The first Alex O’Rion LP since 2011 might turn out to be one of 2024’s best. We chatted to the Dutch producer about what makes this such a satisfying listen. And make sure to listen to his exclusive mix which you will find at bottom of this article…
Nowadays, finding a good full-length album is challenging, which is a real shame. For decades, the LP was a beacon of artistic intention, but streaming platforms like Spotify have reshaped the way music listeners engage with music. For Gen Z, exploring music through algorithms outweighs the experience of a 60-minute-plus artistic statement. In dance music especially, a full album of 4/4 tech-house bangers can make for a tedious listening experience. To hold attention, it needs to stand out. It needs dynamics. Thankfully, Nostalgia, the new Alex O’Rion full-length, does just that.
Across 14 tracks, the Dutchman offers a journey full of surprises. In the opening passages, you’ll find the operatic hints of Boards of Canada (“Elephant,” “Dank Farrik“), jazz-inflected deep house that would impress early Vincenzo or Ian Pooley fans (“Vale,” “Call Me“), and even classy bangers like “Librium,” which hints at the propulsiveness of Quivver.
The attention to detail, inventive ideas, and gleaming melodies reflect the work of a seasoned craftsman at the top of his trade. (We discuss five of our favorite moments from the album at end of article.)
As the album title suggests, the overarching sound draws from dance music’s halcyon years, a period during which Alex cut his teeth.
“I used to listen to the Global Underground series and mix albums like Northern Exposure, alongside other ’90s acts like Aphex Twin and Boards of Canada. There’s so much good music from that era.”
So, is this theme of nostalgia COVID-initiated or simply a product of growing older—a yearning for better times?
“No, it’s not a COVID thing for me. I’ve always had this deep appreciation for the music of my youth. It’s like it’s woven into the fabric of who I am.”
Life Outside the Studio
When we caught up with Alex, he was recovering from a weekend spent in the studio adding the final touches to the project.
‘I just finished the MIXED version of the album and I worked through the whole night to finish it.’
It must be sweet relief to finally have this project done and dusted.
“Yeah, I’m definitely taking a break after the album release. But I do have some upcoming gigs in Amsterdam, and I’m planning trips to Sri Lanka, Spain, Scotland, India, and possibly Argentina.”
The touring seemingly never ends. Earlier this year, Alex completed an Australian tour that included a show in Perth, a very balmy first for him.
“The 42-degree heat made it feel like walking into a blast from a hot blow dryer, but it’s a lovely city!”
And Melbourne is always a highlight for him, an affinity running deeper than just the bonds formed with locals GMJ and Matter and their Meanwhile Records.
“Melbourne is my favorite place to visit. I love everything about it. It’s phenomenal.”
Sorry Sydney.
For fans, this touring schedule bodes well, especially after he spent many studio hours in absentia to complete his first LP in over a decade. It’s been a rewarding but intense process, one he wouldn’t recommend for up-and-comers.
“The thing is, when you commit to an album, all your focus is directed towards that project, and in the early stages of a career, it’s crucial to maintain a consistent flow of music.”
That point is fascinating, possibly another reason why LPs are becoming less common.
“When I was working on the album, I found myself less active online. People started asking, ‘Alex, are you still making music?’ My absence was noticeable.”
For a budding career, frustratingly, constant optics matter. Sure, you can post clips and updates, but once you are in the throes of creative rapture, do you really want to break that spell to update social media?
Putting in the Time
Current cultural hallmarks aside, it sounds like Alex totally immersed himself in this album. Would he say he has a tendency to obsess over a project like this?
“Oh, definitely, yeah, you can go to really deep places! But I was thriving in the freedom of making it, you know?”
Free from constraints, deadlines, or commissions, he could take his time and explore what felt right.
“Normally, you’re thinking about, yeah, I need to be able to play this in my DJ set, or DJs like Guy J or Hernan need to be able to play it in their sets, so it has to tick some boxes. But this time there weren’t any boxes to tick. It was just freedom, and I could do anything I wanted. And once you finish it… the feeling is soooo satisfying.”
And the proof is in the progressive pudding. Every track breathes with the confidence of a long-distance runner, and is filled with tiny, intricate moments you might miss if you don’t listen closely: Whether it’s a little off-beat kick catching you by surprise, a reverb tail vanishing at the precise moment a new sound is unveiled, or a drum hit subtly echoing for no more than four bars, the detail is impressive.
Most notably, the overall sheen sounds amazing. That is by design: for Nostalgia, Alex decided a back-to-basics approach was in order. He adopted some old-school production methods, including highly effective use of sampling, which particularly benefited the lower frequencies.
“On some tracks, I incorporated vintage disco or more funk-based samples into the low end. By filtering those samples, the lower frequencies really started to hum, which became the foundation for some tracks. It introduced a more lively feel, plenty of warmth, and a distinct character to the music.”
It’s a sound that would have taken a lot of trial-and-error to achieve; however, Alex seemingly thrives on experimentation.
“Oh, totally, especially sampling. It’s always thrilling to delve into vinyl collections and experiment with various sounds—pitching them up or down, playing with tones. Especially on, as I said, the low end… it brings depth and richness to the sound, rather than solely relying on synthesized bass lines.”
This creative curiosity is an essential part of his arsenal, an adventurous trait that’s cultivated humility in him—all in service of the music.
Future Nostalgia
To say Alex’s relationship with music runs deep probably reads a tad glib—but you just know he’ll be making tunes well after he’s hung up the DJ headphones. It would be impossible not to; music is mnemonic, inspiration is constant. On top of that, Alex is actively excavating too.
‘I’m always searching through old music, reminiscing about songs that bring back memories. There’s so much wonderful music that seems to have been forgotten.’
That same energy flowed into Alex’s recent Balance remix of “Colours.” Originally conceived in 2012 by Danny Bonnici and Luke Chable, the track got a new lease of life after Alex repurposed it. This practice is nothing new to him.
“I always enjoy playing older tracks, even making edits of them. Just last weekend, while chatting with friends, we discussed our favorite tracks. They began sharing their favorites, sparking inspiration for me to perhaps tweak them a bit for my DJ sets”.
Now, Alex is looking forward to redirect his creative energies. As he quips, prior to the album’s release, his production process was more akin to a well-oiled machine, churning out productions at the pace of approximately 25 songs annually (always well-received tracks, it should be added). But after maintaining that pace for three consecutive years, he craved a change, hence ‘Nostalgia‘. With that out of his system, he’s re-energized.
“I’m ready to re-embrace that productivity again, probably honing in on more energetic music. As a result, anticipate a noticeable shift towards a harder sound.”
All at the whims and service, no doubt, of the creative process.
Setting the tone for the project, “Elephant” draws a delicate line on your expectations. With a soft touch on the drums, its effects jostles and jangle like the chains of cuffed ghosts, trying to pull your attention back to a distant memory.
“Originally, it wasn’t meant to be the opener, but it ended up in that spot. What’s interesting about ‘Elephant’ is that while most tracks took months to complete, this one only required about three hours to write. It flowed effortlessly, coming together in one take without needing major revisions. It was a truly enjoyable process for me. I always like to hint at that dreamy, off-tune feel Boards of Canada are known for. It creates such a mesmerizing atmosphere, allowing you to easily drift off. It’s something I really love about it.”
Bonus points: listen out for the motorcycle sound added in honour of one of Alex’s all-time favourite albums: Future Sound Of London ‘Lifeforms’.
Even though the name refers to Star Wars lore, in Alex O’Rion lore, “Dank Farrik” points towards lovingly crafted electronica. With a another nod to Boards of Canada‘s wistfulness, that captivating melody shimmers like silk fabric under bright light.
“Compared to ‘Elephant,’ the production process was a completely different story. I was really struggling with this one. I was watching Mandalorian at the time so the intergalactic swear word seemed appropriate. At first, it wasn’t a breakbeat song; it was just a normal, dark, slow-paced 4×4. Every time I thought I finished it I got annoyed by the beat and changed it. It probably had like 60 versions or so. But the melody was always there, like the high synths, that was always there. However, we got there in the end and I’m pleased to report I couldn’t be happier with how it turned out! ‘
Jazzy, bass-y, and all class, “Cellar Door” delights like the Aurora Borealis. It tenderly wraps you in a cocoon of warmth before nestling into your neck through free-flowing chords and straight-up nostalgia. “I’m really happy with ‘Cellar Door.’ It’s actually a nod to the Donnie Darko movie. If you’ve seen it, there’s a small monologue featuring the term ‘Cellar Door’ in the movie. It’s described as one of the most beautiful English words or phrases.”
“It’s actually a fairly straightforward tune, but the toughest part for me was striking a balance and keeping it light, especially with the strong bass drum. So, it was a bit challenging to nail it in the end. But it might be even more interesting to note that ‘Cellar Door’ has its roots in a different track which didn’t make it onto the final album.”
“I wanted to do an album edit of Carousel (released on Alex’s Solis records last year), a track that I wanted to have on the album, but I noticed a lot people got a bit nervous from the lead and it was maybe a bit too busy for the album. I decided to create a lighter version, but got completely carried away with it and ended with a whole different song. But you can still hear some elements from the initial track.”
“Aquatic Life” feels fantastical, like an underwater picnic or a Mad Hatter’s tea party, filled with wonderful sounds and characters. “Yeah, ‘Aquatic Life’ was one of the earliest tracks I worked on, as Hernan Cattaneo already played it in 2022, so it’s quite old. People seem to really like it, which is nice—it has a sweet melody. But yeah, looking back at it now, it was one of the first completed tracks from the album.”
An absolute joy.
Powered by an almost off-key and obstreperous bass, ‘November’ shuffles and shakes delightfully towards its satisfying end. It’s a totally delightful jam that feels light and playful yet filled with probing purpose.
‘I did face some challenges with that song, it felt too safe, it felt too ‘good boy’, like it was missing something. Particularly in terms of giving it an edge. Despite initial feedback suggesting everything was fine, I knew it needed a bit more grit. That’s where Henri, from the mastering studio, came in. Unlike the other album tracks he really pushed hard on this one. He really slapped it! I did not ask him to do so, but he just noticed it needed a big push and he did just that, what a legend!
Tracklisting
01. Intro
02. Alex O’Rion – Librium (Album Mix)
03. Dowden, Andreas Buhler – Nixie
04. ID – ID
05. Tibi Dabo – Komerebi {AOR EDIT}
06. Gorge – Roots (Dachshund Remix)
07. Digital Mess, Ivanshee – Karmic Extension
08. ID – ID
09. ID – ID
10. ID – ID
11. ID – ID
12. Dub Taylor – So Called Life (Tim Green Edit)
13. ID – ID
14. Jamie Stevens – Storm Front (Mike Rish Remix)
15. Hobin Rude – Take Me Alive
16. MUUI – Visave Visave {AOR EDIT}
17. Luke Chable & Danny Bonnici – Blue Skies & Butterflies {AOR EDIT}
18. ID – ID
19. Dmitry Molosh – 2702
20. ID – ID
21. Hobin Rude – 33rd {AOR EDIT}
22. Ivan Aliaga – Revenant
23. Jeremy Olander – The Drift {AOR EDIT}
24. Outro
25. Bonus track: David August – Help Me Through
