Shape, Tension, Flow: Inside the World of Somne
Somne’s latest output doesn’t just refine his sonic identity—it heightens the tension between instinct and precision. With Bone as a visceral lead single and a new full-length project on the way, he draws from years of boundary-pushing work to deliver something that feels both immediate and intricately composed. The record pulls club momentum into emotional focus, balancing sharp-edged rhythms with deep atmospheric swells. It’s a sound born from contrast, and the context that shaped it is just as compelling. We spoke with Somne about navigating his cities’ charged creative atmosphere, the moment a track flips on you in the studio, and how building a label can turn into something much more expansive. Let’s dive in!
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Where in the world are you right now?
I’m in Milan these days. After bouncing around between New York and Berlin for a while, I ended up back here—been about seven years now. Milan’s got this sharp, high-speed energy. It’s work-focused, very design-driven, a little obsessed with image—but I like that. Keeps me dialed in.
It’s changed a lot too—more international, more open—but still has this rigid, closed-off side. You kind of have to crack it open yourself. That tension between movement and control is something I’ve learned to live with, and it definitely seeps into the music. The contrast ends up shaping the sound.
The new track “Bone” feels both intricate and heavy—can you walk us through how it came together sonically?
Bone came out of just messing around. I started with a loop—nothing fancy, just trying to get a texture going—and it started morphing into this hybrid thing. There’s a breakbeat skeleton underneath, but the top layers are kind of washed out, with this hazy, reverb-soaked atmosphere that gives it some emotional pull.
I didn’t plan it that way. It just kept evolving on its own, and that’s usually when I know something’s working—when I stop trying to control it and just follow it. The track kind of built itself.
You’re about to release New Energy. What does this album represent to you right now—emotionally, creatively, or otherwise?
It feels like a clean page. Not a total reinvention, but a new layer for sure. It pulls from a time that really shaped me—2008-ish, when I was deep into Burial, Four Tet, SBTRKT… that whole era had a real impact.
There’s no nostalgia in it, but the DNA is there. This record is just that era seen through where I’m at now—more focused, maybe more direct, but still trying to keep that same emotional weight. It feels like me, just a bit more distilled.
The album leans into breakbeats and sharp design, but still has that dreamy, immersive quality you’re known for. What pulled you in that direction?
It kind of just happened. I wasn’t chasing anything specific. Over time, the rhythm side got tighter, more punchy. And I started stripping back the fog, giving things more shape. The dreamy stuff is still there—it always will be—but now it’s sitting on top of something more solid.
There’s more tension, more contrast. And I think that actually makes the emotion land harder. It’s less about hiding in the atmosphere and more about letting things stand on their own.
What’s your favorite part of the creative process when making music? What keeps it exciting for you?
When a track turns on you. You start with an idea and then suddenly it flips into something else—and you didn’t see it coming, but it’s better than what you planned. That’s the spark. I also love the tiny details—textures, weird transitions, stuff you only notice on the fifth listen. That’s the part that really keeps me going. The idea that something simple can turn into something strange and beautiful if you let it.
Do you have a go-to piece of gear, plugin, or tool that was key to this album
Ableton all the way.
I’ve got a bunch of hardware—modulars, drum machines, all that—but for this album, I kept it super stripped down. Mostly stock plugins.
I wanted to move fast, stay in flow. Less gear meant less overthinking. I wasn’t worried about capturing the “perfect” analog take—I just wanted the ideas out. Funny how taking things away can open up the process way more.
What advice would you give yourself if you were starting today? Or to a young artist coming up?
I probably wouldn’t have listened to advice back then anyway...
Don’t rush.
That’s the main thing. Everyone’s in a hurry to drop something, to get seen—but honestly, taking your time is what builds longevity. Work on your sound until it feels like you, not like a version of something else. There’s already too much stuff out there that feels copied and pasted. Build your own world. It might take longer, but it’ll last longer too.
What’s a track by another artist that’s hit you recently? How’d you come across it, and what did it do to you?
James Blake & Lil Yachty’s Bad Cameo has been on repeat. I didn’t expect much going in, but it floored me. Super minimal, but every detail lands.
It’s emotional without being dramatic. The production has this eerie restraint that I really admire—like they knew exactly what not to do. It’s subtle but deep. That’s hard to pull off.
Thanks for doing this Q&A! What’s coming up next for you after the album drops? Anything you want to shout out?
Definitely—touring is a big one. I’ll be doing club sets, some live shows, and reconnecting with different crowds.
I’m also putting a lot of energy into Aura Dinamica. It’s growing into more than just a label—it’s becoming a full-on creative platform. We’re working on hybrid events that bring together music, art, design, and community—not tied to one format or space. It’s about building something collaborative, evolving, and future-facing.
You can check it out at auradinamica.com.
Follow Somne online
SoundCloud | RA | Bandcamp | Instagram | Aura Dinamica | Linktree
Disclosure: This post contains affiliate links. If you buy something through these links, I may earn a commission at no extra cost to you. As an Amazon Associate, I earn from qualifying purchases.