LUM, Sebastian Gandine, is first and foremost a spiritual encounter, a ceremonial séance for acquiring one’s essence, a ceremony. In some ways, it’s also a treatment for easing personal grief and, by extension, relieving civilizational woes. To some extent, it’s a tribal culturology course.

Sebastian Gandine has spent a lot of time studying how music is incorporated into native cultures, identifying its social functions, familiarizing himself with its fundamentals, learning instruments, recording sounds, and taking part in various rites, from sacraments to funerals, all while reinterpreting his many findings within the context of digital technologies.

We caught up with the artist to discuss his upcoming release on Maison D’Etre, his love for Tulum, what’s in store for this year, and more!

WWD: When you start creating a new track, do you begin with a concept, a sound, or a feeling? What does your creative process look like from start to finish?

I typically start with a profound feeling that I need to express. From there, I search for the right sound or style to convey it. When writing an album like Homo Infinitus, beginning with a concept is crucial; otherwise, it could merely be a collection of tracks.

WWD: Your music is deeply tied to ritual and transcendence. What role does intention play in your work, and how do you hope listeners engage with your music?

For me, intention is paramount. I distinguish between being an artist and an entertainer—I lean towards rituals in my personal life, from simple acts like serving tea to deeper spiritual practices. I aim for my music to offer listeners a spiritual journey, a timeless ecstasy amidst today’s bustling world.

WWD: How do you balance the spiritual depth of your music with the demands of the modern electronic scene?

The electronic scene often chases trends for business reasons, but I stay authentic. While my music explores different avenues, including avant-garde and minimal techno, I avoid compromising my artistic integrity for fleeting popularity.

WWD: You’ve spoken about leaving behind parts of your audience to remain authentic. How do you define success as an artist?

Success, to me, isn’t just about making a living from my art. It’s about finding fulfillment in everyday moments—like watching sunrises and sunsets—that remind me of how far I’ve come since my early days.

WWD: Your set at Day Zero this year was an immersive experience. How do you prepare for such performances, both mentally and technically?

For events like Day Zero, I keep my setup technically simple yet impactful. With my handmade drum, controllers, and Maschine, I focus on creating a live, improvisational experience that resonates with the festival’s immersive jungle setting.

WWD: Can you tell us about your upcoming release on Maison D’etre? What elements of your journey or philosophy are woven into this project?

My upcoming track is a personal favorite, marking a departure with my first use of vocals, delivered in tongues to evoke feeling over literal meaning. Percussive and heartfelt, it’s accompanied by remixes from Anthony Middleton, Guti, and Cali Lanauze.

WWD: What is it about Tulum that fuels your artistic expression? Are there any local influences that have found their way into your recent work?

Tulum’s natural beauty and silence inspire me deeply. Despite recent changes, I draw from its essence—wind, trees, ocean—to craft music that tells authentic stories and resists superficial trends.

WWD: What does your ideal studio session look like? Are there specific instruments, textures, or rituals you incorporate when producing?

I begin with tea, candles, and incense in my round house, leveraging its natural reverb. Working mostly at night without distractions, I start with drums and percussions, often finishing tracks in one session due to my broken MC505, which encourages spontaneity and urgency.

WWD: With 2025 approaching, are there any projects, collaborations, or explorations that excite you the most?

I’m thrilled about collaborations like ‘Los Tigres del Futuro’ with Guti, spanning genres from house to avant-garde jazz. Also, I’m preparing for a one-night-only live performance of Homo Infinitus in Ibiza and a significant anti-war project, alongside exhibitions of my paintings paired with ambient music as Monk Veneris.

WWD: If someone were to experience your music for the first time, which track or moment in your career would you want them to start with? Why?

I recommend starting with my album ‘Homo Infinitus’ to immerse oneself in my artistic journey and soul.

WWD: Beautiful! Thanks for the chat 😉 

LUM: Instagram // Soundcloud