Flora Fauna: Aiwaska’s manifesto rhythm, resistance, and renewal

Few artists in electronic music bridge the spiritual and the sonic quite like Aiwaska. With over two decades of experience, his work has always carried a deeper message—one rooted in connection, consciousness, and the rhythms of nature. His upcoming LP Flora Fauna is the latest chapter in that ongoing journey: a richly layered exploration of the organic world through the lens of electronic music. It’s not just an album—it’s a story, a statement, and a sonic call to action.

Known for his releases on esteemed labels like Crosstown Rebels, Exploited, and Bar 25 Music, Aiwaska now steps into full creative autonomy with his imprint, Aiwaska Planet. This label serves as a symbol of the ecological movement. In Flora Fauna, analog warmth meets earthy symbolism, tribal percussion meets emotional precision, and carefully curated collaborations bring new life to his already distinctive sound. It's music for the dancefloor, but also for the inner world.

In this exclusive interview, Aiwaska opens up about the inspirations behind Flora Fauna, the archetypes and emotional terrain that guide his compositions, and his mission to merge music with environmental action. From the sacredness of sound to the power of storytelling, this is a conversation that transcends genres and goes straight to the root.

“Flora Fauna” feels like a deeply symbolic title. Can you walk us through the conceptual roots of the album—what inspired this fusion of organic life and electronic music, and how did nature shape the emotional and sonic direction of the project?

From the very beginning, my mission as an artist has been to speak to the world through music — about wildlife, animals, the fragility and beauty of our planet. Flora Fauna is a natural continuation of that idea. It’s more than just a musical statement — it’s an invitation to return to the roots, to feel the rhythms of the Earth and the heartbeat of nature, fused with electronic sound. Nature guided me — like a compass, an inspiration, a healer.

Storytelling seems central to your work. How do you use sound as a narrative tool in Flora Fauna? Are there specific themes, archetypes, or inner landscapes you sought to express through the tracks, and how do they unfold across the album’s arc?

I compose music as an experience — a moment frozen in sound. Each track reflects an inner landscape born from the outer world: wild terrains, encounters with animals, energies felt in different corners of the Earth. This album is a journey — through jungles and deserts, through polar chill and tropical breath. Archetypes emerge here: Love, Purification, Resistance, and Rebirth. I use sound like a brush, and rhythm as a story without words.

The track “Love to Hate” encapsulates your signature blend of rhythm and emotional tension. What was the creative process behind this piece, and how does it embody the broader identity of the album and of Aiwaska as an artist?

For me, Love to Hate is more than a track — it’s a manifesto. I fused the foundations of classic house with ethnic melodies and modern analog textures. It’s music at the crossroads of cultures and eras. The brilliant vocalist Aquarius Heaven truly brought it to life, filling it with drama and depth. This track mirrors my approach as Aiwaska — a blend of danceability, spirituality, and aesthetics, where every detail has meaning.

The collaborations on this LP—featuring artists like JAW, Thomas Gandey, and Megane Mercury—feel carefully curated. How did you select your creative partners for Flora Fauna, and what unique energy did each bring to this sonic ecosystem?

I see collaborations as alchemy — not just a technical partnership but an energetic connection. Each artist — JAW, Thomas Gandey, Megane Mercury, Prana Flow, and Aquarius Heaven —brings a unique resonance. These people are masters to me. They didn’t just perform — they expanded my world with their own dimensions. We didn’t need to discuss too much — they understood the message from the first look, the first sound. It felt like a deep dance — we were breathing in sync.

You’ve released music on some of the most respected labels in electronic music—Exploited, Crosstown Rebels, Bar 25 Music, and more. How have those experiences shaped your sound, and what does it mean for you to now take full creative control through your own label, Aiwaska Planet?

Working with labels I deeply respect gave me invaluable experience — years of discovery and professional growth. But sometimes, to go beyond format, you have to create your own platform. Aiwaska Planet was born from a desire for freedom — to experiment, to speak louder and deeper. We release music without chasing trends, but we do test it carefully on the dancefloor. More than that, part of the income goes toward real action — supporting wildlife. This is not just a label. It’s a tool for change.

Your career spans over 20 years, with a wide stylistic range that blends House, Melodic, and Indie Dance. Looking back, what do you see as the defining moments in your artistic evolution, and how are they reflected or transcended in Flora Fauna?

I started as a DJ in 1996, and as a producer in 2000. Since then, I’ve lived through music, exploring its many voices. I’ve been inspired by Tool, Aphex Twin, Wagner, traditional rhythms from around the world, and many different genres and artists. These influences are not just styles — they’re streams of consciousness flowing through me and becoming sound. Flora Fauna is an alchemy of past experience and present intuition. It marks the beginning of my next chapter.

You’ve worked with icons like Egyptian Lover, Roland Clark, and Robert Owens, and delivered remixes for major artists. How do you approach collaboration versus remixing,and what do those processes teach you about your own voice as a producer?

Each collaboration feels like a meeting with a mirror — revealing something new about yourself. With masters like Egyptian Lover or Robert Owens, I felt both like a student and an equal. Collaboration is a living energy exchange, while remixing is like decoding someone else’s message in your own language. Both processes reveal your essence — how flexible, intuitive,and yet how true to yourself you are.

Your music has found global resonance, supported by influential DJs like Solomun and Black Coffee. In your view, what is it about your sound that connects with such a wide spectrum of listeners, from the underground to the mainstage?

Music is a universal language. I believe if a track carries real emotion, it will find its way into any heart. I strive for uniqueness, detail, and depth in sound. And if this resonates with such iconic artists, then the energy has been passed on truthfully. I don’t create music for the stage. I create it for the feeling. And the stage chooses when and how to respond.

Aiwaska Planet stands as more than a label—it’s a platform for environmental consciousness and artistic purpose. What sparked your decision to merge music with ecological action, and how do you hope this model impacts the scene and beyond?

The world today demands awareness. I see music as a catalyst — a force that can shift perspectives and inspire action. Aiwaska Planet is a community, a movement, a transformation. We’re not just releasing tracks — we’re building an ecosystem of meaning. My dream is to evolve this into a large-scale foundation that unites artists, listeners, and environmental initiatives. So that music can once again become sacred, awakening.

With the NFT-powered Aiwaska Planet Project, you’re merging technology, sustainability, and art in an immersive format. Can you share your long-term vision for this initiative? How do you imagine it evolving as both a community and a movement?

I believe technology is a new palette for the artist. NFTs, immersive installations, audiovisual shows — all of these expand the boundaries of perception. This year I will premiere the Aiwaska Planet audiovisual show and launch digital art installations. These aren’t just projects — they’re portals. I envision a future where art, ethics, and technology merge into new forms of dialogue with reality. This is just the beginning of a long journey — and we’re walking it together with those who feel the same.

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