When music finds its own time: the unfolding of Michael Ritter, and Felix E´s 22:22

"22:22" isn’t just an album—it’s a moment. A timestamp that somehow captured the mood, the shift, and the soul of two artists ready to break their mold. For Michael Ritter and Felix E, this record isn’t about the club. It’s about slowing down, tuning in, and trusting the process. Known for deep, elegant grooves that have lit up dance floors from Berlin to Barcelona, the duo takes an unexpected turn inward with this release, and the result is stunning.

With cinematic textures, intimate vocal features, and a quiet emotional weight, 22:22 feels like a reflection of the quiet hours between nights out. The record is full of small signs and soft edges—each track unfolding like a whispered story, carried by delicate collaborations and unexpected inspirations. It's a sound born not from a peak-time moment, but from personal growth, late-night sessions, and following creative impulses without pressure or deadlines.

But make no mistake—this isn’t a retreat, it’s a reveal. It’s Felix and Michael stepping into new territory with confidence, supported by a close circle of artists, family, and visual creatives who helped shape the project into something bigger than a collection of tracks. From Sister Sol’s tender German poetry to the myth-inspired artwork by Nida Basli, every element adds depth to the duo’s most personal work to date.

In this interview, we dive deep into the making of 22:22, from studio serendipity and collaborations across borders to Reconsider’s evolving role as a label, community, and platform for new voices. Along the way, we also explore the beauty of creative friendship, the power of trusting your gut, and the moments that quietly guide you back to yourself.

Whether you’re a longtime fan or just discovering them now, this is the perfect entry point into the next chapter of Michael Ritter & Felix E. An album that invites you to pause, feel, and maybe—just maybe—catch the clock at 22:22.

22:22 feels like a big departure from your usual club-ready sound—slower, more emotional, almost cinematic in parts.

Felix: “We felt excited and motivated to create something more personal and reflective. Something that shows a different side of us than what we usually put out through club tracks and DJ sets. The idea was to slow things down, both emotionally and musically, and offer a broader perspective of who we are as artists.”

“In general, we feel that electronic music tends to get harder and faster, and we deliberately wanted to go in the opposite direction.”

“At the same time, the album came together quite naturally. We had a few solo tracks, some collaborations, and finished ideas that didn’t quite fit anywhere else — we weren’t sure which label they belonged to or what to do with them. That’s when the album concept began to take shape.”

“The initial feedback was more like, “Why do an album now?” — as if that’s something you're only supposed to do at a certain stage of your career, once you have a bigger fanbase. But for us, it just felt right. And looking back, we’re really glad we trusted that instinct. The feedback from artists we respect has been incredibly positive, and it feels good to show our community a different facet of what we do.”

The title 22:22 has some spiritual weight to it—it’s often seen as a kind of cosmic sign or a moment where things align.

Michael: “Yes, 22:22 - or catching the clock at that exact time - is often seen as a moment of alignment or synchronicity, a connection to a specific person, or a kind of gentle reminder that you’re on the right path. For us, though, the meaning came after the fact. When we bounced the first track for the album, it just happened to be 22:22 on the clock. We thought it was a nice little coincidence and used it as a working title.”

“Later on, we started hearing from friends about what the number symbolizes and looked into it more ourselves. The idea of trusting the timing of things and paying attention to small signs started to resonate with the way we approached the whole album. Letting things develop naturally and without pressure. So in the end, 22:22 became more than just a timestamp; it reflected the overall mood and mindset we had while making the records.”

Sister Sol’s German vocals bring a very personal and intimate vibe to the album.

Felix: I started working with my sister (Sister Sol) a couple of years ago on a fun project called Meine Katze, which I never really intended to release. Eventually, I did, and it became a big track among German listeners. We’ve kept working on projects ever since, and the creative process is very natural and enjoyable.

We never dictate what the lyrics should be. We usually send her an instrumental that we like, and she takes it from there. Since she’s an actress and reads a lot of poetry and prose, she brings amazing ideas, especially for deeper, more meaningful tracks. We love working with her, and I’m sure this won’t be our last collaboration.

‘Bloom’ with Paul Brenning stands out—it feels like a turning point in the album.

Felix: The track with Paul also started from an instrumental. Once we had the overall vibe, we knew it was going to be one of the major tracks on the album. We intentionally left space for vocals and began searching for the right vocalist. We’ve long been fans of Paul’s work, so he was an obvious choice, and luckily, he agreed to collaborate.

Again, we gave Paul full creative freedom, and since the instrumental was already quite emotional and melancholic, he turned it into a beautifully deep track. The lyrics touch on that feeling of needing to step back when things get overwhelming, and hiding away for a bit to come back stronger. There’s a real mix of emotions in there that fit perfectly with the tone and the vibe of the album that we were going for.

Nida Basli worked on the artwork, which feels like such a good match for the music. This is how that collaboration came to be, and how important the visual side became when doing something so personal.

Michael: “When we started developing the idea of making an album, Cosmas Diener from Blueprint Visions pointed us in the right direction on multiple fronts (huge thanks to him), including the artwork and overall visual concept. He also connected us with Nida Basli, who’s known for her work on ISOLATE, among other projects.”

“She explored several concepts, and we eventually chose one titled The Whisper of Eurydice, inspired by the myth of Orpheus and Eurydice, built around themes like longing, distance, fading forms, surreal memory, and unseen connection. We feel it’s really important to have artwork that fits the project, especially for an album like this, which taps into deeper emotional aspects of life.”

“Looking at the final result and how thoughtfully Nida incorporated our feedback was truly amazing. We’re really happy we got to collaborate with her on this project.”

The showcase at Atlantic Club in Barcelona looked amazing. The night was paramount to understanding that the vibe was truly amazing. The night was pivotal in understanding that “Reconsider” was more than just a label.

Michael: “Barcelona was an amazing experience. The event itself was a collaboration between several labels and collectives, which is honestly not something that always works easily, but in this case, we were all pulling in the same direction and created something special. For this one, we teamed up with SPEECHLESS and DEEP TALES from Berlin, and the Valhalla crew from Barcelona.”

“With our label Reconsider, we’ve done small events here and there already, but this was a milestone. It pushed us to think more seriously about growing into the event space. Doing events helps us connect with our community in a much more direct way, and it also gives us a platform to showcase the artists we’ve signed, like LIZA, who played an incredible set that night, not long after releasing her debut EP on our label.”

The AZZUR crew has become a true group of friends, all thanks to the musical connection they´ve experienced.

Felix: Musical connections across borders are one of the most beautiful aspects of what we do and a big reason we make music in the first place. We had the pleasure of visiting the AZZUR crew last year for a few shows together and are returning this year. Besides the impressive quality of music they’re putting out, it’s just great to know people who share the same passion and to be able to visit them abroad.

For us, it’s really about those moments when you get to play your music in front of a crowd far from home and make a connection with them. When people say music is a universal language, those moments prove it, and they make us even more grateful for what we do.

Michael has got a release coming up on Kling Klong with a remix from Mihai Popoviciu, which sounds like a bit of a dream come true. About this, he shared:

“Haha, that’s right! I’ve been a huge fan of Mihai’s productions for years. His sound played a big role in shaping my taste and even my path into electronic music. I still remember putting his track “The Swindle” onto a CD I’d play in my car back before I had one that could play via Bluetooth.”

“Mihai and I finally met in person when I played after him in Valparaíso, Chile, in early 2024. Picking up the vibe after his set wasn’t easy, haha. Later on, when I sent my track “Eggstasy” to Martin Eyerer for his Kling Klong label, he wanted to sign it and suggested we look for a strong remixer, someone like Mihai. I thought, this is my chance, and Mihai was actually up for it, and I was really happy about that. It kind of felt like things were coming full circle.”

Both Michael and Felix spent a lot of time at Riverside Studios in Berlin. What makes that place special for them? Is it just about gear and acoustics, or is there something more inspiring about being in that creative environment?

Michael: I joined Riverside Studios a couple of years ago, and honestly, I could write pages about what this place means to me. It’s not just the studio part, it’s the community. You’re constantly running into inspiring people in the hallways, at the coffee machine (and the coffee is top-notch), or during community events like the regular roundtable sessions.

There’s always something happening: trading synths, remix swaps, spontaneous collabs, sharing advice. Felix and I work together here a lot, and he’s considering moving his setup here, too, which would be great. Big shout out to Samu, Albert, and Martin for creating this space, and to my studio partner Muudu for all the shared energy (and for letting me use his Juno).

“Reconsider” has some exciting new music on the way, including an EP from Manuel Moreno. About their decisions whether a track or an artist makes it into the label, they shared their feeling about vibe, sound, and intention. Something I believe is pretty remarkable, as many labels have lost their way in recent years.

Felix: I think it’s always a combination; not every track needs to be a club banger, but it does need to have a clear vision and intention. Once that’s there, the rest usually falls into place. To be honest, with most of the demos we receive, we can tell within a few seconds whether it’s something we’d sign or not.

As for Manuel’s EP, after he invited us to play a gig in his hometown of St. Gallen, he sent us a few of his projects. We immediately knew which ones felt right for us and are excited for the release. There are already two remixes in the works by Predex and another exciting remixer — so even more reason to pre-save this one, haha ;)

At its core, 22:22 isn’t just about music—it’s about friendship, intuition, and choosing to create something that feels true, even when no one’s watching. Felix and Michael didn’t make this record for a trend, a dance floor, or a chart. They made it for the moments in between. For the quiet joy of collaboration, for the late-night ideas that actually meant something, and for the simple act of finishing something together, without compromise. That’s rare. And it’s powerful.

For Felix, this record is a homecoming—not to a place, but to a feeling. As someone who’s spent years carving out his space in the scene, it’s clear he’s arrived at a new chapter: one where curiosity leads and pressure fades. On 22:22, he’s not chasing perfection; he’s inviting emotion. His production choices feel intuitive, tender even, like someone who’s finally allowed themselves to stop editing and just express. It’s Felix who’s more open, more grounded, and more fearless than ever.

And still, you can hear the detail. Felix’s obsession with sound remains, but now it’s in service of something greater than just a well-mixed track. It’s about atmosphere. Depth. Story. You can sense the joy he found in the imperfections, the rawness, the late-night takes that maybe weren’t "polished," but felt right. That kind of trust in himself and the process takes time to grow. And on this record, it blooms beautifully.

For Michael, 22:22 is a testament to his range, not just as a producer, but as a storyteller. His fingerprints are all over this record, not just in structure or rhythm, but in how each track unfolds with patience and purpose. There’s a calm confidence in the way he shapes ideas, giving them air and letting them evolve. It’s the sound of someone who’s done the work, gone deep, and come back with something meaningful to share.

And what’s perhaps most powerful is Michael’s role as a bridge between genres, between collaborators, between feeling and form. His input doesn’t scream; it guides. His vision isn’t loud; it’s clear. In a time where so much feels disposable, his dedication to making something lasting—something personal—hits with quiet force. And it’s that same energy that makes this record resonate long after it ends.

In a world that often pushes speed, noise, and constant reinvention, 22:22 stands still on purpose. And that might be its most radical move. It reminds us that art doesn't always have to shout. Sometimes, the most honest work comes when you simply listen to your instincts, your collaborators, and your rhythm. And that’s exactly what Felix and Michael have done.

So take this album as an invitation. Not just to hear what they’ve created—but to feel it. To sit with it. To let it find you in the quiet moments, the slow evenings, or those strangely perfect coincidences—like glancing at the clock and seeing, once again, 22:22.