Alyne: “My new sound is much more positive”
Alyne captivates audiences with her journey through the world of techno, trance, and melodic techno. Her performances are a sonic exploration filled with rich melodies, dynamic basslines, distinctive acid sounds, and contagious energy.
Photo credit: Alyne – Official
She has left her mark in the electronic music scene, with performances at festivals like the Rainbow Serpent Festival in Australia and ADE in Amsterdam, and historic clubs like Ritter Butzke in Berlin and Odonien in Cologne.
Her music has been released on labels like Parquet Recordings, Soulful Techno, and Rebellion der Traumer, attracting the attention of artists such as Adam Beyer, Solee, Agoria, and Bart Skills, and garnering millions of streams.
Alyne, a firm believer in music as a universal language that unites us all, spoke with EG about her experiences, her thoughts on the music scene, her future projects, and her commitment to promoting equality in the industry.
EG: Hello, Alyne! Welcome to EG. It’s a pleasure to have you. Where are you currently? How are you doing?
Alyne: Hello, thank you for the invitation, I’ve been following you for years. I’m in my studio, working on a new track and selecting music for the weekend. Just a regular day. I’m doing great, feeling very creative, and enjoying it.
EG: First of all, thank you for your contribution to our podcast series EG After! Tell us, what can fans expect from this episode? How do you usually approach creating recorded mixes?
Alyne: For me, the mix is special because it incorporates various genres but always with plenty of melodies and vocals. I love vocals because they convey a lot of emotions, not the cheesy ones, but more the edgy ones, just like melodies. So you can expect lots of melodies, vocals, and driving bass lines from lower to more driving techno and trance. When recording a mix, I first select music for it, usually tracks I’ve been particularly enjoying lately. Then I set the sequence and record it with my mixer and CDJs.
EG: By the way, we noticed that the mix includes some unreleased tracks from you! And we know you’ve been working hard in the studio lately. Is there anything we can expect in this regard?
Alyne: Yes, I’ve been spending a lot of time in the studio lately, feeling very inspired. It’s wonderful for me because I’ve had some creative struggles for a while. That’s why it’s been quiet, and my last release was a while ago. Currently, I’m looking for labels for my new tracks.
EG: Your last official release was ‘Save The Last Dance’ in 2022, released by the powerful label Rebellion der Traumer. How do you think your sound has evolved since then? What are some of the things you’ve been exploring in the studio lately?
Alyne: ‘Save the Last Dance’ was my last release and thus marked the end of a period that was very significant for me personally. It was a wonderful coincidence that I could release it on Rebellion der Träumer, the label around Elias Doré, which has always been very important to me. They do great work.
As a highly sensitive person, it hasn’t always been easy to deal with the pressure in the music business, especially with social media, so I struggled to find my place and had to pause releasing. Fortunately, as the saying goes, after rain comes sunshine, and I’ve been able to work a lot on my music, my studio skills, and myself lately. I’ve been delving into mixing intensively and gaining many new insights. My new sound is much more positive; I compose a lot more uplifting melodies and my goal is to bring good vibes and beautiful energy to the dance floors.
“I compose a lot more uplifting melodies and my goal is to bring good vibes and beautiful energy to the dance floors”
EG: Given that it’s such a hot topic, what are your thoughts on the recent implementation of AI in the creative side of music? Have you been engaging with any form of AI lately? What’s your relationship with it?
Alyne: To be honest, I haven’t engaged much with AI from a musical perspective yet. I’ve read about it somewhat. Oh, wait, I sometimes use a plugin, SmartEQ by Sonible, which is probably also AI-based. In general, I don’t think art will be replaced by AI, which I think can be seen very well in the pictures from Midjourney, which are sometimes quite good but somehow always the same. Outstanding art needs a soul, and a soul cannot be artificially created or replicated.
EG: Stepping out of the studio for a moment… You’ve been in the scene for a while now, what do you think the future of electronic dance music looks like? Are all these innovations and festival performances on the big screen bringing us closer to or further from the essence of music? Have we lost anything along the way?
Alyne: That’s a complex question. It’s true that the scene is growing all the time, there are more and more festivals, DJs, and clubs. Parties are getting bigger, and more people are involved. I don’t think music is fading into the background. Sure, there are some social media stars who gain attention not because of their musical perspective but rather through their performance skills. Since the scene has grown so much, there’s pretty much everything now.
Really good DJs, really good performance artists, really good live acts and producers, and everything in between. There’s a lot of music out there due to the size of the scene; it feels like a lot is released every day, and it’s sometimes very hard to keep track. But there are always pioneers, and then there are imitators, in every genre. And so, new genres are also invented. I don’t think
music is fading into the background; I would even go so far as to say that music is gaining in quality on all levels, both artistic and technical because everyone has to try much harder to stand out from the crowd. I would say that really good and/or innovative music still takes center stage.
EG: And where do you think we currently stand in terms of equality? What do you think the industry should be working towards?
Alyne: A lot has changed in recent years, and that makes me very happy. When I started DJing, I was one of only two or three other women in my city. It’s much better now. However, the scene has grown under male direction, and label makers, organizers, bookers, and club owners are still often male-dominated. I sometimes feel that men trust men more than FLINTA individuals (women,
lesbians, intersex, non-binary, trans, and agender people), and that’s why FLINTA-only parties and labels are emerging. I’m not sure if that’s the solution, but perhaps a transition.
“The scene has grown under male direction, and label makers, organizers, bookers, and club owners are still often male-dominated”
EG: If change doesn’t come from “within,” do you believe measures like affirmative action are a possible solution?
Alyne: You mean, something like a “women’s quota” or “FLINTA quota”? It helped in politics back then. But whether it could be a solution in the music business, I can’t say. I rather think not. I think it’s more about trusting FLINTA individuals. But I see that younger people no longer have these barriers in their minds.
EG: Finally, can you give us some insights into what’s next for Alyne? What can we expect from you in the coming months? Where can your fans see you next?
Alyne: I’m working a lot on new music, and I’m excited to release a lot of it. I’m looking forward to the next period and have some plans for this year, but I can’t reveal more about that yet.
EG: Thank you for your time, Alyne! See you on the dance floor!
Alyne: Thank you for the nice conversation!
Alyne’s EG AFTER.143 is now available on Electronic Groove Soundcloud and Mixcloud platforms. Listen here.
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