# Aiwaska Talks Musical Alchemy, New Music, and Contemplation for Art: TF Word 1. [TF Word](https://www.ticketfairy.com/word.md) 2. [Interviews](https://www.ticketfairy.com/word/category/interviews.md) 3. Aiwaska Talks Musical Alchemy, New Music, and Contemplation for Art - [Interviews](https://www.ticketfairy.com/word/category/interviews.md) - [Music](https://www.ticketfairy.com/word/category/music.md) # Aiwaska Talks Musical Alchemy, New Music, and Contemplation for Art The GRAMMY-nominated producer dives into painting the image of Brazilian carnival in his latest single with Milletrax, as he reflects on the journey since his second LP ‘Truth & Love,’ the exploration of creativity… [Lavanya Thankappan](https://www.ticketfairy.com/word/author/lavanyakkt.md) 27 August 2026 · 14 min read ***The GRAMMY-nominated producer dives into painting the image of Brazilian carnival in his latest single with Milletrax, as he reflects on the journey since his second LP ‘Truth & Love,’ the exploration of creativity with other artists, his decades-long career and more.*** The mystery and anonymity of Aiwaska didn’t subdue the globe-trotting veteran DJ and producer from indulging in a conversation with us that tracks the extrapolation of his career. While he’s thrived in the scene for over thirty years now, he donned his mask in 2026 to take on his musical undertakings and social projects. With two LPs in the roster and a litany of EPs and singles that won the hearts of fans and EDM heavyweights alike, Aiwaska adds more to his ever-growing repertoire. His latest stint is ‘Nena’ with **Milletrax**, out now via Junior Jack’s **Adesso Music** label. It’s a mellowed mixture of Latin instrumentation and rolling percussion that’s swept away by vocal snippets signalling an atmosphere of sun-soaked grooves. The single comes following his acclaimed second LP, ‘Truth & Love,’ which has been added to sets by the likes of Acid Pauli, Adriatique, Vintage Culture, Paco Osuna, Claptone, and more. Aiwaska has been on a tear lately, and we got the opportunity to chat about musical alchemy with collaborators, searching for inner depth amidst countless trends and transformation in music, upcoming collaborations with Tiger Stripes, Akira Arasawa and Shapov, further development of Aiwaska Planet and much more! **Congratulations on the upcoming release of your single, ‘Nena,’ with Milletrax. What can you tell us about the process of creating the tune?** **AIWASKA:** For me, the question of creating this track is ultimately a question about the nature of music itself. I have become increasingly convinced that music does not come into existence at the moment of composition; it already exists within a deeper order of reality, and the composer merely enters into a certain inner correspondence with that order. We were not so much creating Nena as we were attempting to discover a form that was already present within the invisible architecture of sound. What interested us was the union of electronic music and live instruments, not as a technical experiment, but as the meeting of two principles. Electronic sound carries the quality of crystallised time, while the live instrument bears the breath of organic life. Their encounter resembles the union of stone and light, matter and rhythm, law and freedom. The image of the Brazilian carnival was never a decorative theme for us; it was the symbol of an ancient mystery. Carnival is the moment when the familiar structure of the world dissolves so that a deeper order may reveal itself. What appears outwardly as madness may, inwardly, be the liberation of vital forces. We wanted to evoke precisely that state in which joy ceases to be merely an emotion and becomes a cosmic impulse capable of breaking down the inner walls that confine the human being. I have always perceived music as the construction of an invisible temple. Every track is a stone that must be shaped, purified of the accidental, and placed in its rightful position within the sacred geometry of the work. In that sense, Nena is not a story about celebration; it is an exploration of how rhythm can awaken in a person the memory of an original wholeness. **This marks your second collaboration with Milletrax; was the experience different while putting together each track?** **AIWASKA:** To be precise, this is actually our third collaboration, and there are several more releases still to come. Yet the number itself is of little importance compared to the principle of collaboration. True collaboration is not the sum of two authors; it is the emergence of a third space in which both participants cease to belong solely to themselves. Milletrax and I have been close friends for many years, and it is precisely this friendship that has created a rare trust in the unknown between us. I am drawn to unusual live instruments, unexpected tonal inflexions, and sonic elements that have not yet entered the conventional vocabulary of music. Milletrax, in turn, possesses a profound sense of form, structure, and the dense, living presence of analogue sound. If one were to speak in the language of the ancient builders, one of us searches for the stone, while the other understands the law of the arch. Each of our tracks differs from the previous one because we refuse to repeat a discovered formula. Repetition may produce craftsmanship, but it does not lead to initiation. We consciously enter a territory where no outcome can be guaranteed. It is precisely there that living music comes into being. What is most important to me is that our work resembles an alchemical process. The original material is always imperfect, yet through prolonged interaction, doubt, dissolution, and reconstruction, it gradually begins to reveal its own inner form. In this sense, music is akin to the shaping of the rough stone: the artist’s task is not to impose his will upon matter, but to liberate the architecture concealed within it. For that reason, every collaboration becomes more than a new composition; it becomes another stage in an inner work of construction. And perhaps that is what makes the process so compelling: we never know which door will be opened by the next stone placed in the foundation of the temple yet to be built. **‘Nena’ comes following the release of your second LP, ‘Truth & Love.’ After almost a month since its release, how has the reception of the album been among your fans and audience?** **AIWASKA:** I do not perceive an album as a collection of tracks, but as a living organism. Every composition has its own purpose, its own rhythm, and its own spiritual function. What mattered most to me was seeing that these pieces did not merely find listeners; they found people with whom they entered into a kind of inner resonance. Within this album, different forces coexist: electro, Eastern melodies, club-oriented compositions, and experimental forms. Yet the diversity of genres was never the goal. On the contrary, they were different facets of a single search—the search for truth and love as two fundamental principles of consciousness. Truth without love becomes a cold geometry, while love without truth dissolves into formlessness. Music is born at the point where these two principles meet. I was deeply encouraged to see that several tracks found a particularly strong expression in the sets of Acid Pauli, Paco Osuna, Claptone, Adriatique, Vintage Culture, Sasha Carassi, Fideles, Joris Voorn, Joyce Muniz, Samantha Loveridge, and many other artists. The Eastern-inspired compositions resonated strongly on TikTok and Instagram, generating more than five million impressions. But even more important was witnessing the moment when the music began to live a life of its own. The most unexpected journey was that of the electro track we created together with Milletrax. Its unusual structure, its use of silence, and its vocal character transformed it into a kind of hidden keystone within the album. Sometimes the work that appears to be the greatest risk becomes the very stone that completes the arch. This track connected with people across entirely different dance floors and cultural landscapes because it speaks not to taste, but to a deeper memory of rhythm that exists beneath culture itself. **What can you tell us about creating and producing ‘Truth & Love’?** **AIWASKA:** Creating an album has always felt to me like the construction of a cathedral. An individual track may be a beautiful column or a stained-glass window, but only the whole reveals the architect’s vision. An album demands a different state of consciousness because it is not built around a single impression; it is built around an inner journey. For me, Truth & Love was an attempt to create a space of initiation. Each composition was meant to become not an episode, but a step along a path. The listener moves through different states—doubt, tension, release, silence, ecstasy—and gradually begins to hear not only the music, but also something within themselves. That is why it was essential for me to bring together different genres and different musicians. Distinct musical languages are like different stones within the same temple. Their purpose is not to be identical, but to serve a single proportion, a single underlying harmony. The fact that the album is being released on my own label gave me a particular kind of freedom. When an artist is no longer governed by external expectations, he can follow the inner law of the work itself. This is fundamental to me. Art should not be governed by the market, but by what the ancient masters called measure and number. It is through measure and number that true form comes into being. I am convinced that a genuine work of art begins to emerge when the author ceases to be its owner and becomes its servant. The album does not belong to me; I merely participated in the process of its revelation. And if it possesses any sense of wholeness, it is not because of my will, but because of that invisible harmony which always precedes human creation. **How was the experience of collaborating with Prana Flow, G.Zamora and Thomas Gandey for the album?** **AIWASKA:** I do not perceive collaboration as a simple combination of professional skills. A true collaboration emerges only when several individuals become participants in a shared inner work. In ancient traditions, the workshop was not merely a place where objects were created; it was a place where the creator himself was transformed through the process. Music preserves this ancient principle. Prana Flow, G. Zamora and Thomas Gandey are not simply musicians; they are individuals who possess the courage to enter the realm of the unknown. What connects us is not a particular style, but a shared understanding of creativity as a form of consciousness exploration. Each of us brought our own language into the process, yet the purpose was not to preserve our separateness, but to discover a higher order in which individual voices become instruments of a greater composition. [Aiwaska at Odyssey Festival | 7 Wonders](https://www.youtube.com/embed/fH_M3F-eQtA?feature=oembed) I am always drawn to working with people who are not afraid to question and dissolve their own established forms. Because only through the destruction of what has become complete can something unfinished reveal itself. And it is precisely within the unfinished that the possibility of revelation exists. **What did you learn from collaborating that you’ll carry into future projects?** **AIWASKA:** It taught me that the greatest illusion an artist can have is the belief that they already know the limits of their own language. Every time we cross the boundary of the familiar, we do not encounter emptiness; we enter a new field of existence. I increasingly believe that the creative flow cannot be controlled in the ordinary sense of the word. It can only be made possible. Just as an architect does not create the law of gravity but builds in harmony with it, an artist does not create inspiration itself; rather, they construct an inner architecture capable of receiving it. This is precisely why the journey of the track “Love & Truth” was so profound for me. I originally envisioned it as a contemplative introduction — almost as a threshold through which the listener would enter the inner world of the album. Yet during the process, it transformed into a powerful dancefloor composition. It became a lesson in humility. The work revealed that it possessed its own direction beyond my original intention. Sometimes a seed that we perceive as a simple ornamental flower carries within it the potential to become a tree capable of transforming an entire landscape. The role of the artist is not to impose a predetermined form upon creation, but to have the courage to allow that hidden possibility to reveal itself. **What makes a collaboration truly fascinating for you?** **AIWASKA:** For me, collaboration becomes truly alive only when it is connected to a shared search for truth. When people unite solely for the sake of an outcome, they create a structure. But when they unite in the spirit of discovery, they create an organism. I am drawn to musicians who are not bound by an attachment to their own ego. The ego naturally builds walls, whereas art requires the construction of bridges. A true collaboration resembles the ancient work of the sculptor, where each person shapes their own stone, yet no one claims ownership of the sculpture itself. It is in this moment that what I call musical alchemy begins to emerge. It is a state in which one can no longer determine who the original idea belonged to, because the idea itself has transcended the individual and become part of the space between people. At that point, music ceases to be merely an expression of personality and becomes a manifestation of a greater law — a principle that reveals itself as something more powerful than the individual will. **As compared to your creative process for the 2025 record ‘Flora Fauna,’ was there a difference in approach while making ‘Truth & Love’?** **AIWASKA:** I do not like to compare works of art, because each creation belongs to a particular stage of an inner biography. We often believe that the creator remains the same person throughout the journey, but this is an illusion. Consciousness is in a constant process of dying and being reborn. There is an ancient image of the unhewn stone and the perfected stone. They are not two separate objects, but two states of the same being. The same transformation takes place within the human being. Every completed album takes away one form of existence from the artist and demands the emergence of another. [Aiwaska at Tea Plantations](https://www.youtube.com/embed/O27KRfPID1E?feature=oembed) Therefore, “Flora Fauna” and “Truth & Love” are not simply consecutive chapters in a story; they are two different initiations. One album is a dialogue with nature as a living organism of the world, while the other explores the inner polarity of truth and love as fundamental principles of spiritual development. I believe that an artist should never attempt to repeat themselves. Repetition strengthens the personality, but it weakens the spirit. Art must remain a path of transformation, not merely a record of biography. **In your long career spanning three decades in the music industry, what trends or evolutions have amused you the most?** **AIWASKA:** Over the course of thirty years, I have witnessed countless transformations: the evolution of technology, the changing structure of the industry, the acceleration of how music spreads, and the ways in which people experience it. Yet the more the external world has changed, the more clearly one truth has revealed itself: human beings are not ultimately searching for sound; they are searching for meaning. Musical trends themselves do not surprise me. What fascinates me is how quickly civilisation begins to worship its instruments while forgetting their purpose. Technology is a magnificent hammer, but the hammer knows nothing about the temple it is meant to help build. Today, my guiding principle is remarkably simple: to create music in such a way that it helps a person remember their own inner depth. If a work does not expand consciousness, it remains only entertainment. Entertainment can bring pleasure, but it does not transform the architecture of the inner human being. I believe that true art must restore humanity’s capacity for contemplation. Because it is through contemplation that responsibility is born, and without responsibility, no meaningful future can be built. **What can we expect from you in the coming months?** **AIWASKA:** On the surface, there will be new releases and new projects, but inwardly I perceive this next period as a continuation of one greater path. There are collaborations being prepared with Tiger Stripes, an EP with the Japanese musician Akira Arasawa has finally been completed, including a powerful remix from Alican, and in autumn there will be a new collaboration with Shapov. Each of these projects has its own sonic identity, yet they are united by one common intention — the exploration of new forms of musical consciousness. *Image via Aiwaska* A particularly meaningful direction for me is the further development of Aiwaska Planet. We are currently creating a new fragrance, and many people are surprised that music and scent exist within the same artistic universe. However, in ancient mystery traditions, sound, fragrance, light and space were never perceived as separate elements. They were considered parts of one unified architecture of perception. This is why, during my performances, I use specially created aromatic compositions. Scent has the ability to awaken layers of memory that remain inaccessible to the intellect. It becomes an invisible dimension of the musical experience. The new fragrance will be dedicated to the Great Architects of the World. For me, this image represents the eternal principle of creation through which chaos gradually becomes cosmos. Every human being carries within themselves the image of an inner architect. But this architect begins to speak only when a person stops building merely the external world and begins the deeper work of constructing themselves. We are also actively developing the digital visualization of our universe, in order to reveal the philosophy of the project more profoundly and to draw attention to our essential mission — supporting the environment and protecting wild animals. I believe that the art of the future must be not only aesthetic, but ethical. It must create forms capable of healing the separation between humanity, nature, and the spiritual foundation of existence. If music does not become an act of love, it remains only sound. But when it becomes an act of love, it transforms into the construction of an invisible image — the image that humanity has been building throughout time. **Keep up with TFword on: [Instagram](https://www.instagram.com/tf.word/) | [Facebook](https://www.facebook.com/thefckingword) | [X](https://x.com/thefckingword)** **You May Also Like:** [Behind the Scenes of Jack Marlow’s Genre-Blurring Crossover](https://www.ticketfairy.com/word/2026/07/17/behind-the-scenes-of-jack-marlows-genre-blurring-crossover) [LEGION Breaks Down the Journey Behind ‘Wakefield Dub’](https://www.ticketfairy.com/word/2026/06/25/legion-breaks-down-the-journey-behind-wakefield-dub) [Inside The Mechanics of Franz Scala’s Retro-Futurist Groove](https://www.ticketfairy.com/word/2026/01/22/inside-the-mechanics-of-franz-scalas-retro-futurist-groove) Share [X](https://twitter.com/intent/tweet?url=https%3A%2F%2Fwww.ticketfairy.com%2Fword%2F2026%2F08%2F27%2Faiwaska-talks-musical-alchemy-new-music-and-contemplation-for-art.md&text=Aiwaska+Talks+Musical+Alchemy%2C+New+Music%2C+and+Contemplation+for+Art) [Facebook](https://www.facebook.com/sharer/sharer.php?u=https%3A%2F%2Fwww.ticketfairy.com%2Fword%2F2026%2F08%2F27%2Faiwaska-talks-musical-alchemy-new-music-and-contemplation-for-art.md) [WhatsApp](https://api.whatsapp.com/send?text=Aiwaska+Talks+Musical+Alchemy%2C+New+Music%2C+and+Contemplation+for+Art+https%3A%2F%2Fwww.ticketfairy.com%2Fword%2F2026%2F08%2F27%2Faiwaska-talks-musical-alchemy-new-music-and-contemplation-for-art.md) ## Lavanya Thankappan Editor & writer at TFword. 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