovy, dark… maybe industrial without being only hard. How would you describe that, and how do you get into the headspace to produce in that world?

I think it’s important to stay true to yourself. I love the energy exchange of DJing for an audience while honoring the context, time, and place. That’s about channeling and blending elements of the future and past while staying in tune with the present. With production, I love the art of contrast, minimalism, and avant-gardism and am inspired by the instruments and machines I use.

So there’s this connection with Die Sekte. How did that come about, for the podcast and the party; how does that relate to the release?

We met in Milan when they booked me in February and instantly clicked.  Luca Armando and Franz Bush run a label and organize one of the best techno and fetish parties in Europe while maintaining a safe space. Oh, and the caged booth is so nice!

How do you relate to fashion? Techno can provide that kind of space, too – that feeling of exploring another identity; how do you visualize that identity for yourself musically?

Expression through both forms is limitless. It’s constantly evolving, but can also dig into the past and be re-interpreted. To me, techno and fashion can go hand in hand. It’s not necessary to put them together — it’s a personal choice we make, to make it part of our expression.

Wearing something to explore a different identity or character can amplify your mood and enhance your vibe – just like I put on ambient music at home when I’m relaxing.

I use music production to channel my creative energy. It can be challenging at times to find my creative energy so I make sure to dedicate time to my craft every day.

Oh, and maybe we can visit your clap allergy – this to me is fascinating. Is that like cooking somehow, the sounds you like, or their flavors as timbres? (Claps as cilantro?) What do you think about those ingredients?

Haha! Yes, I’m not a fan of claps, especially when they are used on the 2nd and 4th beats in techno. I just don’t think it’s sexy and I don’t like the way I dance to techno tracks with claps in that generic way. I’ll still DJ tracks like that, especially 90s-infused techno tunes! But I rarely use them in my own productions unless they’re on every beat or used randomly.

The cuts on this release all sound really related – when were they produced? What motivated them for you, aesthetically, or emotionally?

All tracks were composed in my previous dream music studio in Berlin. It’s been too long since I released a solo EP on Gradient and I’m happy things are finally coming out.

‘The Fall’ was written with a Dave Smith Instruments Evolver and Prophet ’08 synth. The high percussion and pad in that track are from the DSI Mono Evolver. ‘Tes Levre’s’ is a re-release and previously came out on Seelen Records vinyl-only V/A. “Framework” and “Synchronicity” were produced this year on DSI synths, Elektron’s analog rytm and modular gear.

Music is my therapy. I produce what I feel. I try not to think too much when I create. I try to channel my energy into production.

I know you’re committed to using hardware in your production. How does that work – also to understand for people who maybe aren’t producers – is it about getting hands-on?

Yes, definitely. Focusing on modular, synths and drum machines helps me approach music production in a musician-like way. Also, I love turning knobs!