Interview Landhouse: Crafting Organic Soundscapes with a Timeless Vision

Interview Landhouse: Crafting Organic Soundscapes with a Timeless Vision

Deep in the Black Forest of Germany, Landhouse has built a name for himself by blending organic elements, cinematic atmospheres, and downtempo rhythms into a sound that feels both timeless and immersive. With roots that trace back to the 90s electronic scene, his music reflects a deep appreciation for nature, analog textures, and a freeform approach to composition.

His releases on labels such as Amselcom, Beyond, Leveldva, and WAYU have solidified his place in the downtempo scene, and his collaborative work with artists like Helmet Lampshade and Sima Aava has expanded his sonic palette. With an upcoming release on D.O.T.Y. Records, Landhouse continues to evolve, shaping melancholic and atmospheric journeys through sound.

We sat down with him to discuss his creative process, connection to nature, and the philosophy behind his organic electronic music.

feeder: Your background is rooted in a musical family. How did that shape your approach to music?

Landhouse: Music was always present in my home. My father was a musician and teacher who played guitar, bass, clarinet, saxophone, and other wind instruments. My older brother was also a musician, so I grew up surrounded by music. At some point, I knew I wanted to become a musician myself. I tried playing keyboards in school bands, but I wasn’t disciplined enough to stick with it. Then, in 1994, I attended my first electronic music festival, and I instantly knew I wanted to be a DJ.

feeder: Nature is a strong theme in your work. How does it influence your creative process?

Landhouse: For me, nature is everything. As a child, I spent summers in outdoor camps, and now I live close to the Black Forest, which keeps me constantly connected to nature. I try to bring that connection into my music by using field recordings, natural ambiences, and organic textures. My goal is always to remind people of the importance of preserving the natural world.

f: Your past collaboration with Raddantze had a strong impact on the downtempo scene. How has your sound evolved since then?

L: Raddantze is still a good friend, but we live far apart now and don’t collaborate as often. He was the one who introduced me to FL Studio, and back then, our sound was much more raw. We didn’t know about EQ or compression, we just experimented. Over time, my solo work has become more melodic and introspective, with a stronger focus on deep atmospheres. My collaborations with Helmet Lampshade and Sima Aava have also brought a more trip-hop and ambient dimension to my music. I also have a new EP with David Rausch, which includes both club-oriented and cinematic pieces.

f: Tell us about your upcoming release on D.O.T.Y. Records.

L: About a year ago, I made a remix for Dad of the Year, and we kept in touch. When he invited me to be part of the first release on his label, I immediately said yes. I approached the project in my own way, adding rich melodies and deep textures. Although I kept the tempo under 110 BPM, for my standards, that’s already fast! I’m really happy with how it turned out, and the remixes by Dad of the Year and K2WO are fantastic—they have a more festival-ready energy.

f: Do you feel more comfortable in the studio or performing live?

L: I wouldn’t say I prefer one over the other, but I definitely spend way more time in my studio. It’s part of my home, and it’s where I can truly explore sound. I also enjoy playing very slow sets, but nowadays, there are fewer clubs that allow for that kind of atmosphere.

f: Downtempo exists in a space between club music and ambient. How do you balance rhythm and atmosphere in your productions?

L: That’s a great question. Recently, my work has leaned more toward ambient music. What initially attracted me to downtempo over a decade ago was its freedom—there were no strict rules, and BPMs could range anywhere between 80 and 105 while still fitting the genre. Over time, I moved away from dancefloor structures and became more interested in atmospheric, dramatic compositions. I don’t know if I always strike the perfect balance, but I love experimenting with it.

f: The music industry is constantly changing. How do you challenge yourself to keep innovating?

L: Every track is part of a larger evolution. Each new production teaches you something—you experiment with new plugins, techniques, or sonic ideas. Collaborations also keep me inspired; working with other musicians always introduces fresh perspectives and new ways of thinking.

f: For emerging downtempo artists, what advice would you give them about developing their own identity in the scene?

L: I’m not sure how strong the downtempo scene still is, as electronic music is getting faster and harder, and there are fewer places to play downtempo. But if I could offer any advice, it would be: Do what you love, don’t follow trends, experiment freely, and most importantly—respect and protect nature.