Dianthe is a techno artist whose self-described ‘elegant darkness’ sound is on full display with her new single “Time Control”, which is out now on Solid Audio. Based on the West Coast of America, she plays regular sets in San Diego and the surrounding areas. She is also a skilled producer known for her releases on scene leading record labels like Alula Tunes and Dense Audio. We caught up with Dianthe to learn more about her new single and background in music…
Tell us about your background as a musician, and how you discovered electronic music
“I actually started in a very disciplined, formal world of music, which gave me a really solid technical foundation, but always felt a bit rigid. I am a classical pianist, started playing as a child and recently got back into it as an adult. My first real spark for electronic music was completely the opposite of that structure. I grew up in Russia, and I have this core memory from when I was a kid, just dancing on the beach with friends of my family. It was such a pure, high-energy moment of connection, and that feeling of being totally lost in the sound is something I still cherish and try to recreate every time I play a DJ set.
“As I started finding my own sound as a producer, I found myself moving away from that ‘sunny’ beach vibe and into something much more visceral. I’ve always been drawn to progressive, darker sounds that carry a bit of melancholy—there’s just a specific kind of beauty in those minor keys and heavy textures that resonates with me.
“Even though my roots are in that formal training, I don’t make music that feels ‘academic’ or overly hypnotic. I want that peak-time energy. For me, it’s about finding that sweet spot where the sound is dark and moody, but it still has a serious groove which forces you to move. It’s that ‘elegant darkness’—taking that early memory of dancing on a beach and translating it into a heavy, driving warehouse setting.”
How would you describe your sound, and has it been impacted by your local scene on America’s West Coast?
“I’ve settled on the term ‘Elegant Darkness’ to describe my sound. The music I make can be categorized as either peak-time techno or “spy-tech” that stays pretty consistent around 130-137 BPM—it’s groovy and driving, but I try to keep it polished. I’m not really into the strictly hypnotic stuff; I want my tracks to have a very raw, physical impact that hits you right in the chest. There’s always this certain emotional depth or a haunting quality to the melodies, which probably comes from my early roots and classically trained background. I want the music to feel massive and dark, but never clinical.
“As for the West Coast, it’s definitely played a role, but sometimes as something to push against. California is mainly famous for ‘sunny’ house music, so my sound is a bit of a rebellion. I’m really inspired by the grit of the warehouse scene here—places like Spin in San Diego or the underground spots in LA. Living here has taught me how to bridge that high-intensity energy that American crowds thrive on with the moody, industrial atmosphere you find in Europe. It’s about bringing heavy sounds, shadowy atmosphere, and steel energy into a place that’s usually defined by the light.”
How long have you been producing electronic music, and what’s in your studio?
“I’ve been producing music for 7-8 years now. The first part of that time frame (5 years or so) I made melodic house and techno, and then switched over to the faster and darker vibe. My setup is actually surprisingly stripped-back—it’s just Ableton Live, an Arturia MiniLab 3, and a solid pair of headphones. I’ve never been much of a ‘gear head’ who gets caught up in having the latest hardware; for me, it’s always been more about the energy I can pull out of the software, rather than the physical tools on my desk.
“I’ve also moved around quite a bit over the last few years, so having a studio that’s essentially mobile, made the most practical sense, as it keeps me agile. I definitely have dreams of building out a permanent and dedicated space where I can start collecting some analogue pieces, and let the gear take up some room. But right now, I really value the freedom of being able to work from anywhere. It forces me to focus on the grit of the arrangement and the drive of the track, rather than getting distracted by endless knobs and cables.”
Tell us about your new single, Time Control?
“The creative spark for this one, actually came after an incredible trip through Costa Rica and Guatemala. I had just played my first show in Guatemala, and that experience gave me a huge burst of creative energy. Around that same time, I’d also fallen down a massive rabbit hole with chess—I’ve been playing it obsessively over the last year.
“’Time Control’ is a specific term from chess, and it just stuck with me. I felt like it was the perfect metaphor for how a track can dictate the energy of a room. I wanted to channel that sense of focus and high-pressure calculation into the production, keeping it very driving and peak-time. It’s definitely got that dark, groovy edge I’m always chasing, but I love that the name is a bit ambiguous. Whether someone catches the chess reference or just feels like the music is taking over their sense of time on the floor, it works both ways.”
What do you think of Maksim Dark’s Time Control remix?
“Maksim is a true authority and leader within today’s dark techno scene, so having him take on a remix for this project was a huge milestone for me. He’s one of those rare artists where you can recognize his production style within the first few bars—it’s just so distinct and polished.
“I really love that he took the original and completely re-imagined it. For me, the best remixes aren’t just slight tweaks; they’re a whole new perspective. He has this incredible ability to keep things sparse, and use just a handful of elements to build a massive, cohesive atmosphere. It gives the release so much more range and shows how that energy can be interpreted in a completely different way.”
Time Control is out on the Solid Audio record label, is it your first time working with them, and what other releases have you got in the pipeline?
“One of my first real steps into this specific side of techno was on Maksim’s other imprint, Dense Audio, as I was always drawn to the creative concept and the artwork they put out—it just felt right. That project did a lot for me; it was successful enough to help me make connections with other artists I’ve admired for a long time.
“When I had this new EP ready, he was in the middle of launching Solid Audio, so it felt like a natural move to pivot over, and help kick off that new chapter with him. This is actually my second release on Solid Audio, following the work I did on Dense Audio. Looking ahead, I have a remix coming out in May that I did for a friend, and I’m currently sending another EP to a few labels I’m excited about. Beyond that, I’m just constantly at the desk, working on whatever comes next.”
Thanks for doing this interview, is there anything else you would like to add?
“I just want to say thank you for the platform—it’s been great to share a bit of the story behind the tracks.
“Mostly, I’m just really stoked for what’s coming this summer. I’m currently preparing to take my techno project to the international stage for some major milestone dates, and feels like a massive turning point for me as an electronic music artist.
“I’ve been working toward this for a long time, and I’m looking forward to seeing how that elegant darkness energy translates in some very specific, high-intensity rooms abroad. If you’re around for my upcoming sets in San Diego or catch me out on the road soon, definitely come say hi. I’m always down to connect with people who are looking for that same brand of driving, shadows-and-steel energy. There’s a lot more music in the vault, so this is really just the start of the next chapter.”
Dianthe’s new single “Time Control” is out now on Solid Audio, buy a copy HERE.
