When Ballan lands on a label, it’s rarely by accident. The globe-hopping producer has a knack for weaving together the raw energy of Electro, the swing of UK Garage, and the cheeky irreverence of House into tracks that sound as spontaneous as they are deliberate. With releases on Bliss, Sucre Discs, Non Stop Rhythm, Howl and his own imprint Phlex Recs, Ballan has carved out a corner of the underground where grooves hit heavy but always come with a wink.
His latest adventure finds him on Alec Falconer’s ever-mischievous SUNNY label, following Phill Prince’s “Playground Pleasure” with an equally playful yet razor-edged two-tracker: “Different Shapes / Eurocup Mess.” One track born on a beach in Thailand, another out of admiration for Thierry Henry and a love letter to Electro – together they encapsulate Ballan’s refusal to play by any rulebook except his own.
Fresh off a Euro summer and ahead of his contribution to the art:cast series, Ballan sat down with Torture the Artist to talk about the accidents that make tracks special, guilty pleasures that would shock the underground, and why every morning starts with coffee, a computer, and a burst of creativity.
Torture the Artist: Hey Ballan, tell us something about your day – ideally something that includes a synth, a coffee, or a poorly timed Berlin rainstorm.
Ballan: For me, it’s the morning routine that makes the biggest impact on my day. I always get up early, drink my coffee, and somehow end up glued to the computer within minutes – making art and music. I find I’m far more creative when I start the day this way.
Torture the Artist: Your upcoming SUNNY03 release follows Phill Prince’s “Playground Pleasure” on SUNNY. No pressure, but how do you follow up a playground without causing a Eurocup-level mess?
Ballan: <laughs> Honestly, the whole process was a surprise. I’ve always been a huge fan of Ba Dum Tish. Alec is one of my favorite DJs, and I always hoped I could release music there, but I never really knew how. At the time, I was making loads of UK- and Electro-influenced music, and I felt he might connect with it. And there it was – one year later, I had a release on the label.
When I listen to Phil Prince’s release (which I absolutely love), mine feels like its naughty long-lost brother. I was sampling so much weird stuff, just enjoying the process, without following any “playground” rules.
Torture the Artist: Speaking of Eurocup Mess – please explain. Is it about football, club chaos, or a leftover pizza box at 4am?
Ballan: Actually, the idea for “Eurocup Mess” was inspired by two things. The day before, I heard a tune by Juan that reminded me how much I love electro. So I started sampling darker sounds that I imagined would fit, and combined that with my love for UK Garage. I don’t know why, but I felt the need to bring those two worlds together.
The other inspiration was my love for Thierry Henry. I thought French vocals would be the perfect touch, so I sampled an old interview of his and pitched it down to sound darker. Altogether, it became a kind of organized mess – which I really like.
Torture the Artist: And what about “Different Shapes”? Is it a reflection of your production process, a metaphor for your time in Berlin, or just what happens to vinyl after too many afters?
Ballan: “Different Shapes” was actually made in Thailand a long time ago. Funny story – I was on vacation with a good friend, and I always feel super inspired when I’m having pure fun. I opened my computer, and the first thing I heard was this beautiful pad sound. I immediately knew I had to do something with it.
It was a pure vacation track: nice pad, rolling bass, fun percussion. Super fun to make, and for me it captures that carefree vibe.
I felt that energy perfectly matched what Ba Dum Tish is for me: fun, uncompromising, and full of sounds you wouldn’t expect to hear anywhere else.
Torture the Artist: What drew you to Alec Falconer’s label SUNNY? Do you remember the moment you thought: yes, this is the right amount of sunshine and sass for my music?
Ballan: Actually, I’ve never been afraid to send out music. When something feels good, it’s good enough for me. These tracks were super raw, and I had so much fun making them. I felt that energy perfectly matched what Ba Dum Tish is for me: fun, uncompromising, and full of sounds you wouldn’t expect to hear anywhere else.
When I sent the tracks, I didn’t even know if they’d check my demos – but I believed in them. I thought, “I’ll just send it. What’s the worst that could happen?” And then I got a message from Alec… the rest is history.
Torture the Artist: You’re currently spending a month in Berlin – what’s been your most Berlin moment so far? Bonus points if it involves a techno basement and philosophical small talk.
Ballan: Actually, I left Berlin recently and did a Euro summer. But the best Berlin moment was at 2 PM at CDV, hearing Vizar live. It blew my mind. I was jaw-dropped for a whole hour – the sun, the music, the place, the people. I couldn’t ask for more.
Torture the Artist: What’s a track you recently rediscovered while digging that made you think, “How did I sleep on this?” Bonus points if it’s slightly embarrassing.
Ballan: I think I found my absolute hidden gem – a track by Panyard called “Subliminal Messages.” It’s nowhere to be found. I refreshed Discogs every day for six months until one copy finally went up for sale, and I bought it instantly.
Torture the Artist: Imagine someone opens your USB without asking – what’s the one secret weapon track in there that always destroys the dancefloor but never gets posted to Instagram?
Ballan: For me, it’s always the track “Bang Bang” by VJ.
Torture the Artist: Your upcoming art:cast – your contribution to our mix series – is eagerly awaited. What kind of ride can listeners expect? A gentle cruise, a sweaty sprint, or something more like stumbling into a secret rave in an abandoned library?
Ballan: I think you’ll have to wait and hear. In my mixes, I always aim to create something timeless – something that works in your car, during meal prep, or in that moment before the party when you want to get hyped up.
Each label I work with represents a different time in my life.
Torture the Artist: You’ve released on serious labels – Phlx, Bliss, Sucre Discs, Non Stop Rhythm, Howl… Do you see each label as a different musical home, or more like different flavors of the same obsession?
Ballan: Basically, Phlex Recordings is my own label, which I started after releasing music for a while. I wanted to create a home for the music I love – across genres. Each label I work with represents a different time in my life, tied to different styles of music I was exploring, all of which are still part of me.
You need to sit down and work, and something will come out of it.
Torture the Artist: How does your creative process usually start – rhythm, mood, a weird sample, or a malfunctioning plugin?
Ballan: I always need inspiration first. I listen to all kinds of music and often sample bits from them, creating a “bank” of sounds I can play with. Each project starts differently. Sometimes with synths and leads, sometimes with drums and bass. It depends on my mood and the track I want to make that day.
But generally, as Pharrell said, it’s like practice: you need to sit down and work, and something will come out of it. I don’t believe in signs from the universe – but I do believe in balance and taking breaks so your brain doesn’t burn out.
Torture the Artist: What’s your studio kryptonite – the thing you know you shouldn’t spend hours on, but always do anyway?
Ballan: Honestly, I don’t like wasting unnecessary time in the studio. Sometimes I’ll make two tracks in four hours, other times it takes me seven days. For me, if it sounds good, it’s good. No rules.
Torture the Artist: What’s the weirdest or most unexpected sound you’ve ever built a track around?
Ballan: I once sampled a whole bassline from an old funk song and layered it with drums from a dub EP I liked. Pure fun.
It’s the happy accidents that make a track special.
Torture the Artist: How much of your production is conscious structure, and how much is happy accidents?
Ballan: Honestly, it’s the happy accidents that make a track special.
Torture the Artist: When working on a two-tracker like “Different Shapes / Eurocup Mess,” how do you decide which ideas stay and which ones get politely sent to the “maybe later” folder?
Ballan: I sent Alec several tracks, and those are the ones he chose. Looking back, they really suit the label’s sound the most. The ones I didn’t send felt less special for Badumtish.
Torture the Artist: If “Different Shapes / Eurocup Mess” had a visual counterpart, what would it look like?
Ballan: I’m thinking of a sunset at a party in the forest.
Torture the Artist: Do you have a guilty pleasure track that would shock the underground if they knew you rinsed it at home?
Ballan: Absolutely. My guilty pleasure is Barry White’s “You’re the One I Need.”
Torture the Artist: Does travel influence your sound? And is there a city that’s shaping your music more than people might expect?
Ballan: Definitely. When I’m close to the beach, I make dreamy, catchy tracks with naughty percussion. In big cities, my music gets more “chaotic” – in a good way – and influenced by the urban soundscape.
Torture the Artist: Finally, if your art:cast had a warning label on it, what would it say?
Ballan: “Not the same as the day before.”
Words by Holger Breuer
Torture the Artist 