Papfay: "I like creating sounds that feel organic, warm, and immersive"

Loan Papfy is a French DJ and producer shaping a vibrant world of Latin House and Afro sounds, where Latin, African, and Arabic rhythms collide. His music moves effortlessly between club energy and reflective moments, creating tracks that make you dance and think at the same time.

From the very first releases, Papfy has stood out for crafting detailed, immersive productions where every sound carries its own story. Constantly experimenting with textures and rhythms, he brings his multicultural influences to life on the international stage through labels, collaborations, and live shows around the globe.

You grew up in the south of France — how have the landscapes, light, and atmosphere of that region shaped your approach to music?

Growing up in the south of France had a strong influence on the way I approach music today. From a very young age, I was lucky to live in a beautiful environment surrounded by nature. The landscapes there are very diverse, with hills, fields, forests, and the sea not too far away. Every place has its own atmosphere, its own colors, and its own energy. Being surrounded by these natural elements helped me develop a very open mind and a lot of imagination.

The light in the south of France is also something special. The way the sun changes during the day, especially at sunrise and sunset, creates very inspiring moods. Sometimes the atmosphere is calm and peaceful, sometimes it feels warm and vibrant. I think these contrasts influenced the emotions I try to express in my music.

Spending time in nature also taught me to pay attention to small details. The sound of the wind, birds, water, or simply the silence of a quiet place can create a strong feeling. These kinds of sensations often inspire the textures and atmospheres that I try to recreate in my tracks.

Because of this environment, I naturally became very sensitive to mood and emotion in music. I like creating sounds that feel organic, warm, and immersive, almost like a landscape that people can travel through when they listen.

In a way, the places where I grew up shaped not only my imagination but also the way I think about music. For me, making music is a bit like translating the feelings and atmospheres of those landscapes into sound.

Your sound moves between deep house, downtempo, and ambient electronic music. How do you find the balance between subtle grooves and introspective moods?

First and foremost, I try to preserve the downtempo atmosphere that really resonates with me, keeping something organic and natural in the textures and sound design. I’m very drawn to sounds that feel alive, almost traditional, with a certain warmth and a lot of space.

At the same time, I like the idea of transforming these more contemplative atmospheres so they become a bit more suitable for a DJ context. I try to integrate subtle grooves and rhythms that bring movement, without losing the emotional depth of the track.

The balance really happens there: maintaining that introspective and immersive dimension typical of downtempo music, while adding a structure and energy that allow the track to also live on a dancefloor. For me, it’s a way of creating a bridge between personal, almost meditative listening and the collective experience of the club.

Being self-taught and fully independent has defined your journey. How has this freedom influenced your creative process?

Being self-taught and fully independent has given me a lot of freedom in the way I create. I never felt limited by rules or a strict framework, so my creative process developed in a very natural and intuitive way. I learned a lot by experimenting, spending time exploring sounds and understanding what truly resonates with me musically.

Over time, I was also deeply inspired by artists I admire such as Paul Kalkbrenner, NU, Monkey Safari and OMERIA. Their universe and artistic direction had a big impact on me in the beginning, and I naturally followed that musical path because it spoke to me both emotionally and musically.

But by remaining independent, I was also able to gradually develop my own style.

Rather than simply reproducing those influences, I tried to absorb them and reinterpret them in my own way. With time, I added my own touch, my atmospheres and a more personal sonic signature.

For me, this freedom is essential. It allows me to evolve naturally, explore new ideas and keep my music honest and authentic.

There’s a strong emotional and almost cinematic quality in your tracks. Do you usually start from an emotion, an image, or a rhythm when composing?

It really depends on my mood and the moment I’m in. Sometimes the inspiration starts from an emotion, sometimes from an atmosphere, or simply from the place where I am at that time. If I’m in a more introspective moment, for example when it’s raining or when I’m feeling a bit melancholic, I naturally start with deeper and more emotional textures or melodies.

Other times, if I’m traveling or in a place that inspires me, it can start from an image, a landscape, or a specific feeling that I try to translate into music. The environment I’m in often plays a big role in the direction the track will take.

Sometimes I also start with a rhythm or a groove that I like, and then build the whole atmosphere around it. In the end, my process is quite instinctive . I let my mood and the feeling of the moment guide me.

You often create music that feels like a "sonic space". What does building an immersive environment mean to you as a producer?

For me, creating an immersive environment in music is a bit like building a sonic landscape that the listener can step into. I like the idea that music is not only about rhythm or melody, but also about creating an atmosphere where people can mentally travel.

I think this comes a lot from my connection to nature and the landscapes that surrounded me while growing up. I try to recreate that feeling of space, depth and movement through textures, atmospheres and organic sounds. Every element in a track has its place, a bit like the different elements of a landscape.

I also like leaving space in my productions so the music can breathe and the listener can really feel the atmosphere of the track. It’s not only about technique, but more about sensation and emotion.

In the end, building an immersive universe for me means creating a moment where people can disconnect from the outside world and simply let themselves drift into the music.

Your music seems designed both for movement and for deep listening. How do you imagine the ideal setting in which your tracks should be experienced?

I think my music can be experienced in many different ways depending on the listener and the moment. Each track carries a slightly different emotion — sometimes something more melancholic and introspective, sometimes something lighter, warmer or more uplifting. I like the idea that people can find a feeling in my music that resonates with what they are experiencing at that moment.

I don’t think there is really an ideal setting to experience my music. It often depends on the environment in which the track was created, the moment, and the state of mind I was in while composing. Those elements naturally influence the atmosphere of the track and the way it can later be felt by listeners.

For me, the listening experience often remains something quite personal and intimate — a moment where you can truly connect with the music and feel the textures, melodies and atmosphere of the track.

I also like to think that my music can have a positive impact on people. If someone is going through a difficult moment and one of my tracks helps them feel a little better, calmer, or simply allows them to escape for a few minutes, then that already means a lot to me.

Authenticity is a key element of your work. How do you preserve it in an electronic music scene that’s constantly evolving and increasingly crowded?

Today, making a living from music while staying completely authentic is becoming more and more difficult. The electronic music scene evolves very quickly and there are so many artists, so sometimes you have to find a balance. I think many artists, myself included, are sometimes pushed to create certain tracks that are a bit more “accessible” or closer to what the audience expects.

That doesn’t necessarily mean losing your identity. For me, the important thing is to always keep part of my universe in what I create — in the melodies, the atmospheres, or the way I build my tracks. Even when a track is a little more “commercial,” I try to leave my signature and my emotions in it.

In the end, I believe authenticity mainly comes from intention. As long as I remain sincere in the way I create and continue to make music that truly reflects who I am, that authenticity is still there.

Silence, restraint, and nuance play an important role in your productions. How conscious are you of these elements when arranging a track?

For me, electronic music is first and foremost about emotion. Like many forms of music, it has highs and lows, moments of intensity and moments that are calmer. Within a single track, there can be several different emotions that appear and evolve.

Restraint, silence, and space in the music therefore play a very important role. They create breathing room in the track and give more impact to the stronger moments. Without those quieter spaces or pauses, some emotions would be less powerful.

So when I arrange a track, I try to be conscious of that. Leaving space between sounds and not filling every moment allows each element to exist and helps the emotions come through more clearly.

Looking at your artistic evolution so far, do you feel your sound is becoming more minimal or more narrative?

I think my sound is becoming more narrative over time. At the beginning I was mostly focused on textures and grooves, but today I enjoy building my tracks more like a story.

For me, music is a bit like opening a book. Each track can tell something and carry different emotions as it unfolds. There can be calmer moments and more intense ones, a bit like chapters in a story.

I like the idea that the listener can step into a track and follow that journey until the end.

What can we expect next from Papfay — new collaborations, a shift in sound, or a deeper exploration of your emotional universe?

Looking ahead, several projects are currently taking shape and I’m quite excited about what’s coming next. At the moment, I’m working closely with ENGELOOPS and NAARLY, whom I’d like to sincerely thank. They are artists and people with whom I share a strong musical vision, and these exchanges bring a lot to my creative process. Collaborating with other passionate minds always opens new perspectives and helps enrich my artistic universe.

My next single will be released on March 27, 2026, and I’m very happy to finally be able to share it.

Alongside my music production, we also created a collective called OSTA. The idea behind this project is to organize more intimate events in unusual locations, with a very human and passionate approach to electronic music. We want to create moments where the music, the place and the people truly connect. These events are designed for people who genuinely love music, far from something too formatted or conventional.

My latest album, which truly represents my artistic direction and personal universe, has also received a lot of support. It has been played and supported by different festivals, other DJs, and several radio stations, which is very encouraging for me. Seeing that this music, which comes from a very personal place, can resonate with other artists and a wider audience motivates me even more.

Today, all of this also allows me to create tracks that truly represent who I am. Over time, I’ve managed to find my place in the music world with my own style and sonic identity, and that gives me the freedom to continue moving forward on this path.

Ultimately, what I hope for most is to keep building something sincere that evolves naturally over time and through the people I meet along the way.

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