Hey MVRK thanks for joining us.

Let’s clear this up once and for all—how do you pronounce “MVRK”?

Foolish of you to think I’d reveal that right before taking a break from releasing music. Gotta keep some mystery alive, right?

Dangit! Moving on then… Can you catch us up on what you’ve been up to in recent years since your last releases from 2022-2023?

I did my last years in med school, and from 2023 and spent a year in China for my final university year. During that time, I worked on and completed my debut album, Liminal Spaces.

The album was created while you were living in China? Can you tell us more about what brought you there and what your time was like?

I was there finishing my medical studies, doing clinical practice in a hospital. It was a very unique experience, and I used that period to focus deeply on creating a bigger musical project.

Some of the ideas for Liminal Spaces started 4–5 years ago. I rediscovered old sketches while in China and realized they could form the foundation of an album.

Did being immersed in such a different cultural and geographical environment influence your creative process or the direction of the album in any way?

Absolutely. Sometimes a change in environment gives you the space and detachment you need to revisit old ideas with new eyes.

Everything from the soundscape of the cities to the flow of daily life felt different: it forced me to pay attention and absorb more. When you’re outside your usual context, your brain works differently. I found myself noticing textures, patterns, and moods I might’ve ignored back home.

That space influenced the emotional depth and structure of the album. It’s not that I was directly sampling traditional Chinese music or anything, but the change in perspective helped me see older ideas in a new light, and that played a huge role in finishing Liminal Spaces.

Did you spend time learning the language while living there? Did that experience shift how you listen or think about sound and communication?

Yes, I had already started learning the language before moving to China, and I kept working on it while I was there. It wasn’t optional, really: very few people speak English in day-to-day life, so I had to adapt to that. It definitely shifted how I think about communication.

You start to pay more attention to tone, rhythm, and expression - not just in words, but in how meaning is conveyed more broadly.

Quick side note—what was the most memorable meal you had in China? Did you get to explore the region much?

Peking duck, for sure. You just can’t get the same thing outside China - it’s made from a specific kind of duck that’s only used there, and the preparation is next-level. Beyond that, I had a lot of amazing Korean BBQ and Japanese food; the quality and variety were unreal.

I didn’t have much time to visit a lot of different places, but I’m planning to go back soon for some proper sightseeing.

‘Liminal Spaces’ is your debut LP. Why did now feel like the right moment to release a full-length album? What does this milestone represent for you personally and artistically?

I’ve always wanted to release a full album. I’m a big fan of the format, and it felt like the right moment to create something more expansive and personal.

I wasn’t playing shows for a whole year, so there was no pressure to crank out club tracks or meet immediate expectations. That freedom allowed me to focus on something more cohesive and personal. It felt like the stars aligned to make this album happen, both creatively and circumstantially.

This is a self-release, complete with your own artwork. Was it important for you to take full creative control over this project from start to finish?

Yes, full creative control meant I could make something fully personal, including the artwork.

I actually showed the album to a few labels I really like - some weren’t interested, and others only wanted to release a few tracks rather than the full project. That didn’t sit right with me, so I decided to take full control and do everything myself. It was more work, but I got to preserve the album’s vision from start to finish, and that’s something I’m really proud of.

Can you describe how this album came together - the workflow for it? Do you work quickly or slowly? Do you consider yourself more of an introvert/extrovert? How does this affect you creatively/ make you look at music?

I’d say I’m more of an ambivert, it really depends on the context. That balance helps creatively, because I enjoy solitude while working on music, but I also get a lot from social interactions and outside input. As for workflow, I usually have a very clear idea about a project after a few hours of working. I almost never make multiple sketches of a song - if I feel like an idea is worth finishing, I already have a plan in my head for how to execute it. I work fairly deliberately and don’t rush the process, especially when it comes to shaping a cohesive album.

For the album, I worked on 10–15 songs at the same time, which was a completely new experience for me. It was a challenge, but also incredibly interesting to see how the tracks started to shape each other. It helped the whole project feel more connected and cohesive, like pieces of a bigger puzzle.

What production tools did you use? Please share some of the technical side, since this is such a huge part of your music. Would love to hear a discussion about how a particular track came to be.

I keep it simple and use a 13-year-old MacBook with 250 Ohm headphones plugged directly in.

I genuinely believe that limiting your possibilities can enhance your workflow. When you’re not overwhelmed by endless tools and options, it’s easier to focus and be creative. I used Ableton Live 10 and 11, along with some very good but pretty ordinary plugins that most producers use. The magic isn’t in the gear - it’s in how you use it.

Creatively, I usually start with a melodic element and try to write an interesting 8-bar loop that has some kind of A-B, question-answer feel to it. Once that core loop feels strong and has personality, I build the rest of the track around it.

In other cases, I’ll start from a specific sound design idea. For example, in “Vertigo,” I wanted to try distorting individual drum sounds together with a sine wave in the key of the track. That concept shaped the entire vibe of the tune. Sometimes one little experiment is all it takes to open up the direction of a full track.

Did any samples or field recordings from China make it on the record?

Yes, definitely. I recorded a lot of field sounds while I was there, especially background ambience from the streets and various locations I visited. If you listen closely, you can hear these textures layered subtly into the background of almost every track. They’re not front and center, but they add a sense of place and atmosphere that really ties the album together.

Who or what were some of the key musical influences on this record? You’ve always had a strong identity in halftime—where does that affinity come from?

Noisia, Sleepnet, Floating Points, Nils Frahm, Ivy Lab, The Alchemist, even some hip-hop artists have been major influences. Halftime appeals to me because of its space and mood - it gives room for experimentation and unpredictability.

Are there any current artists or corners of the DnB or bass music scene that are inspiring you right now?

Honestly, I find it harder and harder to come across music in the scene that feels truly original and not just repeating the same formula. That said, there’s always some cool stuff out there, you just have to dig a bit more. These days, I actually find myself listening more to live music and hip hop in general, rather than electronic music. It keeps things fresh and gives me inspiration from outside the usual circles.

Its clear that hip-hop is something you enjoy - shoutout “Move in Silence” and the PAV4N feature on “Out of Hand”.

Did you encounter any cool hip hop out there in China?

Yes, shoutout to PAV4N who features on the album. I’ve always appreciated hip hop’s energy and lyricism, and it’s reflected in parts of the album.

While I was in China, a Chinese friend of mine who’s a rapper introduced me to some local stuff. There’s definitely a scene there, it might not be huge or mainstream, but it’s alive and doing some interesting things.

The artwork has a distinctly dystopian, sci-fi quality to it. It’s mostly photography from your time in China? What themes or emotions were you trying to capture visually?

Yes, and funnily enough, I took that photo on the first day I arrived in China. Honestly, I didn’t have any grand concept in mind at the time, it just looked like a really cool place. Later on, when I was putting the album together, the vibe of that image just fit perfectly with the mood of the music. Sometimes things just line up like that.

Does this release's technical, shadowy, atmospheric mood reflect something personal or conceptual for you?

Honestly, it just comes naturally. I’m actually a pretty upbeat and positive person in general, but I do enjoy writing this kind of darker, moody, atmospheric music. There’s something satisfying about exploring that contrast. It’s not necessarily a reflection of my personal life or mindset, more like a creative space I enjoy spending time in.

One of the most compelling things about your catalog is how you frequently subvert expectations—tracks like “Saturn,” “Lost In Data,” and “Ellipse” stand out for their cinematic and unconventional approach. What role do these more experimental pieces play in your musical journey?

For me, it just doesn’t make sense to write the same thing over and over again, especially when there are so many creative possibilities to explore. Experimental tracks are a way for me to break out of any formula and keep things interesting. I like questioning every decision in the process and letting the music go wherever it wants to go, even if it doesn’t follow the usual structure or expectations.

Are there any particular artists—past or present—who’ve inspired you to take those kinds of creative risks?

Nik (Noisia, Sleepnet), again, deserves a mention. His work continues to be a beacon for creative risk-taking.

That said, I’ve never felt that I really needed external inspiration for that; it really just comes naturally to me.

You mentioned on Instagram that this album marks the end of a chapter and a step back from live shows and music-making. Can you share more about what’s behind that decision?

Yeah, after finishing the album (and one more collab single), I decided to step back from releasing and performing for a while. I’m focusing more on medical work, there’s a lot to learn there too. Also, I’m not feeling very inspired musically at the moment, and I don’t want to force it or just do something halfway. Maybe that will change later, but for now, I’d rather take a real break and come back when it feels right.

Are you exploring other creative outlets or disciplines beyond music? Do you feel that diversifying your creative expression contributes to your overall wellbeing or artistic voice?

Absolutely. Exploring medicine and research is incredibly enriching, and I believe that expanding your horizons feeds back into artistic work.

What other passions or hobbies are you gravitating toward lately? And how do they connect—or contrast—with your identity as a music producer?

I’ve always enjoyed doing a lot of different sports - anything from football to cycling, weightlifting, even chess. I like staying active both physically and mentally. I also try to read a lot. These things aren’t necessarily connected to music, but they help keep me balanced and energized. Sometimes it’s good to step away from the creative space entirely and just do something for the fun of it.

It's challenging for musicians and artists alike to balance creative identity and a musical career in an industry that besets them with obstacles on opinions/ pressure on all sides. Your music has always maintained such an original voice- how do you choose to walk this line?

I made the decision years ago that I didn’t want to rely on music for income. Because of that, I feel absolutely no pressure from the music industry. The moment you have to worry whether your music will pay the bills, it can really start to alter your vision, and I always wanted to avoid that. I’m very happy with this balance. It gives me the freedom to create exactly what I want, without compromise.

Thank you MVRK for taking the time to chat with us <3