The Echio Quiz with NVST

How did you learn music and did you have any mentors?

I’ve always been into music — listening constantly, and even studying music theory in high school. But I really got into production at 23, while living in Berlin.

My ex-partner (Call Me Snoop DJ) gave me a MiniNova, a vocal synth. That moment changed everything. Suddenly, I realized: I can actually do this. The machine was playful and immediate, because it came from my voice. I could just sing into it, and instantly the sound became part of the track. That accessibility gave me confidence that I could truly be a producer.

From there, I added more machines, learned through collaboration, and practiced endlessly. My approach is still very punk: I record with machines, create long loops, repeat sounds and text, and then cut what I like. It’s raw, but it works for me.

As for mentors: Simon (Call Me Snoop DJ), who taught me nearly everything I know, Aurel, Warzou, who believed in my music before I even recognized it myself, and Benedikt Frey, who has guided me in countless ways.

Tell us about a key piece of feedback you received during your career and from whom.

The most important feedback came from Benedikt Frey.

When I was releasing my second LP, Stop Violence Motivate Violence, the sound engineer sent me a terrifying email saying the tracks were “unmasterable” — too much bass, chaotic elements, nothing pressable on vinyl. I was overwhelmed and hoped Benedikt would fix it for me. Instead, he didn’t.

It was hard, but smart. Over weeks of frustration, I figured it out: how to arrange elements, manage bass to avoid phasing, leave space for mixing and mastering, and position sounds so they didn’t clash. That process taught me how to make music that could actually be pressed and released.

What is good music feedback in your opinion?

Good feedback begins with understanding the intention behind the track. The same elements can sound completely different depending on the story or emotion the artist wants to express.

When intention is clear, every technical choice — from EQing a hi-hat to deciding how loud a vocal sits — feels meaningful. That’s when feedback helps you improve without compromising your artistic vision.

What feedback would you give to your first release?

My first compilation (2017–2019) was raw and naïve — but I love that. You can hear the excitement of me just discovering sound.

Tracks like Concentrate Making the Whole One — my first ever — carry that punk energy: not caring about rules, only about expression.

The feedback I’d give my younger self? Stay raw. Hold onto that naïve energy, because the more you release, the harder it is to keep that freedom.

If you could spend a day in the studio with one of your heroes, who would it be?

It’s impossible to choose just one.

• Prince, because it would be legendary to see him work.
• Cosí Fan Tutte, to learn how she tells stories through the mic.
• Beth Gibbons (Portishead), for her unique emotional delivery.
• JASSS, who has always inspired me as both DJ and producer.
• Kenny Larkin, an icon of electronic experimentation.

What’s the object in your studio you can’t live without?

A microphone. Everything starts with my voice — lyrics, singing, humming. Most of my tracks begin with text or a phrase, then expand from there.

And, of course, my MiniNova. It’s still my favorite machine.

If you weren’t making music, what would you do?

I’d be working with animals — maybe in a shelter, maybe with horses or dogs. I grew up on a farm surrounded by animals, thanks to my mom, who rescued any creature she found. That bond has always stayed with me.