Loris Erdman - shifted (EP)

For the first release on Stereoleft, we’re excited to introduce producer Loris Erdmann. His music sits at the intersection of deep techno and modern techno – hypnotic rhythms, organic soundscapes, and a clear, minimal aesthetic define his sound.

In this interview, Loris talks about his early musical experiences, defining moments on the dancefloor, and how nature, books, and consciously stepping away from the studio influence his creative process. He also shares insights into his production workflow, his favorite tools, and how his sound has evolved toward a deeper, slower, and more atmospheric direction.

We asked him a few questions to learn more about the person behind the music and his upcoming StereoLeft release.

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What’s your name and what kind of music do you make?

My name is Loris Da Silva Lopes, and right now I’m moving somewhere between deep techno and modern techno.

How did you get into music?

My first active contact with music goes back to my school days. In primary school, we were allowed to choose an instrument to learn over time, and I decided to go with the trombone.

What experience has influenced your sound the most?

In the electronic world, it was probably the moment I first stepped into a techno club. I danced all night and felt completely glued to the dancefloor – those fast, hypnotic rhythms just wouldn’t let me go. I’m pretty sure that happened at Tresor.West.

When was the last time music gave you goosebumps?

The last time I remember was in the Alps. When I reached the summit, I listened to Ryuichi Sakamoto’s 20210310. For me, the mountain peaks blended perfectly with the synthesizers in the track.

Why do you make music?

Because it’s fun. I’ve never really found a deeper motivation than that. It’s definitely also a tool to create space for myself, to breathe and to distance myself from everyday life – but first and foremost, I just enjoy designing strange sounds.

Can you remember a moment when you closed your eyes and just felt the music?

I think this connects well to the goosebumps moment – being up there on the mountain, that exact feeling was very present.

What’s your most used tool in the studio?

Since I don’t have a physical studio right now and produce entirely in the DAW, it’s either my headphones or my beloved VCV Pro software.

If you could only make music on one device, what would it be?

That’s a tough one. Knowing myself, I’d get bored pretty quickly if I had to stick to one single tool or device. So I’d choose my laptop with Ableton installed – just to keep all options open.

I do love hardware, even though I don’t own any at the moment, but using the same device all the time can become very limiting.

Where do you get most of your inspiration from?

Mostly from time away from the DAW. Reading books, spending time outdoors, and sometimes not producing music at all helps me recharge.

Apart from that, I try to approach projects without any expectations. Reminding myself that the process should feel good and be enjoyable. Also, distancing myself from tools and synths I’ve used too often and exploring new approaches helps a lot. Trial and error, basically.

Which of your own tracks is your favorite?

Developer – Dubby, Housy, Simpel

What can you tell us about your upcoming release with us?

A more modern, sharp sound. The last two productions already carry a hint of deep techno – a genre I’m starting to love more and more, and where I currently feel very at home.

I think my upcoming releases will continue moving further in that direction.#

How would you describe your sound?

That connects well to the previous question. I’m moving more and more towards deep techno – slower BPMs, more organic sounds, and more melodic sequences.

What advice would you give to new producers?

Don’t get too lost in the technical side of production, especially in the beginning. How a mix should sound, where mixing starts and ends – that all comes with time and experience.

At the start, I’d just focus on the idea of making music. And don’t be too hard on yourself if something doesn’t sound the way you imagined.

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