Checking in with Ineffekt

𝑨𝒔 𝒐𝒇 π‘¨π’–π’ˆπ’–π’”π’• 11 π’•π’‰π’Šπ’” π’šπ’†π’‚π’“, π’šπ’π’– π’˜π’Šπ’π’ 𝒓𝒆𝒍𝒆𝒂𝒔𝒆 π’šπ’π’–π’“ π’π’†π’˜ 𝑬𝑷 β€œπ‘―π’Šπ’ˆπ’‰ 𝑯𝒐𝒑𝒆𝒔”. 𝑾𝒉𝒆𝒓𝒆 π’…π’Šπ’… 𝒕𝒉𝒆 π’Šπ’π’”π’‘π’Šπ’“π’‚π’•π’Šπ’π’ 𝒇𝒐𝒓 𝒕𝒉𝒆𝒔𝒆 π’•π’“π’‚π’„π’Œπ’” π’Žπ’‚π’Šπ’π’π’š π’„π’π’Žπ’† π’‡π’“π’π’Ž?

Over the last few months, as I progressed through this music world, I noticed that having high hopes is complex. On the one hand, you want to stay positive and believe that things will work out, but on the other hand, it’s difficult not to get expectations and ultimately end up disappointed. Or worse, and keep on chasing higher expectations. A lot of the inspiration came from experiencing that dynamic. It shines through on the record. Some songs are neither moody nor happy. They’re neither bright nor dark. I really liked that about the first demos, and it was cool to try that out on a couple of tracks. You can feel whatever you want to feel for a song because it’s not overly pushed into one direction. I love when music is open to interpretation. Last year I started playing a bunch, and that formed the record too. Naturally, songs came out that were more fitting for the sets I did.

𝑾𝒉𝒂𝒕 𝒔𝒆𝒕𝒔 π’•π’‰π’Šπ’” 𝑬𝑷 𝒂𝒑𝒂𝒓𝒕 π’‡π’“π’π’Ž 𝒕𝒉𝒆 𝒓𝒆𝒔𝒕 𝒐𝒇 π’šπ’π’–π’“ π’‘π’“π’†π’—π’Šπ’π’–π’” 𝒓𝒆𝒍𝒆𝒂𝒔𝒆𝒔?

When I started making my first releases, my music was much more from a functionality perspective. I’d think about what kind of song I wanted to create or what kind of album I wanted to make. This EP leaned much more on songwriting, and it’s much more based on emotional input. Naturally, your taste, input and environment change over the years and your music changes with you. When I made my debut album, I was 18, wasn’t playing as much as I’m doing now and was mostly in lockdown. So naturally, the music is very different as well. The new EP feels much more nuanced and makes sense for where I am in life and my career.

𝒀𝒐𝒖 π’Žπ’†π’π’•π’Šπ’π’π’†π’… 𝒐𝒏 π’šπ’π’–π’“ π‘°π’π’”π’•π’‚π’ˆπ’“π’‚π’Ž 𝒕𝒉𝒂𝒕 π’•π’‰π’Šπ’” 𝒓𝒆𝒄𝒐𝒓𝒅 π’˜π’‚π’” 𝒑𝒖𝒕 π’•π’π’ˆπ’†π’•π’‰π’†π’“ π’˜π’Šπ’•π’‰π’Šπ’ π’‡π’Šπ’—π’† π’Žπ’π’π’•π’‰π’”. 𝑾𝒉𝒂𝒕 π’…π’Šπ’… 𝒕𝒉𝒆𝒔𝒆 π’‡π’Šπ’—π’† π’Žπ’π’π’•π’‰π’” π’π’π’π’Œ π’π’Šπ’Œπ’† 𝒇𝒐𝒓 π’šπ’π’–?

With every new project, there’s a turning point where you start writing that one song that gets your ideas flowing after shooting in the dark for many months. One piece leads to another, and before you know it, you have a record. For this record, it was β€˜Silver Lining’, a collaboration with French II that came out two days ago. The first two to three months after writing the β€˜Silver Lining’ demo went to making the other tracks. I spend most of my days producing or working together with collaborators during this stage, staring at a laptop for 12 hours, haha. The following two months were spent mixing the EP. Which basically means making it β€œsound good” in a club and on people’s headphones. While mixing, we’re already discussing when and how we’re releasing the record, and I’m talking to my frequent collaborator Angelina Nikolayeva. She’s done most of my pictures and some of my artwork and is stupidly good at what she does. We felt the artwork should feel personal for this record since the music is too.

So we decided I should be on the artwork myself, and it should make sense with the ideas behind the music.

Because I like to release music quickly after it’s been made, the last period before release is always incredibly hectic. Shooting and editing the artwork, working on visuals (with incredible director Cas Mulder in this case), finishing the music, and working with the team to figure out how we want to roll out the record. It’s not a very mental health-friendly process, but for me, the urgency leads to less overthinking, ultimately leading to a better result. Doing such a big project in a short amount of time means a lot of 10+ hour days, but there’s nothing quite like seeing everything come together so swiftly.

π‘ͺ𝒐𝒖𝒍𝒅 π’šπ’π’– 𝒕𝒆𝒍𝒍 𝒖𝒔 π’Žπ’π’“π’† 𝒂𝒃𝒐𝒖𝒕 𝒕𝒉𝒆 π’Šπ’π’”π’‘π’Šπ’“π’‚π’•π’Šπ’π’ π’ƒπ’†π’‰π’Šπ’π’… π’šπ’π’–π’“ 𝒑𝒐𝒑-π’π’“π’Šπ’†π’π’•π’†π’… π’†π’π’†π’„π’•π’“π’π’π’Šπ’„ 𝒅𝒂𝒏𝒄𝒆 π’Žπ’–π’”π’Šπ’„ 𝒂𝒏𝒅 π’‰π’π’˜ π’šπ’π’– 𝒑𝒍𝒂𝒏 𝒕𝒐 π’ƒπ’“π’Šπ’π’ˆ π’Šπ’• 𝒕𝒐 𝒂 𝒃𝒓𝒐𝒂𝒅𝒆𝒓 π’‚π’–π’…π’Šπ’†π’π’„π’†?

In a lot of music that’s made in the electronic niche, I need more context. Like, tracks and albums exist, but it’s rare to find club music presented similarly to a pop album. I strive to make records like that. A record that has a flow and makes you feel something as a whole rather than just being a collection of tracks. The new EP, for example, isn’t just seven random songs that happened to be made in the same period. They are specific songs for specific moments in the listening experience. That’s mostly my mindset behind making music. About the music itself, I just really like particular (alt-)pop corners. A lot of inspiration for my music comes from Caroline Polachek, Luna Morgenstern and A.G. Cook. I dip into this style and work with Luna on the new record, but mostly, it’s just club/electronic music hanging in this pop context.

I often miss a personal connection between the music and the DJ/producer. Like with singers, for example, there’s a direct line between the music and the artist. There’s a lot left to do in that area regarding DJ/producers, and that’s where I’m trying to focus on and gain ground.

π‘ͺ𝒂𝒏 π’šπ’π’– 𝒕𝒆𝒍𝒍 𝒖𝒔 π’˜π’‰π’‚π’• 𝒔𝒐𝒖𝒏𝒅 π’šπ’π’– 𝒑𝒍𝒂𝒏 𝒕𝒐 π’ƒπ’“π’Šπ’π’ˆ π’…π’–π’“π’Šπ’π’ˆ 𝒕𝒉𝒆 𝑩2𝑩 𝒔𝒆𝒕 π’…π’–π’“π’Šπ’π’ˆ π‘Άπ’“π’ƒπ’Šπ’• 𝒂𝒏𝒅 π’‰π’π’˜ π’Šπ’• π’…π’Šπ’‡π’‡π’†π’“π’” π’‡π’“π’π’Ž π’šπ’π’–π’“ 𝒔𝒐𝒍𝒐 π’‘π’†π’“π’‡π’π’“π’Žπ’‚π’π’„π’† 𝒂𝒕 𝒕𝒉𝒆 π’‚π’‡π’•π’†π’“π’‘π’‚π’“π’•π’š?

Honestly, I have no idea, and I love that. We both dip into many different styles and let our setlist depend mainly on the environment and crowd. It’ll probably combine house, pop and a little side quest into percussive techno. But who knows? It being on the main stage means we’re going to bring the mainstage tunes, though, hehe.

π‘Ύπ’‰π’Šπ’„π’‰ π’‘π’†π’“π’‡π’π’“π’Žπ’‚π’π’„π’† 𝒂𝒓𝒆 π’šπ’π’– π’Žπ’π’”π’• π’π’π’π’Œπ’Šπ’π’ˆ π’‡π’π’“π’˜π’‚π’“π’… 𝒕𝒐 𝒂𝒕 π‘Άπ’“π’ƒπ’Šπ’• π‘­π’†π’”π’•π’Šπ’—π’‚π’?

Probably the festival, as I’m playing with Parris for the first time and that’ll be really fun. He’s such a funny guy and a sweet soul. I have got to say, though, closing after two of my favourites, Ben UFO and Sedef AdasΓ―, at the Orbit β€˜after hours’ in WAS will be a treat too!

π‘ƒβ„Žπ‘œπ‘‘π‘œπ‘”π‘Ÿπ‘Žπ‘β„Žπ‘¦ 𝑏𝑦 π΄π‘›π‘”π‘’π‘™π‘–π‘›π‘Ž π‘π‘–π‘˜π‘œπ‘™π‘Žπ‘¦π‘’π‘£π‘Ž

Blijf op de hoogte

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