Liam Miller
Meet Olivan, a seasoned artist with nearly two decades of experience and an unwavering dedication to crafting unforgettable atmospheres in electronic music. Known for his dynamic, organic soundscapes and the fluid tempo of his DJ sets, Olivan has carved a unique path in the electronic music scene, both locally in Switzerland and internationally. With a long-standing residency at Basel’s renowned Nordstern club, where he’s performed alongside heavyweights like Damian Lazarus and Solomun, Olivan has become a defining presence. His recent EP, A Hundred Years, on Basel-based label Bunte Kuh, featuring remixes by Acid Pauli, Nhii, and Dandara, marks an exciting new chapter in his career. Now embracing slower tempos to deepen emotional impact, Olivan is poised to take audiences on a profound musical journey.
Hi Olivan, how are you today?
Hi, I’m doing great, thank you! And thank you so much for the opportunity to chat with you.
Your upcoming EP on Bunte Kuh is an exciting project with two original tracks and remixes from artists like Acid Pauli, Nhii, and Dandara. What inspired you to create this EP, and how do you feel about the remixes from these renowned producers?
Where should I begin? The two tracks each have completely different backstories, each with its own moving story hidden within. Hundred Years was created over a year ago. After a severe storm at the Schützenmattpark in Basel, I went jogging in the park and saw a massive, ancient copper beech tree, over 100 years old, that had been split across its trunk. As I made my rounds, more and more people gathered around the stump, placing candles and children painting small memorial stones. The scene was so inspiring that lyrics started forming in my head as I ran, and soon enough, a whole track followed.
Father and Son, on the other hand, is a family project between my father and me. Years ago, we would jam together in my parents’ basement bunker—he on the electric guitar, and me on drums, just like the story told in the track.
The collaboration came about one day when my dad asked if he could stop by the studio with his guitar. It really touched me, and I thought it was a fantastic idea. I’m truly grateful for how much both he and my mom have supported my musical journey.
I’ve known all three remixers for several years now. I released my first EP in 2020 on Acid Pauli’s label Ouie Circle and have since had the chance to play with him several times. I’ve also released twice with Nhii on Sounds of Khemit, and Dandara is a good friend from Basel.
Your music is described as deep, touching, and driving, with organic elements and influences from diverse cultures. Can you share how your travels or cultural inspirations shape the sound and mood of this EP?
I was lucky enough to experience travel from an early age since my parents loved to explore new places. So as a child, I got to see and experience a number of different cultures. Since I played drums as a kid, the percussion elements in particular stayed with me, and I often weave these into my grooves. Also in this EP.
The groove in your tracks is unmistakable, often reflecting your background as a drummer. How does this influence your approach to production, especially in creating those driving rhythms?
Over the years, I’ve collected a variety of percussion instruments, from drums, shakers, and rattles to electronic drums like a WaveDrum Oriental and drum machines. I also use just random things to create percussive sounds, such as a caipirinha mortar. That’s where I feel home, and I can completely lose myself in those elements—much more than in synthesizers, which I don’t own many.
In your DJ sets, you aim to guide listeners on an inward journey. How do you translate that philosophy into the production of your own music, and what emotions do you hope to evoke in your listeners?
Honestly, I don’t follow a structured approach when it comes to creating a track. I usually start without a specific plan or concept, just letting things flow naturally.
I always say that I don’t really “make” tracks; my tracks just kind of happen. That’s my creative process. But I do have to be careful not to overload them; often, I find myself cutting out parts at the end to make room for the essential elements.
Melancholic melodies and hypnotizing bass lines seem to be a signature in your work. How do you balance these elements to achieve the perfect atmosphere for your tracks?
There’s no clear roadmap that I follow—more like a reflection of my current emotions that somehow come together in the end to form a track. As I mentioned, my tracks tend to emerge naturally, and then I edit and shape them until I’m satisfied.
With your EP soon to be released, what’s one key takeaway or feeling you want listeners to experience when they hear it?
Ultimately, I hope to bring joy to people’s faces, make them want to dance, and help them forget about their everyday lives, even if just for a moment. And there’s also a tree-planting project tied to this release. For each of the 300 vinyl records, I planted a tree in Tanzania’s fire-damaged Mkussu Forest Reserve.
Each record comes with a certificate featuring information about the reforestation project and the specific tree. With Hundred Years honoring a fallen tree and in light of the environmental impact of vinyl production, I want to promote more awareness around environmental consciousness.
How has your journey as a musician evolved from your early days to now, and what have been some of the most defining moments in shaping your sound?
I started playing drums at age seven, and during my last four years of school, I joined a music program where we studied singing, piano, and percussion. Back then, I couldn’t quite connect with the piano—something I somewhat regret today. At fourteen, I sold my drum set to buy my first Behringer mixer and Denon turntables. That’s when DJing began for me.
I started solo, then had a duo project, then went solo again, exploring electro, then deep house, then melodic and harder beats. Over the years, my music style has grown more relaxed and slower. I had the privilege of playing on some big stages, doing intros for artists like Lee Burridge, Acid Pauli, Sven Väth, Tale of Us, and Dixon and many more of this size. Those were formative moments, but now I prefer intimate venues with a lot of heart where you’re not as much on display on a big stage.
Lastly, what’s next on the horizon for you?
For the EP, there will be a release event where I’ll perform Father and Son live with my dad. Preparing for it has really sparked my interest in live performances, so I’ll be doing a hybrid/live set for now, with the goal of eventually creating a full live set. Besides that, I’m aiming to release two more EPs next year and would love to play some amazing festivals in the summer. I like daydances so much more than late night sets 🙂
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