IN THE STUDIO: 2026

“2026 felt like coming home to the studio.”

After a long break, 2026 became the year I really found my way back into making music.

There was a very good reason for stepping away for a while. I became a father for the first time, and naturally, everything else took a different place in my life. Music never disappeared, but for some time the studio wasn't where my attention needed to be.

Coming back has been different — and I think that's a good thing.

I don't feel the need to make music just to finish another track. I'm spending more time experimenting, building grooves, changing arrangements, taking things apart and putting them back together until something feels right.

My studio is centred around Logic Pro, where most of the writing, production and arrangement happens. I work with a combination of software instruments, samples, synthesis, effects and recorded elements, but I'm not particularly interested in how a sound was created if it works emotionally. Technology is there to serve the idea, not the other way around.

A lot of what I'm producing at the moment sits somewhere between Deep Tech and Melodic House & Techno.

I love the simplicity and hypnotic repetition of Deep Tech — a strong groove, a bassline, small details appearing and disappearing. But I've always been attracted to melody and atmosphere as well. Sometimes one chord, one vocal fragment or a very simple sequence completely changes the emotional direction of a track.

That's probably where my sound lives today: somewhere between groove and emotion.

My process usually starts with very little. It can be a bassline, a percussion loop, a strange synth sound or even a vocal that immediately creates an atmosphere. From there, I build around it.

I also try to leave space.

One thing I've rediscovered in 2026 is that a track doesn't necessarily become better because you add more to it. Sometimes removing four elements is much more powerful than adding another one.

And I'm still thinking like a DJ when I produce.

I want the tracks to breathe. I want sections where a DJ can work with them. Long transitions, tension, release, repetition — those things matter to me because ultimately I still imagine the music playing through a big sound system with people in front of it.

After being away from the studio for a while, I'm enjoying that process again without forcing it.

There are a lot of unfinished ideas on the computer right now. Some will become records. Some probably won't.

That's part of it.

For now, I'm just happy to be making music again.