The Echio Quiz with Polygonia

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

I’ve been involved in music since childhood, playing several instruments. Later, I attended a musical high school where I met my mentors FTP Doctor and Dysight. They taught me a lot about production and DSP during our collaborative sessions. I'm still working with them today on a different level — it's a lot of fun.

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

Timbaland. He had a huge influence on me in my teenage years when I was listening to a lot of pop music. His skill set and vision are incredible. I’d also love to work with Stimming, whose technical approach to production also shaped me.

Tell us about a key feedback you received during your career and from whom?

Two moments stand out. Early on, FTP Doctor asked me, “Do you know what’s happening in your bass section?” That helped me understand the interaction between kick and bass — crucial for club translation.

More recently, Batu told me every track needs a memorable moment. That changed how I think about arrangement and structure.

What is good music feedback in your opinion?

Honest and constructive. I don’t want compliments — I want to know what doesn’t work so I can improve. Technical feedback is great, but it should also consider the emotional message of the track.

What feedback would you give to your first release?

My early ambient self-releases had basslines that were way too loud — a common mistake when working in home studios. I’d tell myself to turn them down by 5 to 10 dB.

What’s the object in your studio (musical or not) you can’t live without?

My plants and my cats. They help me feel calm and creative. For me, the vibe is more important than acoustics or gear.

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

I’d be a translator (before AI!), work with plants and animals, or be a UI/UX designer — which I’m partly doing already.

About Polygonia’s new album Dream Horizons

What is the concept of this new album?

Dream Horizons revolves around dreams. Each track focuses on a different emotional state connected to dreaming.

For example, “Gate to Amygdala” evokes nightmare tension, while “Essential Breath” captures the moment of waking up from one — with a melancholic saxophone melody and pulsing breath samples guiding the emotional transition.

Your sound design is always intricate, but this album has strong melodic elements. How did you approach composition?

I started most tracks with loops, often sketching arrangements while on the road. Later, in the studio, I refined them and added live instruments. Each track had a direction in mind — whether more melodic or dubby — but I worked mostly by instinct.

How do you usually start a track?

Typically with the bass section — to build a solid groove and imagine the club feel. From there I add drums and synths, though sometimes I start elsewhere depending on the flow.

How do you know when a track is finished?

I mix as I go, so when the elements feel right, I move into arrangement. I take quick decisions to avoid overthinking. If I do get stuck, I take a 3–4 day break to reset my ears and return with perspective.

Your press mentions "a high level of intention." Can you elaborate?

In classical music, composer and performer are separate — but in electronic music, you’re both. That means you’re responsible for harmony, rhythm, sound design, and emotional message all at once. It’s demanding, but it gives you full control over your artistic vision.

Did you use new tools for this album, or stick with what you know?

No new tools — but I did bring back my saxophone, which I hadn’t used since 2019. I love its warm timbre. Using live instruments adds a human touch that I really value.

Did you play tracks to others before finishing, or stay in your own bubble?

This time, I was under time pressure, so I only showed the album to FTP Doctor before sending it to the label — just for reassurance.

But I tested the tracks during gigs, and the crowd reactions gave me clear direction: what to cut, what to highlight after breaks, how to tighten arrangements. That feedback loop helped me shape the final versions.