Your 2026 project ‘LIFE EP’ sequences: alma, mente, cuerpo. Soul, mind, body. Did you experience it in that order?
Honestly, the order wasn’t intentional at first. It slowly revealed itself while we were building the project. The whole EP actually started with a track now called life (vida), which almost didn’t make the project at all. We removed it because it didn’t seem to fit, but later added it back as a bonus track, and somehow it ended up making perfect sense.
Luckily my body never really broke down. I think I recognised the signs before it got to that point. For me, it definitely started with my mind.
Somewhere along the way I realised I had spent years building a career, but very little time thinking about what was actually important to me. I didn’t want this EP to be about a breaking point or something negative, even though it was created during that period and shaped by it. I just wanted to explore what makes life feel like life, and what makes us human.
You called the first single “Reborn.” That word assumes something died. What died?
A younger, more reckless version of myself.
Over the last couple of years, my life changed so much that I had to change with it. I don’t think I became a different person, but I definitely became a more conscious one.
Reborn is really about accepting that it’s okay to leave some things behind if it helps you become a better version of yourself.
You could sit with your soul. You could sit with your body. “Mente” has Dillistone though. Why couldn’t you sit with your own mind?
Honestly, this one isn’t that deep.
I produced the track, but Morten wrote the lyrics. When I heard what he’d written, it immediately felt like the emotional world I associated with mente. Everything just fit naturally.
You’ve lived in Berlin for three years and said publicly you never really settled there. What version of yourself did you leave behind in Bogotá that Berlin has never met?
The shy kid who had no idea what the world looked like.
Back then life was simple. I’d spend all day making music, gaming with my friends, smoking weed. I miss my friends back in Bogota a lot and I still look back on that time with only good memories.
Berlin met a version of me that suddenly had responsibilities, deadlines and a career moving faster than I could process.
Touring less this year has honestly changed a lot. It took some time to get used to having more free time, but I’ve built new routines, started discovering the city properly and, in a way, I’m finally getting to know Berlin, and myself, from a new perspective.
Everyone sees the Boiler Room set, the sold-out arenas, the label launch. Nobody sees the Tuesday. What does a Tuesday look like, the part you don’t post about?
Monday is basically my Sunday. That’s the one day nobody is getting me away from my Xbox.
I actually enjoy having one really boring day after a weekend of travelling and playing shows. I try to switch off, sleep well, eat properly and just stay at home.
By Tuesday, the week starts again. I usually get back into the studio to work on new music or whatever else is waiting for me.
It’s funny because even when you think all you want is a quiet day, after a couple of hours you’re already thinking about what’s next. I think it’s easy to get caught up in that feeling that you always have to keep moving or you’ll fall behind.
If an artist reading this is where you were four years ago—alone, producing in a bedroom, no connections, no audience—what’s the first thing they should stop doing?
Probably finding excuses not to finish music or send it out.
At some point you just have to stop overthinking and let people hear what you’ve made. The worst thing that can happen is that someone says no.
There’s actually a quote on the wall in my gym that says, “You can have excuses or you can have results, but you can’t have both.” As simple as it sounds, I think there’s a lot of truth in it.
