AydinAT;01: "I want every new release to represent another step forward"
Born in Tehran, AydinAT;01 is a DJ and producer who has pursued his artistic vision within the underground music scene for over a decade. His journey has been shaped by the personal and creative challenges of developing electronic music in an environment where opportunities, resources, and dedicated spaces for the genre have often been limited. After his early explorations in psy-trance and a period away from music that allowed him to reassess his artistic direction, he returned with a renewed identity and a more refined sound spanning melodic techno, progressive house, and indie electronic music.
His productions have entered the Top 100 charts and earned support from internationally renowned artists such as Pete Tong, Armin van Buuren, Solomun, Joris Voorn, Richie Hawtin, and Marco Carola. Driven by resilience, persistence, and constant sonic exploration, AydinAT;01 continues to turn the challenges of electronic music production and performance into intense, authentic, and evocative soundscapes.
"Revenge in Love" is your latest remix for Paco S less. What initially caught your attention in the original track, and what was your starting point for reshaping it through your own sonic identity?
Having known Paco for many years and considering him a close friend, I felt an immediate connection when I first heard the original track. I was particularly drawn to its distinctive melodic house sound design, the depth and emotion within the melodies, the atmospheric character of the drums and rhythmic elements, and the cinematic quality that runs throughout the track.
For my remix, I wanted to stay true to the original concept and the central narrative of the project, while taking the emotional and melodic aspects a step further. I introduced deeper, more expressive melodies and subtle layers of mystery and atmosphere, allowing the track to evolve naturally while maintaining a strong connection to the dancefloor.
My intention was not to reinterpret the track in a way that loses its original identity, but rather to build another perspective around the same story. I wanted to bring my own musical signature into the production while preserving the emotional essence and atmosphere that make the original so special.
The ultimate goal was to create a remix that feels like a natural companion to the original — different in its own character and expression, yet close enough in spirit that both versions feel connected to the same story. I wanted each version to stand on its own, while together they form a cohesive musical journey built around the core identity of the project.
Your journey has taken you from Psy-Trance to a deeper and more melodic direction, spanning Melodic Techno, Melodic House, Progressive House and Indie Dance. How has this evolution changed the way you approach music production and remixing today?
Psy-trance was a very trendy genre back in the day, and I still have a lot of love for it. But as my musical knowledge and understanding developed, I gradually found myself moving more toward genres like melodic house.
What I love about melodic music is the way emotional melodies, tension-building arpeggios, mysterious atmospheres, and more uplifting rhythmic elements can come together and create a deeper emotional experience. I’m always trying to express something that comes from within me — something connected to my own thoughts and emotions — and translate that into music.
For me, it’s about combining joyful or emotionally charged melodies, sometimes even melancholic ones, with drums, pads, chords, and detailed sound design. I want all of these elements to work together in a way that allows me to maintain my own musical signature.
That signature can sometimes move toward progressive, or at other times take on more of an indie character, but the foundation always remains the same: emotional sound design and melodies that have something to say.
I want my music to reflect the way I think and feel. I don’t want to create a track simply because it fits a certain trend or genre if it doesn’t connect with me personally. For me, the melody should be able to become a thought, and that thought should be able to live within the energy and happiness of the dancefloor.
That is something I never want to compromise on. I don’t follow the strategy of producing music simply for the sake of making a track if its core idea or emotion doesn’t align with who I am. I want the music to represent my own perspective, while still giving people a feeling they can connect with and dance to.
Emotional depth and melodic storytelling are key elements of your artistic identity. When you produce a track or remix, how do you translate a personal emotion into a musical experience that can connect with listeners around the world?
Yes, exactly. I think what we are talking about here is the depth of melodic emotion.
For my listeners, I have always wanted to create music that comes from something genuinely emotional and personal within me. Of course, you can build a project around melodies, synths, and chords with a specific market or commercial direction in mind, but I always come back to one idea: I want to be the creator of something that comes from my own thoughts.
For me, an artistic work should be able to transform the inner world of my thoughts into melodies. The sound designs I create are sounds that I can spend hours living with, shaping and exploring. I want the listener to be able to feel something of the way I think on the dancefloor — through melodies interacting with drums, arpeggios, harmonies, and all the other elements of the production.
I believe a listener should be able to feel the person behind the music. I want to translate my thoughts into melodies and communicate my inner emotions through sound. That is a principle I always want to remain faithful to.
Ultimately, what I want to give the listener is something that has been created from the deepest emotional place within a human being. When you hear my music, I want you to hear something that comes from the inside — sounds and notes coming together in a way that allows you to understand, think, feel, enjoy, and be happy.
For me, that is the beauty of music: taking something that exists deep inside me and turning it into notes, melodies, and sound — then allowing another person to feel it in their own way.
Since late 2024, you have also been working as Label Manager at Techno Tehran Records. How has being on the other side of the scene—listening to and selecting other artists’ music—influenced your own creative vision and your understanding of where electronic music is heading?
Techno Tehran Records, one of the strong techno labels in the Middle East, became an important part of my journey through my collaboration with my dear friend Ali Pink. Being part of the label and connecting with other artists, musicians, and producers has been a truly inspiring experience for me.
Every artist has their own way of thinking and their own approach to music. Whenever I receive a demo and see the passion behind it — knowing that an artist may have spent hours or even days working on a single track — it reminds me that we have to respect and value music.
A demo may not always fit the strategic direction or identity of our label, but that doesn’t mean it isn’t worthy of appreciation. Sometimes I may not personally connect with a track, but I still take the time to analyze its sound design, the way the project was created, the bassline, and the relationship between all the sonic elements. I can always learn something from another artist’s approach, and that process helps me grow as a producer and as someone involved in the music industry.
For me, a project not being accepted by a label does not necessarily mean that the project is weak or that the artist has failed. Sometimes we receive demos that are extremely strong, and I can spend hours listening to them, studying the production, and genuinely enjoying what that artist has created. Even when a track doesn’t fit our label, there can still be something valuable in it.
I think this is an important part of being involved in a label: understanding that music is much bigger than simply accepting or rejecting a demo. Behind every track there is an artist, a creative process, time, emotion, and a personal story — and I believe that deserves respect.
Alongside my work with Techno Tehran Records, I’m also the label manager and founder of a new label called Energy Field Records. The label will begin its journey with a focus on melodic house and melodic deep, and I’m very excited to develop its identity and bring new artists and new perspectives into that space.
You have received support from major artists such as Pete Tong, Armin van Buuren, Joris Voorn, Joseph Capriati and Richie Hawtin, while your music has also reached international charts and festivals. Looking ahead, what is the next artistic or sonic territory you feel AydinAT;01 still needs to explore?
Having the support of respected names in electronic music and seeing my tracks reach major festivals have been important milestones in my journey and meaningful moments for me as an artist. But I don’t see that as the final destination. It’s not enough.
I feel that I need to work harder, stay more focused, and continue developing myself so I can move beyond the underground scene and become more visible on international stages and in the global electronic music community.
For now, my focus is on creating projects that can reach people again — music that can be heard at festivals, appear in charts, and connect with a much wider audience. I want every new release to represent another step forward, both creatively and professionally.
There is still a long way to go, and I’m fully aware of that. The recognition I’ve received so far motivates me, but it also reminds me that I have to keep pushing myself and never stop evolving.
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