Romanian producer and DJ Mihai Popoviciu has spent nearly two decades crafting a sound that prioritizes subtle emotion over peak-time drama. With his latest EP “The Shake” marking a return to Sublease Music, the Cyclic label boss reflects on the evolution of his craft, the transition from architecture to music, and why creative isolation can be a gift rather than a limitation.
He has watched the Romanian electronic music scene transform from fragmented underground beginnings to a movement with strong international recognition. Yet through it all, he’s remained committed to a philosophy of patience: in production, in his label’s curation, and in his career trajectory.
In this interview, Popoviciu talks about his new release, how his production approach has matured from instinctive chaos to confident minimalism, the human element in an increasingly AI-assisted world, and building a career that values longevity over fleeting moments. For aspiring producers working far from major scenes, his journey from Sibiu to stages like Berghain and Fabric offers both inspiration and practical wisdom.
“The Shake” marks your return to Sublease Music, what drew you back to the label for this release, and how has your relationship with them evolved since your previous work together?
Coming back to Sublease felt natural. It’s a label that feels comfortable and familiar because I’ve been working a lot with the team behind it over the years. Ever since releasing on Poker Flat, our relationship evolved from a simple artist–label collaboration into one based on trust and long-term vision. When The Shake was ready, Sublease felt like the right home again — the music needed space, patience, and people who really listen.
This EP explores what has been described as a “hypnotic mood” across three tracks. What sparked the creative direction for this particular release and what’s the story behind the tracks?
The hypnotic mood came from a very focused period in the studio. I wasn’t chasing big moments or peak-time reactions, but rather that subtle state where repetition becomes emotional. Each track is built around small movements, tiny changes that slowly pull you in. There’s no strict storyline, but the EP reflects a continuous flow — something you can get lost in, whether you’re dancing or listening alone.
You’ve been releasing music consistently for nearly two decades now. How has your approach changed from your early productions to where you are today?
In the beginning, everything was instinctive and sometimes chaotic. I was experimenting a lot, often finishing tracks very fast. Today, I’m much more patient. I listen more, delete more, and I’m not afraid to leave things unfinished for a while. The biggest change is confidence — knowing when a track says enough and doesn’t need more.
Can you walk us through your current production setup? Has your toolkit changed significantly over the years, or do you stay loyal to certain pieces of gear or software?
The core is still very simple. I work mainly in Ableton Live, with a few trusted plugins that I know inside out. Over the years, the setup stayed small. I like limitations. When you really know your tools, you stop thinking about technology and start focusing on feeling and groove.
AI tools are increasingly entering music production. What’s your perspective on this technology, do you see it as a useful tool, a threat to artistry, or something else entirely?
I see AI as just another tool. It can be useful for technical things, for organization, maybe even inspiration. But emotion, taste, and decision-making can’t be automated. Music is about intention. If someone relies only on AI, it will probably sound empty. Used wisely, without replacing the human part, it can be interesting.
You studied architecture before fully committing to music. When was the pivotal moment when you decided to switch careers?
There wasn’t one dramatic moment, but a gradual realization. Music started to take more time, more energy, more space in my life than architecture. At some point, I understood I couldn’t do both properly. When music began opening doors internationally, the decision became clear — I had to fully commit.
From making records in isolation to playing clubs like Berghain and Fabric, what was the most challenging part of that transition from stay at home producer to internationally touring DJ?
The hardest part was exposing myself. In the studio, you can hide and take your time. On stage, everything is immediate. Reading the crowd, dealing with pressure, traveling constantly — all of that was challenging at first. But those experiences also shaped me the most as a DJ.
Romania remains your home base. How does the Romanian electronic music scene today compare to when you started, and does staying rooted there influence your creative process?
The Romanian scene has grown enormously. When I started, it was very fragmented and underground. Today, there’s a strong identity, great artists, and international recognition. At the moment I live in Cluj with my family. It’s quieter, less distracting, and that helps me stay focused and honest with my music.
Your own imprint, Cyclic has been running since 2012. How has managing your own label shaped your perspective as an artist, and what are your plans or vision for Cyclic moving forward?
Running Cyclic taught me patience and responsibility. As an artist, you think mainly about yourself; as a label owner, you think about others, timing, context, and long-term vision. Moving forward, I want Cyclic to stay true to its identity — quality releases, strong artists, and music that ages well rather than chasing the moment.
For producers and DJs just starting out in cities that might feel isolated from major scenes, what concrete advice would you give them based on your own journey?
Don’t see isolation as a disadvantage. It can be a gift. Focus on developing your sound, not on being seen. Learn deeply, listen a lot, and be critical with your own work. Opportunities come when the music is ready, not when you force them. And most importantly, enjoy the process — that’s what keeps you going long-term.
Mihai Popoviciu “Shake That” out now, buy / stream here