Interview: Monolink On the Melodic House Scene, Flow, and His New Album The Beauty Of It All

In the realm of melodic house and techno, the name Monolink is one that doesn't need much of an introduction. For a decade now, the German singer-songwriter and electronic producer has carved his own lane, blending the soulful allure of folk with dance-floor sensibilities. As a live-act, he stands out as a guitar-wielding storyteller that entrances audiences with soothing vocals and colorful synths. In his work as a producer, whether his tracks hit hard or drift into dreamy territory, he always manages to infuse them with a touch of intimacy.

His 2018 debut album Amniotic earned international praise for blending heartfelt songwriting with dancefloor intensity, while his 2021 follow-up Under Darkening Skies solidified his standing as a leading force in electronic live performance. His upcoming album The Beauty Of It All marks a bold new chapter in Monolink's artist evolution especially as he dives deep into themes of beauty, impermanence and human connection.

“For this album I went back to where it all began, to the countryside in Germany. Surrounded by nature and stillness. It turned into the most personal music I’ve made. A reflection of everything that’s brought me here. The beauty of joy, and of pain. The Beauty Of It All”

This album is poised to be his most revealing release yet, and in this interview Monolink takes us through it's creative process, his come-up, and more.

For fans of electronic music - especially melodic house and techno - your name often comes up as one of the genre's leading figures. How do you view the scene today, and what personal or professional challenges do you find yourself dealing with from being at the height of it?

It feels like the scene is changing a lot right now, which I think is a good thing. New genres and styles are coming in and festival line ups are getting more diverse. I’m glad we’re past the days where everything was just sounding like Afterlife. The main challenge for me has always been to fit in as a Singer-Songwriter / electronic live musician in a DJ dominated world. Finding a balance between concert and rave. But I also really love that challenge and I feel most people appreciate it when artists dare to do something differently. 

Your list of accomplishments and incredible moments you've given us since you started Monolink is beginning to look like a scroll, although what is one personal milestone or breakthrough you feel is yet to be reached?

There are some festivals like Glastonbury or Roskilde which have been a dream of mine to play since I was a teenager. But actually now I think I’d just wanna be there in the audience to watch the other bands.

What were some of the moments you cherished the most when you were still young and making music in your bedroom? And if there could be anything you could tell that young aspiring artist, what would it be?

Discovering new music, artists from the past, which felt like opening doors. I remember listening to Leonard Cohen for the first time and really getting it. It felt like having uncovered some sort of secret of what music is capable of doing. That’s also what I’d tell young artists or in fact anyone. Try to listen to as much music as you can and do your research. Unless you’re a genius on some instrument — most of us are not — what people will hear in your music is your mind and the emotions you feel when you listen to music. And in order to find out what genre, style, or sound that is, I think you really have to discover different types of music that you love. And there’s so much amazing stuff out there. It may be something that’s popular right now, or it may be the complete opposite. I think that will eventually lead to you making something unique — your individual taste — and that’s what matters.

Since we're talking about the past, you mentioned going back to the German countryside to create your new album The Beauty of It All, revisiting the place where everything began. What came up for you emotionally during that time, and how did those feelings find their way into your songwriting?

Emotionally it was a time of re-discovering my love for creating music. I was just coming from an intense phase of touring, I had been on tour non stop for years. I was exhausted and felt burnt out. There had also been a lot of pressure to create new music for my live shows, but there hardly ever was any time. I tried making songs on airplanes or during my travels, but soon realized I needed instruments in front of me in order to feel inspired and playful. So taking proper time off, going to the countryside to my friend’s studio was the best thing I could do. I blocked off months to just be there, surrounded by nature and a room full of instruments and vintage analog gear. I felt like being a teenager again who had just struck his first chord on a guitar. It was exciting and it was joyful, we jammed a lot with nothing in mind except to make something that touched us.

How do you personally sense when it’s the right moment to create an album? Are there certain feelings, ideas, or signs that tell you it’s time?

To me it’s always the right time to make an album. As soon as I finish one I already start thinking about the next one. I think it’s what drives me as a musician, the impossible task of creating the perfect album.

When developing the visual identity of the album, why did the spacey red aesthetic feel like the right look to represent the themes explored on The Beauty of It All?

When we came up with the design I was just coming back from my first Japan tour, and I was really amazed by the beauty of that culture and its aesthetics. The first drafts for the album cover were very much inspired by that then and it instantly felt right. 

Every artistic shift comes with change - what did you have to leave behind, personally or creatively, to fully embrace the new direction for the album?

I think I left behind the pressure I put on myself to compete with DJs. I just wanted to make music that I really loved and not try to fit in any boxes or sound like anyone else. I wanted to make a record that stood for itself. I had to learn that comparison is the death of any creative act.

What I find interesting is the calm and bouncy charm of "Powerful Play" and how this is contrasted with the fierce, emotive music video. What narrative (in the grand scheme of the album) does this irony fall into?

It’s again about freeing myself from pre conceptions of who I am and what I create. I loved the idea of giving the music to Vasco, the director, and having him turn it visually into something completely different. Sometimes you can’t choose which direction an idea or an inspiration will go, you just have to tag along and see where it’ll take you.

Which track challenged you the most during the creative process - whether in terms of time, direction, or flow?

Avalanche I think was the most challenging song for me. Most of the other songs were made in just a few days, Avalanche took months. Even though the initial idea came from a jam and was done very quickly, sometimes the finishing touches can take an eternity. I knew the song had something that touched me, but it was still buried somewhere below. So I made over 90 versions in the end and to this day keep changing it, even though it’s already been released.

If there is one thing you'd love listeners to understand and walk away with after hearing this body of work, what would it be?

That beauty can be found anywhere, especially within ourselves. A lot of the inspiration for the songs came from my recent years of doing therapy, getting to know myself better. I’ve been doing Gestalt therapy for three years now, and the focus is really understanding, embracing and having compassion for every single part of yourself, even the ones you think are not very lovable or beautiful. Seeing beauty in your emotions, even the ones that may not be very pleasant. It’s all there for a reason.

For you, what does a flow state look like, and what have you discovered helps you enter it more easily?

Flow state to me is when my mind is turned off, and I’m only feeling and being present. When making music, I realized that collaborating with someone whose taste in sound I appreciate, really helps me find that state. That was actually a big part of this record for me, jamming with my friend Toby who co-produced the album, who’s an incredible musician himself, really brought me so much joy. 

Okay so, 1) an artist/band you’d love to have a D.M.C (deep meaningful conversation) with 2) An artist you think would be rad to party with 3) An artist you would love to be your mentor. You’re welcome to select from artists who are dead/retired.

1. Bob Dylan - l got a lot of questions.
2. Jimi Hendrix - a party with him back in the 60s must have been fun.
3. David Gilmour - I just get so much inspiration from listening to Pink Floyd.