Greek producer The Echonomist has carved out a distinctive space in contemporary techno through patient devotion to hardware synthesis and the raw, hypnotic pulse of Detroit’s electronic heritage. His latest release, ‘The Dominator EP’ on Mind Against’s HABITAT imprint, is a direct channeling of that influence: drum machine-driven patterns, rolling bass sequences, and the kind of functional, future-facing sound that first shaped his understanding of movement and space.
From his formative years in Thessaloniki, looking outward to scenes and sounds far beyond his immediate surroundings, to releases on Innervisions, Afterlife and Kompakt, The Echonomist’s journey has been defined by building his own language rather than chasing trends. We spoke with him about the creative process behind the EP, his lifelong relationship with synthesizers, the role of AI in electronic music, and his vision for Flying Hearts label as 2026 unfolds.
Your recent EP ‘The ‘Dominator’ EP channels a raw, Detroit-influenced energy. What was the creative spark that led you to explore this particular sonic direction for these tracks?
The Dominator EP came from a very direct desire to tap into my Detroit influences and the kind of techno that first shaped how I understand sound and movement. I was thinking a lot about that raw, functional approach, patterns driven by drum machines, rolling bass sequences, and the hypnotic push of loops locking into each other. Detroit techno lives somewhere between futurism and industry, echoes of space alongside the mechanical pulse of factories, and that tension touches me in a very personal way and guides how these tracks took shape.
You’ve titled two of the original tracks ‘Dominator’ and ‘Modulator’ – there’s an interesting symmetry there. Was there a conceptual thread connecting these pieces, or did they emerge independently in the studio?
The connection is very real and very practical. Dominator is actually a preset on my Roland Juno Alpha, a sound that takes me back to that era of Detroit techno. Using it felt like a direct connection to the originators, the innovators, and the elevating forces behind Detroit music. Modulator grew out of working with that same source. Instead of changing its core character, I started pushing it through modulation and subtle movement, letting the sound evolve while staying rooted in its original identity. In that sense, the tracks are connected both technically and emotionally. They’re a quiet tribute, not by imitation, but by continuing the spirit of exploration and respect for the lineage that shaped Detroit techno in the first place.
This is your second release on HABITAT following your remix work last year. What drew you to Mind Against’s imprint, and how has that relationship developed?
It was very organic. I’m good friends with Alex (one of the Mind Against members and HABITAT owners), and working together felt like a natural extension of that relationship. There’s a shared understanding and trust there, both musically and personally. After the remix last year, it made sense to take things a step further. HABITAT felt like the right place for this music, and the release came together in a very easy, unforced way.
Fango and Toto Chiavetta both brought very different approaches to their remixes of ‘Dominator’. How involved were you in the remix selection process, and what did each artist bring to the track that excited you?
I was very involved, but in a very intuitive way. We chose Fango and Toto Chiavetta because we trust their vision and knew they’d approach the track from completely different angles. Fango leaned into the rawness and tension of Dominator, pushing its physical and driving qualities while giving it his own darker, more aggressive edge. Toto, on the other hand, deconstructed it in a more hypnotic and narrative way, focusing on flow and subtle transformation rather than force. What excited me most was that neither of them tried to recreate the original. They both respected its core, but took it somewhere unexpected, which, in my opinion, is exactly what a strong remix should do.
Your background with synthesizers goes back to childhood. How does that deep relationship with hardware inform your production process today, especially on tracks like these that have such strong analogue character?
Synthesizers have always felt less like tools and more like companions to me. Growing up around them, I learned very early to treat machines as instruments with their own behaviour and limitations, not just as sound sources you control from the outside. On tracks like these, the analogue character comes from spending time with the hardware, listening to how it responds, where it resists, and where it surprises you. I’ll often let a machine run, slightly unstable, and build the track around those imperfections rather than correcting them.
AI tools are increasingly entering music production workflows. As someone with such a hands-on, synthesis-focused approach, what’s your perspective on AI’s role in electronic music creation?
I see AI as just another tool. For me, electronic music has always been about the relationship between humans and machines, and in that sense, AI is part of a much longer conversation, not a rupture. That said, my hands-on approach is still central. I’m drawn to synthesis, hardware, and the physical act of shaping sound because that’s where unpredictability and emotion live for me. AI can help with ideas, organisation, and even pushing you out of habits, but it shouldn’t become the voice making the decisions.
The Greek electronic scene has produced some incredible talent. How has growing up and developing your sound in Thessaloniki influenced your approach to music production?
Thessaloniki itself didn’t really influence my sound. My musical references and ambitions were always coming from elsewhere. Music scenes, records, and ideas from places I hadn’t even visited at the time. I was looking outward from the very beginning. Growing up, there were only two or three people around me who influenced me in a meaningful way, musically and mentally, and helped shape how I thought about music. Beyond that, everything that formed my sound came through records, radio, and imagination. I tried to build a connection to worlds far beyond my immediate surroundings.
You’ve released on some of the most respected labels in electronic music, from Innervisions to Afterlife to Kompakt. Which release has been more special to you so far and why?
That’s a hard one, because each release marked a different moment in my journey. But if I had to single one out emotionally, Innervisions will always be very special to me. Releasing on Innervisions felt like a real turning point, not just in terms of visibility, but in terms of artistic validation. It was the first time I felt fully understood for the more emotional, introspective side of my sound, and that gave me a lot of confidence to keep going deeper rather than wider.
For aspiring producers and DJs trying to break through in today’s saturated market, what would be your key piece of advice based on your own journey from Thessaloniki to playing stages worldwide?
I’d say the most important thing is to stop trying to fit into the moment and focus on building something that actually feels true to you. The market is saturated, yes! But it’s mostly saturated with people chasing the same references, the same sounds, the same shortcuts. Coming from Thessaloniki, I didn’t have access to a scene or an industry pipeline. What I had was time. Time to listen deeply, experiment, fail, and slowly understand what my voice was. That turned out to be an advantage. The moment you stop measuring yourself against others and start developing your own language, things begin to align.
As we move into 2026, what are your plans both in the studio and on the road? Any upcoming releases, collaborations, or touring destinations that you’re particularly excited about?
As we move into 2026, the main focus is very much on our own label, Flying Hearts, together with Jenia Tarsol. It feels important to invest energy into building something long-term, where we have full creative freedom and can release music that truly reflects our values and taste. We’re also really excited about the next generation of artists. There’s so much strong music coming our way, and signing and supporting upcoming artists with a clear voice and fresh ideas is a big part of what motivates us right now.