Crafting Dark Soundscapes / A chat with Lokier

Hailing from Mexico City, DJ and producer Lokier has built a name for herself in the global electronic music scene with her raw, atmospheric sound and eerie, cinematic influences. Drawn to Berlin a decade ago in search of creative freedom, she found a thriving underground culture that allowed her to fully explore her sonic identity. Her productions, deeply influenced by horror film composers like John Carpenter and Goblin, weave tension and emotion into hypnotic rhythms, creating an immersive experience for listeners. Her latest releases, including Back To It / Pretend, showcase her evolving sound while staying true to her signature dark aesthetic. Her collaborations, including She Made Monster with Morgan Hammer, highlight her dynamic energy, and her work with Amelie Lens’ Lenske label solidified her presence in the electronic scene.

What drove your decision to move to Berlin, and how has the city influenced your sound and artistic approach? How does the underground scene there compare to what you experienced in Mexico?

I moved to Berlin because I felt inspired by the music scene and wanted more freedom to explore my sound. When I was living in Mexico, I felt a bit restricted, but in Berlin, I found a sense of artistic freedom and openness that allowed me to grow and connect with other artists. That was 10 years ago, though, so I’m sure a lot has changed. I can’t really comment on how things are now, but I’ve seen some really cool things happening online.

Your music and visuals have a deep connection to dark, eerie aesthetics. Where does this fascination stem from, and how do you incorporate it into your sound?

My early productions were heavily inspired by old horror film soundtracks, especially B-movies and artists like John Carpenter and Ennio Morricone. I loved how they evoked deep emotions. Even though I don’t produce the same way now, that aesthetic is still a part of me. I try to incorporate it into my sound through atmospheres, deep emotional melodies, and interesting sounds that carry a sense of tension and mystery.

You’ve spoken about your love of horror films and soundtracks. How have artists like Goblin and John Carpenter shaped your approach to music production? Do you ever try to create a cinematic experience within your tracks?

Goblin and John Carpenter have definitely influenced my approach to music, especially in how they create suspense and atmosphere. Their ability to tell a story through sound is something I really admire. I wouldn’t say I try to create a full cinematic experience in my tracks, but I do like to build tension and emotion in a way that feels immersive, almost like a scene from a film.

Coming from the underground scene in Mexico City, how did it feel to transition to playing in European clubs and festivals? Were there any particular moments where you felt like you had finally found your place?

In Mexico, I was used to people telling me not to play weird or dark music. But the first time I played in Berlin, someone from the crowd asked me to play the weirdest music I had. I had never felt that kind of freedom before in Mexico, and in that moment, I knew I had found my place.

You’ve mentioned preferring hardware over software in your production. What draws you to working with machines, and how does it shape your creative process? Do you have any favourite pieces of gear that you feel define your sound?

For years, I worked only with hardware because I felt like nothing could top the warm, raw, and unpredictable sound of machines. But during COVID, I was stuck in Mexico without my studio, so I forced myself to use software. I was surprised by how good it sounded. It was easier and better than I expected. I quickly got used to it and have been using software mostly since then. Lately, though, I’ve been feeling inspired by hardware again, so I’m bringing it back into my process. I think it’s good to switch things around whenever you feel stuck.

Your latest release, Back To It / Pretend, showcases a range of influences. How do you balance maintaining a signature sound while experimenting with new elements?

With this EP, I wanted to blend all my influences, old and new, to create something that truly reflects who I am right now. It still feels like my sound but evolved. There are elements of my past, combined with new production techniques and sound design I’ve developed over the past few years. I’ve realized it’s ok not to define a single style, but instead, let my music be a mix of everything that inspires me.

Your collaboration with Morgan Hammer as She Made Monster brought a unique energy to your sets. How did that project come about, and do you have plans to revisit it?

The moment Morgan and I met, we became close friends almost instantly. We had mutual interests and a very similar taste in music, so our project came together naturally. Our sets were always a lot of fun, and the energy was reflected in the music. We’ve since taken different paths, but who knows, maybe one day we’ll work on something together again.

You’ve been open about dealing with tinnitus and taking time off to recover. How did that experience affect your approach to music and touring? Did it change the way you listen to or create music?

I developed tinnitus around the time COVID started, so I wasn’t really playing or touring. However, I was working on my EP for Lenske at the time and had to pause it for a few months until I recovered. I immersed myself in daily Joe Dispenza meditations and holistic treatments like acupuncture, which helped me heal within three or four months.

How did your connection with Amelie Lens and Lenske come about? What was the experience like releasing music on her label?

After I released my EP Preech, Amelie reached out and asked me to send her some music. I initially sent her Back To Life, which she loved, and then she asked me to do an EP for Lenske. COVID was happening at the time, and I had to take some time off to recover while working on the EP. Amelie was incredibly supportive and told me to take as long as I needed to heal. I was thrilled, of course, playing bigger rooms was new to me and definitely exciting.

You’ve already accomplished so much, but what’s something you haven’t done yet that you’d love to explore? Whether it’s a new genre, a dream collaboration, or a completely different creative medium, what’s something on your artistic bucket list?

After a couple of uninspired years, I’ve felt a rush of creativity, not only in club music but also in writing songs like I did 15 years ago. I’m excited to keep pushing my artistic boundaries, exploring visual arts, and eventually diving into film, which has always been a dream of mine.