Melodic house and techno producer Aurory interview on the instincts driving his sound, his inspirations, and the mindset behind his artistic direction.

Focused on carving a signature sound reflective of his creative perspective, channelling Melodic House, Techno, and immersive sound design, Producer and DJ Aurory continues to shape an identity rooted in creative originality. Guided by a vision that extends beyond the dancefloor into a wider audiovisual world, his work delivers engaging experiences for listeners to discover. In this conversation, he reflects on the instincts driving his sound, the influences shaping his next steps, and the mindset behind his artistic direction.

Hi AURORY, how are you feeling today?

Today I feel focused and inspired. Thank you for this interview!

How much of your creative output is a reaction to the sounds you don’t like in the world?

A part of it definitely comes from that, but not in a negative way. I think my music is more about searching for what I feel is missing, more depth, more atmosphere, more emotional tension, more identity. I’m always chasing sounds that feel transportive rather than disposable.

What is the best piece of advice another creator ever gave you?


To stay honest with my taste. Trends move fast, but if you build around a real artistic instinct, your sound has a much better chance of lasting.
I remember one top tier artist once told me, “In the end, who cares?” – and that really stayed with me.

What is the most unconventional source of inspiration you’ve tapped into recently? 


Bulgarian traditional music – I recently resampled elements of it and wove them into the vocal of my next track. It brings in something raw, ancestral, and unexpected, and I think the result is going to be massive.

When you’re having a bad day, what is the one song that always makes you feel better? 


I actually have one track that motivates me every time I’m under pressure, and I also play it before my sets. It’s by a very famous legendary Italian artist, and over time it has almost become a personal ritual for me – something I listen to before any important event in my life.

More generally, when I’m feeling a bit low, I’m drawn to energetic music that gives me motivation and helps shift my mindset. Most of the time, I naturally go toward the kind of music I play myself. One of the latest tracks that truly inspired me was ‘Late at Night’ by Mind Against.

If your personality was a specific instrument, which one would it be and why?


A synth, without a doubt. It can be warm or cold, subtle or overwhelming, melodic or deeply textural. That range reflects how I see myself – someone who can adapt easily to very different environments. Whether it’s a more business-oriented setting, a festival, or a more informal situation, I naturally adjust.

Who is an artist that you think everyone should listen to at least once?


Aurory, for sure if you haven’t listened to him yet!

What is your definition of a “good track”, and how has it evolved?

For me, a good track is one that evolves over time. It builds strong tension, knows how to release it, and stays simple – but in that simplicity, it delivers something powerful. A track shouldn’t feel static; it should move, breathe, and develop, with progressive elements that keep it engaging from start to finish.

One of the most important things I remember from an old professor of mine was: don’t become a skeleton in front of the computer. At some point, you have to know when to stop and let the track go. The idea of perfection, especially the one we create in our own heads, doesn’t really exist – and part of being an artist is also knowing when a track is ready to be finished.

What is the most important thing you’ve learned about yourself as an artist?

I’ve learned that in this industry, it’s not only about the music – interpersonal skills make a huge difference too. Traveling around the world and being exposed to different cultures has helped me understand the different social traits. That really makes a difference when you’re building collaborations, speaking with venue owners, or creating music with other artists.

If you could collaborate with any creative mind from the past, who would it be and why?

I think I would have loved to collaborate with one of the great classical composers, like Beethoven, and try to create a piece of electronic music together.

If you could leave one message for future creators who might be influenced by you, what would it be?

If you want something, go and take it. And most of the time, no means yes – that’s my mantra.

From our interview, Aurory has shared a glimpse into his approach, one that centres on instinct and consistency, with a focus on detail, emotion, and structure rather than chasing trends or overworking ideas. As he continues to refine his sound and explore new influences, his direction becomes clearer, moving forward in a way that feels considered and true to his identity. So, be sure to follow Aurory via social media to remain updated on his new releases, projects, and performances.

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Audio Paak ‘Dallas Dance’ Interview And Afro House Shift Explained Through Real-Life Inspiration And Production Process

Marking a clear shift in direction, Audio Paak’s ‘Dallas Dance’ sees the Ghana-born, UK-based artist move deeper into Afro House territory – drawing on his roots in Afrobeats while refining a more groove-led, culturally grounded sound. For Audio Paak, ‘Dallas Dance’ comes from a moment that feels personal and specific, and that carries through both the way it was made and how he explains it now. The track did not come from a fixed concept or a planned direction. It started from a real scene he witnessed and followed that feeling through the production, which gives the release a clear sense of identity without feeling forced.

The Moment Behind ‘Dallas Dance’

The starting point for ‘Dallas Dance’ came while Audio Paak was passing through DFW Airport, where a small detail ended up shaping the entire track. Reflecting on that moment, he said, “It was at the DFW airport when I noticed a woman in a simple white dress, wearing headphones and carrying a backpack, dancing to the music only she could hear.” What stayed with him was how natural it felt. It was not exaggerated or staged, just someone completely absorbed in their own music, and that feeling became the reference point for the record.

When he later sat down to make the track, there was no structured idea guiding the session. He explained, “I didn’t have a specific idea; I just wanted to make something that felt as fun and alive as she looked dancing.” That intention carries through clearly, with the rhythm and pacing tied closely to movement rather than overworked detail. The environment around him also played a part in shaping the record. Looking out from his apartment in Dallas, he could see the highway lights stretching across the city, and he noted, “The apartment view definitely influenced it. I could see the Dallas highway from the window, the lights were mesmerizing, and it created this perfect club-like atmosphere to make music.” That detail connects the title, the original moment, and the late-night feel present throughout the track.

How The Production Came Together

From a production standpoint, ‘Dallas Dance’ stayed close to its original version, which is not always the case with tracks made while travelling. After sharing it with Blvck Navy, the only real adjustment came through a simple suggestion. As he put it, “To be honest, I sent it to my friend Blvck Navy, and he suggested adding more drums. So that’s really the only change from the first draft.” That shows the core of the track was already clear early on, with the added drums helping to reinforce the groove without shifting the direction.

The setup behind the record was also relatively minimal. Since he was on holiday, he worked with a compact setup instead of a full studio environment, relying on what he had available. He explained, “I was working with limited tools since I was on holiday, and I only had my mini-PC and portable gear with me. But FL Studio had everything I needed in terms of tools and presets.” Within that process, certain elements stood out, particularly on the low end. He noted, “I’d say Analog Bass 1 TE from the GMS Basses program was my favourite. It really locked in the groove, together with the claps and snares.” At the same time, the chords required more attention, as he explained, “I needed the chords to carry that spiritual energy while still feeling club ready, with the drums complementing them to achieve that balance.”

Where ‘Dallas Dance’ Fits Now

Beyond the production itself, ‘Dallas Dance’ gives a clearer idea of where Audio Paak is heading next. He described the release as part of the early stages of a wider move into Afro House, saying, “I’m just at the beginning of my Afro House journey, but the response has shown me this could really be what I’m meant to do.” That perspective places the track within a longer trajectory rather than treating it as a standalone release, especially as he continues to refine that direction.

The response to the track has also played a role in shaping that confidence. He shared, “Getting messages from respected artists congratulating me has meant a lot,” which adds another layer to how the release has been received. Looking ahead, he is already building on this with more music in progress. He said, “I’m wrapping up two more singles, and then I’ll be putting together an EP to release on my birthday.” That makes ‘Dallas Dance’ feel like the starting point of a larger run of releases.

There is also a sense of how he measures a finished record through his own circle. When asked how he decides when a track is done, he answered, “For me, it’s when I send it to Blvck Navy and he goes, ‘YOH, did you make that?’ that’s when I know it’s ready!” It is a simple answer, but it reflects a process guided by instinct and reaction, keeping the original idea intact without overworking it.