In the dynamic realm of electronic music, artists frequently navigate transformative odysseys, traversing both personal and creative landscapes. Aldonna, an emerging luminary originating from Melbourne, Australia, has recently concluded a captivating tour throughout Europe, gracing the stages of some of the most revered clubs and events. In an exclusive dialogue with Torture the Artist, Aldonna shares profound insights into the tapestry of her experiences, the wellspring of her inspirations, and the enduring impact of her European sojourn on the very essence of her musical expression.
From the bustling metropolis of Melbourne to the kaleidoscopic tapestry of European audiences, Aldonna reflects upon the zeniths and nadirs of her sojourn, underscoring the distinctive vibrancy and cultural opulence she encountered. Accompany us as we delve into the intellectual terrain of this prolific artisan, unravelling the chronicles of her metamorphosis, the orchestration of her sonic influences, and the nuances inherent in navigating the electronic music domain as a woman.
Embark upon an exploration of the enchanting symphony that constitutes Aldonna’s musical journey—an odyssey commencing in the industrious precincts of Melbourne and culminating beneath the celestial expanse of the European night sky. As she unveils her contemplations regarding the industry, articulates her creative methodology, and exposes the indelible moments that have forged her artistic identity, Aldonna beckons us into a realm where beats resonate more eloquently than words—a realm where music transcends the confines of conventional expression.
Prepare to immerse yourself in the auditory cosmos meticulously crafted by Aldonna, wherein beats not only echo but reverberate with a universal resonance. This is her narrative—unfiltered, authentic, pulsating with the cadence of a global heartbeat.
Torture the Artist: Hey Adriana, tell us something about your day.
Aldonna: My day today has been nice and productive. I started the day at the gym, then took my dog for a walk. After that, I had an online student in the morning for my Music Production tutoring. Following that, I spent some time working on some remixes that I have due.
Torture the Artist: You’ve come back from your Europe tour not too long ago. How does it feel to be back in Melbourne? What did you miss most, and what did you possibly enjoy at the other side of the world personally and artist-wise?
Aldonna: Yes, I am now back in Melbourne after the most amazing couple of months touring and traveling in Europe. It feels bittersweet being back, in all honesty. I am happy to see my friends, family, and dog here at home, but I do miss being over that side of the world a lot. On a personal level, I miss all the beautiful friends I made over there, and I also miss the deep sense of culture and community I felt in many countries across Europe. I have lived in Melbourne my whole life and haven’t traveled too much, so being somewhere new and exploring was very exciting for me. As an artist, I miss the diversity in crowds and parties between every country you go to, the extended set times, and just the party culture in general. It feels more free. I feel like there are a lot more people that really appreciate music and go out because they want to dance and express themselves, rather than going out to get wasted.
It was very hard for me to wrap my head around my reality at the time. I truly couldn’t believe that I was actually doing what I was doing because it had been such a dream for me to one day play in Europe.
Torture the Artist: Your gigs expanded right across Europe, taking in some of the finest clubs and events; how was that experience for you, and what inspiration did you take?
Aldonna: It was very hard for me to wrap my head around my reality at the time. I truly couldn’t believe that I was actually doing what I was doing because it had been such a dream for me to one day play in Europe. I really had to pinch myself. I remember almost every set I played; I really had to take a moment, and I would look around at the crowd and think to myself, “holy shit, I’m playing in (insert country) right now.” I always tried to take a mental image during those moments to hold with me. I took the utmost inspiration from these experiences, and it really helped me grow so much as a person and professionally. I think I really found “my sound” on this tour and gained a lot more confidence in myself as an artist. I didn’t feel the pressure to play a certain way because having not been to most of the countries, I didn’t know what the scene was like, so I just did ‘Aldonna,’ and to see that people really resonated with that was a great feeling.
I think playing my first-ever extended 4-hour set at Macadam in Nantes was something really special. Everything about that set was so perfect.
Torture the Artist: What was your personal highlight of the tour, and why?
Aldonna: I think playing my first-ever extended 4-hour set at Macadam in Nantes was something really special. Everything about that set was so perfect. I got to the club feeling completely exhausted, probably running on only a few hours’ sleep from previous shows, but when I got there, I just instantly felt the magic in that place, and it gave me life. I loved that the booth was basically on the dance floor, with all the dancers surrounding it, not to mention the incredible sound system. I love when the booth is on the dance floor because I feel that I’m also part of the party just dancing like everyone else. When I’m on a stage with everyone looking at me and lights in my face, it honestly makes me feel quite uncomfortable. I loved that it was so dark that I could barely see where I was walking until my eyes got used to it. There were no phones allowed which I believe added to the magic; everyone was so present and just swaying with their eyes closed. I enjoy all kinds of music, so it was so nice to be able to start my set at 123bpm, which is probably the slowest I’ve ever played in a club, and to be able to bring it all the way up to 135 with many peaks and valleys in between. It gave me the opportunity to really dig deep in my collection and play tracks I haven’t played in literally years! Another amazing thing was that the same people were basically on the dance floor for the whole 4 hours, riding the journey with me. I have to say that it was probably my favorite set I’ve ever played in my whole career.
Torture the Artist: Release-wise, you’re on a real roll, what with outings on Semi Delicious, Permanent Vacation, and recently a vinyl-only 12″ for Sex Tapes From Mars. How does it feel to be so in-demand?
Aldonna: Haha, I can’t say I feel “in-demand”. But, I feel extremely grateful for the opportunities I’ve had and to all the labels that have supported my music!
Torture the Artist: What have you got coming up that you are allowed to tell us about, release/remix-wise?
Aldonna: I have quite a lot coming up which I’m really excited about. I’ve spent a lot of this past year writing Music, especially while I was touring in my downtime. I have about six remixes coming out within the next year for labels such as Homage, Correspondent, Permanent Vacation, Club Mix, Tesselate London and more. I also have a collaborative track coming out with the legendary UK duo ‘Dusky’, and currently working on E.P number 3! Lots happening.
Torture the Artist: You’re known for blending a multitude of styles in your sets; can you give some insight into what drew you to electronic music in the beginning, such as artists/labels/parties, etc.?
Aldonna: Yes, I love playing all kinds of music! Mainly because I’m a very indecisive person and I can’t just choose one genre, plus I think it keeps it interesting. It’s kind of hard to pinpoint an exact moment, to be honest, as to when I started getting into electronic music. I remember being a kid going into CD stores and begging my parents to buy me the newest Ministry of Sound CDs as soon as they came out so I could play them to my friends. I remember the feeling from such a young age actually, this strong desire to always have the newest and “coolest” music before anyone else did. I loved being at parties with my iPod plugged into the AUX, controlling the whole vibe in the room through sound. I grew up listening to a lot of Euro House from the likes of Sash! And Paradisio, really cheesy stuff aha. As I got older and started getting into DJing, I really found my niche in music from the 90s and that sweet spot in between house and trance. I’m unsure what it is about that era of music, but it really has a hold on me. I think I love the rawness and experimental element to a-lot of it. Some of my biggest inspirations as a DJ would have been Eris Drew & Octo Octa, as they were kind of the first artists I remember seeing that played so many different styles of music within their sets. I remember when I saw them play, I felt this feeling of like ‘Yes, THIS is the music I love’, high-energy feel-good music”. Some labels that really inspired me from the beginning were labels such as The Sound Of Belgium, Limbo Records, B-Sides, Strictly Rhythm, Loaded Records, Trax Records, Guerrilla Records, and Amarda Music. A party that really got me into loving the kind of music I love now was probably Strawberry Fields Festival in Australia. It was my first multi-day camping festival, and it really opened my eyes to a whole new world of music.
Torture the Artist: What’s a track from your early days in the scene, which immediately comes to your mind? When and where did you hear it first?
Aldonna: I’d say, ‘Hit How U Want 2 – Eric Martin.’ I can’t exactly remember when or where I heard it, but I feel like that was one of the first tracks I had as a DJ, and one of my first introductions into that raw sound of 90s music.
Torture the Artist: You’re a native of Australia, which also has a rich electronic music scene – can you give us any pointers for DJs/producers who we should be looking out for in the scene right now?
Aldonna: Yes, we have a small but very lively scene here in Australia, particularly in Melbourne. I feel very proud of all the talent that comes out of this place. I know I may forget some in this list as there are so many, but some artists to look out for in my opinion are Donald’s House, Osmosis Jones, DAWS, Solar Suite, Ed Kent, DJ Life, Reflex Blue, Luke Alessi, Primitive Needs, Sophie McAllister, Mabel, and DJ Luv You.
Torture the Artist: Following on from above, what is the club scene like in Australia at the moment, and are there any events you are hoping to ‘tick off’ on your list of places to play there?
Aldonna: I feel like the club scene has changed a lot over the years. These days there are many more smaller collectives running just as many events as the ‘bigger’ events groups, which is nice to see. I think the scene is still recovering from Covid, to be honest, as especially in Melbourne we had some of the hardest and longest lockdowns in the world which immensely affected the arts sector. Like a lot of places in the world, ‘fast’ music has become all the hype, which feels interesting to me because when I first began my clubbing experience it was honestly very rare that you’d ever find a club that played anything that quick. I feel like it is sort of the opposite now, and it feels rare to hear House music in clubs these days here. I don’t mind faster music myself, but I think everything in moderation is great; balance is key. Some events I’d love to tick off in Australia would be Strawberry Fields Festival, Pitch Festival, Animals Dancing, Day Break, and Mode Festival in Sydney.
Torture the Artist: How does the scene in Melbourne differ from the one in Europe?
Aldonna: The biggest difference is obviously it is a lot smaller. In a way, this is nice because if you are part of the scene here you really get to know most people in it over time. I also think because of the size of the scene it can feel a little bit competitive at times because I guess there are fewer perceived “spots” (although I do believe there is room for everyone). I feel the difference with the scene in Europe from my personal experiences is that it is a lot more diverse over there due to having so many different countries, and within each country having so many different pockets of music groups, whereas we are only one country. I also feel like crowds are a lot older in Europe. In Australia, I believe we suffer with ageism in our culture, so I feel like people get to a certain age here and don’t feel like it’s “acceptable” for them to go out and dance anymore. I find this sad as I think having a variety of age groups at a party brings a much better vibe to it.
I do not want to just be booked or judged by my gender. This is something I have said from the beginning of my career. I want people to book me because they like my music and me as an artist, not because of my gender or because they need to fill a quota.
Torture the Artist: There has been much debate about women in electronic music in recent years; how is that in Australia re: female DJs/producers overall, and do you feel any pressure to use your rising profile to influence younger females into the scene?
Aldonna: I feel like the progress in diversity of gender within the music scene in Australia has improved massively over the years thanks to individuals speaking up about the issue. I remember when I first began, I felt like a lot of the time I was the only female on most lineups, and now a lot of lineups I play are majority women and femmes, which is amazing. Although there has been a lot of progress at a local level, I believe there is a long way to go particularly on a larger scale, and particularly on the producer side of things. On the other hand, I do not want to just be booked or judged by my gender. This is something I have said from the beginning of my career. I want people to book me because they like my music and me as an artist, not because of my gender or because they need to fill a quota. I would rather not play an event than to play it knowing I was only booked for that sole reason; I think first and foremost it needs to be about the music. I don’t feel pressure, but more so a sense of duty to influence younger females and femmes. There were many times at the beginning of my career that I’d wish I had had someone to talk to about these kinds of topics, so I really try and be that person for them as much as I can.
Torture the Artist: You’re given the chance to play one record at the end of a set, at any club (closed or open), following any DJ of your choice (dead or alive) – what club would it be, which DJ would you love to follow and what track would you select, plus why those choices?
Aldonna: This is an incredibly hard question! I’m going to have to say Panoramanbar, Butterflies (Heliotropic Mix) – Hydra, playing after Tony De Vit. I chose Panoramabar because it is one of my dream venues to play and I had an amazing time there when I visited while in Berlin. Tony is one of my absolute favorites, and his productions and mixes have had the most influence on the artist I am today. I would give anything to have had the chance to see him play live when he was still around, a true legend gone too soon.
Torture the Artist: You’ve gone digging for music in Europe too. What’s your go-to record store “here” and what discoveries made it to your record collection? Can you give us a top 10 of records you brought back with you and where you found them?
Aldonna: There were a couple of standout record stores for me, and they were:
- Killa Cutz – Amsterdam, Netherlands
- Carpet and Snares – Lisbon, Portugal
- Cherry Picker – Bruges, Belgium
- Music Mania – Gent, Belgium
I’m unsure from which stores the ones below are, but it would have been from any of those stores.
- Pre 4 – Plain Heaven
- Double Kross – Nobody But You
- You’re My Love – Desy Moore
- Echomen – Womb
- Aqua – Roses Are Red
- Havana Loca – Righi & Dan
- D.J.P – Move
- Krafty – Paul Rogers
- Hardware – I Love You
- The Rebel – Shahin & Simon
Torture the Artist: When can we count on you again in Europe, and what’s a club or event you definitely want to play here?
Aldonna: I am hoping to be back in the EU/UK region of the world from July 2024 onwards. The event I’d like most to play there one day would probably be Love International Festival in Tisno, Croatia. It is probably one of the best festivals I’ve been to in my life, and I think my sound is quite suited to it. The club I’d most like to play would be Panoramabar for sure.
Torture the Artist: Your cultural roots are Macedonian; when does the Macedonian girl come out in you or in your music, and how would one notice?
Aldonna: Macedonian women are known for being fiery, and I think I have that side in me. <laughs> In Macedonian culture, there is a strong sense of community, respect, and generosity. I hold those values deeply when connecting with others, and I think it’s largely influenced by my cultural upbringing. I can’t say I listen to much Macedonian music in my spare time, but I’ve been around it a lot throughout my life, and I think subconsciously that has had some kind of influence on the music I make and play today. For example, traditional Macedonian music entails a lot of rolling melodies, pianos, saxophones, etc., and I do use a lot of those elements in the music I make and seek.
Whenever I feel kind of frustrated with what’s happening around me, I repeat this affirmation to myself to ‘let the music talk.’ It grounds me and makes me realize that all this other stuff is so minor and kind of irrelevant.
Torture the Artist: When is it better to have music do the talking rather than words or what can music express better than words can?
Aldonna: This is a motto I try to live by. I think in today’s music industry, it feels like it isn’t just ‘about the music’ anymore. It’s also about what you look like, your ‘brand’, your social media presence, personal connections, how many followers you have, etc. I don’t mean to sound like a purist or like I am casting judgment, but I do feel that maybe the importance of the actual ‘music’ part of things has kind of dropped a couple of steps on the priority ladder. Whenever I feel kind of frustrated with what’s happening around me, I repeat this affirmation to myself to ‘let the music talk.’ It grounds me and makes me realize that all this other stuff is so minor and kind of irrelevant. If you just put your energy into excelling in your craft, which in my case is making and playing good music, then I think eventually the music will talk, and all the other stuff will follow.
Words by Al Bradley & Holger Breuer
Torture the Artist 