What is the most challenging part of turning emotions into sound? Do you think music can express things words cannot?
Sound is raw energy – it connects directly to emotions without the need for words. The challenge is capturing a feeling and shaping it into something others can experience. Music goes beyond language, tapping into something deeper and universal.
Techno used to be underground and rebellious. Now it fills big arenas. Do you think it has lost that spirit, or is it evolving?
Rebellion isn’t static, it transforms. In the past, it was about taking over abandoned spaces and celebrating the right to party and to express ourselves freely. Now, it’s about pushing artistic and creative boundaries. The spirit of techno is still alive, just expressed in new ways. Sometimes more interesting, sometimes less…
Techno parties have been a space for freedom and expression. Now that the scene is more mainstream, how do you see their role changing?
People will always need places to escape and connect with something bigger. Whether in a small club or a massive festival, the best events still create a space where people can let go and transcend, immersed in music.
As a respected techno producer, do you think the scene is shaped more by individual artists or by the community?
Both play a role. Some artists introduce new ideas, but the community decides what resonates and lasts. Techno is constantly evolving because it thrives on both innovation and shared experiences.
When you collaborate with Charlotte, how do you balance working together and keeping your own artistic identity?
It’s like a dialogue – sometimes we blend, sometimes we follow our own paths. I think we create a good balance in general. I add complexity to her straightforward vision, and she brings clarity to my more intricate ideas. The key is knowing when to merge and when to give each other space to create and dive independently.
Your early days were in raw, underground raves, but your music is also very precise. How do you balance that energy with careful sound design?
Those early rave experiences showed me how wide sound can be and how it affects people on a deep level. I use that energy but shape it with intention – every element has a purpose.
Your tracks become anthems before they are even released. Do you think there’s a psychology behind that? Do you see yourself as a trendsetter?
When a track connects before its release and when still unknown, it means it speaks to something beyond just a moment in time. It’s not about following trends but creating something with lasting impact. It’s pure music speaking by itself!
Your all-night-long set at Tempio del Futuro Perduto celebrated “Transcendence” on NINETOZERO. How did that night come about? What did you start and end your set with?
Like every SOLO I do, that night was a journey from silence to silence. 8 hours long. “Transcendence” is about dissolving boundaries between self and sound, and playing an all-night set allowed me to explore that idea in real-time. We started all together from silence – first with some field recordings, beatless ambient and then I moved to deep dub, to techno, to psytrance and everything in between. It was an unforgettable night in a city that I’m deeply bound to, in a special place that is Tempio del Futuro Perduto. The closing track was ‘Spatial Perception’ – a return – a final breath before silence.
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admin2022-03-04 12:22:432024-10-14 17:11:33Jeff Mills / Drift
