Alfiya Glow interview talks about her brand new single ‘Bittersweet Symphony’ with POLINA, inspiration, production process, and more.

Alfiya Glow and POLINA reimagines the classic ‘Bittersweet Symphony’ with her signature blend of violin and Electronic textures. We sat down to hear the story behind this calm, reflective remix and how they transformed a familiar melody into something entirely new.

Hi, Alfiya Glow! How are you? I am great, thank you for having me.

I am doing great, thank you for having me!

What initially inspired you to create a remix of “Bittersweet Symphony”?

At first, I just had this pull to take such a beautiful, iconic song and flip it into something darker. The emotion in “Bittersweet Symphony” is already so powerful, and I wanted to lean into that mood and see what would happen if I let it live in a deeper, more dramatic space.

How did you envision blending violin with electronic elements for such an iconic track?

Strings are such a huge part of this song already, that melody is instantly recognizable, so bringing in live violin felt very natural. What I really played with was flipping the melody a bit. If you compare the original to the remix, you’ll hear how it’s been morphed into a darker version of itself. And I always encourage people to listen to the extended mix, because it has this really lush string intro and outro that frames the whole track beautifully.

Can you walk us through the production process? Where did this remix begin?

The remix began very musically. I started by reworking the harmony and chords, which are intentionally different from the original. From there, I focused on reshaping the melody, keeping it recognizable, but slightly altered to support a darker emotional tone.

This track was a bit outside my usual BPM and genre. Instead of leaning into melodic House, it moved more into a dark pop space, almost with a Billie Eilish–inspired feel. Because of that, finding the right rhythmic foundation took time, especially choosing drum patterns that felt restrained, cinematic, and emotionally supportive rather than club-driven. Once that foundation was in place, everything else started to fall into alignment.

What electronic textures or sound design choices were most important for shaping the atmosphere?

Atmosphere was everything for this remix. I focused heavily on synth textures and pad sounds that felt cinematic rather than aggressive, almost like something you’d hear in a film trailer. Subtle effects and transitions helped create that sense of tension and emotional depth.

One of my favorite details is a string pizzicato pattern in the second verse, layered with delay and echo. It creates this haunting, rhythmic texture that quietly builds underneath the track and adds movement without overpowering the vocal or melody.

It is the second time you have collaborated with POLINA, can you tell us more about how it is to work with her?

Working with POLINA is honestly such a joy. She’s incredibly talented, but also very thoughtful and detail oriented. What stands out to me is how collaborative she is, she always brings her creativity fully, but she’s also very considerate and always checks in to see how things feel for me creatively. That kind of mutual respect makes the whole process really special. It’s been amazing to co-create together, and I definitely hope we do many more projects in the future.

Did you face any creative challenges while modernizing a classic without losing its essence?

Definitely. Any time you work with a song this iconic, there’s a risk involved. The biggest challenge was trusting that even though the harmony and melody are slightly different, the essence would still come through. I kept imagining how it would land for the listener, would it feel familiar, but also new? That was really the balance we were aiming for. There are already so many versions of this track, so finding a way to make it feel unique while still honoring the original was a challenge, but also part of the excitement.

How does this remix reflect your evolution as an artist?

This remix represents a moment of expansion for me. While House music will always be a foundation and a love of mine, I’ve recently felt a strong pull to explore beyond those boundaries. Working on this track allowed me to step into a darker, more cinematic space and challenge myself creatively in a new way. That process felt very meaningful, and it reaffirmed my desire to keep evolving, not just within one genre, but as a producer and artist overall.

What role does the violin play in your identity as a producer and performer?

The violin is my voice. It’s been my primary form of expression since the moment I picked it up, and it continues to ground everything I do as a producer and performer. In the world of Electronic music and DJing, the violin allows me to move beyond the computer and connect with people on a deeply human level. It brings an emotional immediacy that speaks straight to the heart, and I’m incredibly grateful to carry this instrument and everything it’s taught me into my work today.

What do you hope listeners feel when they hear your version?

I hope listeners feel a sense of permission, permission to feel emotions that are sometimes pushed aside. This version leans into the darker, more introspective side of emotion, not to dwell there, but to allow it to move through the body. Music can be a powerful way to process feelings like sadness, regret, or quiet heaviness without overanalyzing them. My hope is that the track creates space for that release, letting people feel, move through it, and come out lighter on the other side.

Has this project opened the door to more classic reimaginations?

Yes, absolutely, it definitely opened that door creatively. It sparked a few ideas I’m really excited about, but I’m letting them develop naturally. I’ll share more when the timing is right.

What can we expect next from your upcoming releases?

Honestly, I’m excited to say I don’t know, and that feels really good. I’m not creating on anyone else’s timeline anymore, whether that’s an algorithm or an external schedule. I’m letting inspiration come when it comes and giving myself the space to create something that feels new and real.

With this remix, Alfiya turns a beloved classic into a serene soundscape, proving once again her talent for blending emotion, strings, and Electronic sound into something uniquely her own.

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Shaped by formative years in New York City, Jon Billick’s path into House music was forged on the dance floor. A three-year residency at West Village staples Le Souk laid the foundation for a career rooted in groove and craft. Early exposure behind the scenes at Ministry of Sound and Hed Kandi America further sharpened his ear, giving him a front-row education in the evolving language of Electronic music.

Hi Jon! How are you?

Doing well! Thank you so much for this opportunity.

How did you first get into Electronic music, and was there a moment or track that made you realize this is what you wanted to pursue?

I had an interest in music from a very young age. I’d say the earliest memory I have of hearing and enjoying dance music was at a local roller-skating rink. Songs by Abba, Crystal Waters, C+C Music Factory, and Inner City, were all the soundtrack to some of the best times of my youth. Fast forwarding to my early teen years, I started to play live instruments in different bands with friends but eventually found artists like Daft Punk who totally changed my world. Once I began digging deeper into Electronic music consciously, discovering Trance, Deep House, Electro and so on, I was hooked and started on the never-ending search for the perfect track. More than anything, electronic music made me feel happy and connected to the world in a way that other music I was into at the time, did not.

Who were some of your earliest influences, and how have they shaped your approach to producing and DJing?

I was living in New York City when I started to educate myself more on the labels and artists making house music at the time. I interned at the Ministry of Sound / Hed Kandi offices for a few years when they had a North American office and record label. It was a perfect storm of learning about past and present producers and DJs. Once I was able to go out to the clubs, I loved seeing Louie Vega, Danny Krivit, Todd Terry, and other great New York artists. I also really loved the sounds coming from Amsterdam and Paris at the time, labels like My Love Is Underground, Tomorrow is Now Kid!, and earlier Slapfunk releases. When I first started DJing out at events and parties in New York, I was playing more lounge and happy hour sets. I developed a love for Deep House through those years and building sets early in the night as a DJ. I loved the Bargrooves, Café Del Mar, and Hed Kandi: Served Chilled compilations. They were massive inspirations for my sets back then and definitely have a lasting influence on what I make and play out now. I love the combination of soulful and groovy, alongside raw and driving rhythms; it’s the sweet spot.

How would you describe your music to someone hearing it for the first time?

House music inspired by the classics of yesterday with a contemporary finish.

Walk us through your typical production process; do you start with rhythms, samples, chords, or something else entirely?

Every track has its own way of finding itself. Sometimes I’m asked by labels for a specific style they might be looking for; whether that is a vocal driven tune or a more experimental arrangement. When I am starting original projects without this prompt, the inspiration can come from anywhere. Often it’s a quick clip from an old sample or a specific drum sound that gets the project in motion and guides the final outcome. Typically, my goal is to get the drums and bass locked in early on. If those elements work effortlessly and the groove is locked in, then the rest of the track can start to build on top.

While I’m still very much an ‘in the box’, digital-first producer with limited studio space, a lot of my sound is inspired by classic House. It’s almost necessary for me to use those same sounds in my tracks. Mainly I’m using digital plug-ins. The Roland Cloud, for example, helps me sonically combine yesterday and today. The SH-101 or Jupiter-8 are places I like to start with for simple melodies and bass lines that feel more ‘authentic’ and rooted in the beginnings of house music’s sonic shape. Next to danceability, it’s important that there is some kind of connection to past and present within my projects. I generally work with a ‘less is more’ mentality and know my project is finished when there is nothing more I can remove that will dramatically affect the overall feeling or flow of the track.

You’ve played in clubs around the world — how does performing live shape the way you write music back in the studio?

I am always grateful for the experience of playing somewhere new. Those opportunities present a fresh perspective on what people are listening to and gets them dancing. Playing out internationally over the years has been an incredible privilege and 100% inspires what I write when I get return. More often than not, it’s the occasions where tracks that I love are also resonating with the crowd that I find the most motivating. That connection to strangers who live thousands of miles away is the core of what fascinates me and keeps me participating as a DJ / Producer. Testing out some of my own productions that may or may not already be released, is another factor to playing out that helps guide my time in the studio. I don’t always have the time or place to test out my final mixes on club systems or larger monitors, so there’s always an element of hearing my tracks out for the first time and experiencing a crowd’s positive reaction that feels magical.

How do you curate your sets? Do you plan every transition, or do you let the crowd guide you?

When preparing sets for a live audience, I like to have a variety of playlists and transitions that I know work well, ready to go. However, the venue, energy, and crowd will usually dictate where the music goes, so not everything is planned. Sometimes as an opening DJ, you’ll need to get the crowd going and that’s always the funniest slot for me. That can be achieved in a variety of ways that aren’t always obvious after you play the first few tracks of the night. There’s always a level of pre-preparation that takes place and I know the vibe (generally) of what I will play before the set. I really enjoy having great playlists and transitions on cue, while at the same time allowing the crowd to dictate where and when those will take place during my set. Over the years of building my sound behind the booth, there are several tracks and transitions that I feel are essential to my sound and are whoppers when mixed anywhere, anytime. Again, I try to blend past and present so there’s always an aspect of recycling but in new and interesting ways that happen in the moment.

How do you balance staying true to your artistic vision with evolving trends in electronic music?

I appreciate the classics; they were once an evolving trend in their respected years. I believe all creative mediums are cyclical yet evolving at the same time. They culturally mirror the times in which they were created but always take inspiration from years before; just like in fashion, art, music, etc. Both in my DJ sets and productions, I feel it’s important to balance both old and new influences. Sticking to core past inspirations grounds my sound in a way and then adding inspiration from current trends helps to evolve my projects. I believe an artist changing their sound over the lifetime of their career is a positive thing and shows awareness of one’s own personal changes and external shifts in society.

What do you want listeners to feel or take away when they hear your music live or on streaming platforms?

The most important thing is that the music makes listeners feel something. It could be an emotion or the simple nod of the head and tap of the foot. I always try to convey some kind of emotion in my tracks. Sometimes it’s more obvious, like a vocalist singing a clear emotion or story. Other times it’s more conceptual and quieter. The emotion is there and the mood is set, but more ambiguous and up to the listener to translate in their own way. A lot of House music and Jazz is attractive to me because there isn’t really an emphasis on vocals or ‘storytelling’ in some sense. The instruments make up the energy and convert a feeling that is more introspective and can have a variety of meaning to different people. I think that’s really interesting and something I think about when I’m sitting down to produce or preparing a DJ set.

If you could sum up your artistic mission in one sentence right now, what would it be?

Make people happy through House music.

What’s next for you in 2026? New music, shows, or artistic experiments?

I have a few releases coming out in 2026 that I am looking forward to it. The first one is out in February with a return EP on theBasement Discos. I had the chance to play in 4 different countries this year, and I’d love to be able to continue to grow my touring opportunities in the next one. I will for sure be back in Amsterdam, at ADE for the conference and to play our annual, Amsterdam Dennis Event at Café de Gaeper. Of course, I’m always evolving my production sound, so there will be a variety of new flavors in upcoming releases. I’m also working on a batch of fresh collabs with some friends and colleagues that we started later in 2025. Self-releasing is something I’ve never done, but next year could be the right time to launch another label focused on growing my creative potential and taking more risks. In any case, the main resolution will be to keep having fun!

From releases on labels such as theBasement Discos, ESUOH, GLB DOM, and Rhythm Vibe to support from heavyweights like Kerri Chandler and Cinthie, Jon Billick’s work continues to resonate far beyond his hometown. Whether opening the floor or closing the night in cities like Berlin, Paris, or New York, his approach remains consistent: House music built for connection, movement, and longevity on the dance floor.

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Avi Sic interview about her new collaboration ‘No Tears’ with Costel van Dein, her Farris Wheel debut, and her rise in Bass House.

Avi Sic continues to make her mark on the Bass House scene with sharp, high-impact productions and undeniable dance floor energy. Her latest collaboration, ‘No Tears’ with Costel van Dein, highlights her signature blend of electrifying synths, hard basslines, and precision production. We caught up with Avi Sic to talk about the release, her evolving sound, and what’s next.

Hi Avi! How are you?

I’m great, thanks for having me!

When you started working on ‘No Tears’, what feeling or idea guided the sound before the structure came together?

We wanted the track to feel strong and forward-moving, with emotion that wasn’t heavy or overthought. Something fun that would hit on a dance floor but still carry intention. Once that feeling was right, the structure came together naturally.

The title suggests both vulnerability and strength; how does that duality show up in the music?

The title ‘No Tears’ plays with contrast. It’s actually just a small line from the lyrics, and we originally had a different name for the track, but this felt more confident, almost like a “girls don’t cry” attitude. The spoken-word vocal is confident and powerful, but still fun and catchy. The big bassline and sharp drums keep it driving, while the emotion lives more in the tone. It’s expressive and unapologetic.

How did your collaboration with Costel Van Dein come about, and what made him the right fit for this track?

We worked together on a release a few years ago called ‘Feel Alive’, so there was already a real foundation and trust there. When it came to ‘No Tears’, it felt natural to build on that relationship. We speak a similar musical language, especially when it comes to groove and energy, which made the collaboration feel effortless.

Was there a moment when the track really ‘clicked’ for both of you?

Costel set the foundation for this one. When he sent over the initial idea and groove, it clicked right away for me. From there, it became more about refining and shaping it together rather than forcing anything. The core feeling was already there, which made the rest of the process feel natural.

Can you walk us through the early version of ‘No Tears’? How different was it from the final release?

Mostly tightening the arrangement, refining the vocal moments, and shaping it for the dance floor. The final version isn’t a complete reinvention, it’s a more focused and intentional version of what was there from the start. I road-test all my tracks and this one hit from the start.

Are there any specific synths, plugins, or production techniques that played a key role in shaping the track’s atmosphere?

​​We kept things pretty focused. A lot of the low end came from sound design in Serum and Omnisphere, with movement and groove shaped using ShaperBox. Nothing overly complicated, just tools that let the track breathe while keeping it dynamic.

How did you approach balancing emotional depth with club-ready energy?

We kept the emotion in the tone rather than the arrangement. The groove and energy stay consistent and club-focused, while the feeling comes through the vocal. That balance lets the track connect emotionally without losing its momentum on the dance floor. It’s a powerful but fun record.

What did you want listeners to feel, or maybe not feel, when they hear this track for the first time?

I wanted it to feel energized and feel-good, with a bit of attitude. Something that makes you want to get on the dance floor or turn it up in your car. It’s not meant to feel heavy or overthought, just confident, fun, and instantly playable.

How do you know when a track like this is finished rather than just endlessly tweakable?

You can only add so much before you have to start stripping things away. When the track feels clear, focused, and does what it’s supposed to do without extra layers getting in the way, that’s when I know it’s finished.

What excites you most right now about where your sound and collaborations are heading?

What excites me most is how aligned everything feels right now. Working with collaborators who really understand my sound has made the process more fluid and honest. This track being signed to Farris Wheel and by Gene Farris himself within minutes of sending it over was a huge moment for me. It’s a legendary Chicago house label, and being part of that lineage means something personal after years of being rooted in this city and its club culture. Moments like that reinforce that I’m moving in the right direction and make me excited to keep pushing my sound forward through future collaborations.

With ‘No Tears’ reinforcing her momentum and artistic direction, Avi Sic proves she’s an artist firmly on the rise. Focused, confident, and creatively driven, she continues to shape a bold lane within modern Bass House and this release is another strong step forward.

Avi Sic Online

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