Some producers make music for the body. Others make it for the mind. The Brazilian artist Waltervelt, the man behind Asteroid Mirror EP on Clash Lion, refuses to choose. Rooted in the vibrant underground scene of Santa Catarina and currently based between Berlin and Barcelona, he has built a sound that lives at the intersection of techno, electro, and indie dance. Propulsive yet introspective, club-ready yet emotionally charged.
With his debut EP on Clash Lion, the label founded by Shall Ocin, he arrives not as a newcomer but as a fully formed voice. We sat down with him to talk about duality, identity, and what comes after the mirror.
The new EP Asteroid Mirror presents two very distinct moods side by side, one driving and physical, the other more introspective and emotional. What is the story and creative process behind the EP?
Asteroid Mirror was born from the idea of duality. One side represents the physical energy of the dance floor, something more pulsating and hypnotic. The other comes from a more introspective and emotional place.
I like this tension between movement and contemplation. For me, both sides are part of the same experience within electronic music.
Can you walk us through how your production environment looks right now? Are you more hardware-driven, in-the-box, or somewhere in between?
Today I work in a hybrid format. A large part of the process happens in the box because it gives me speed and creative flexibility. But I like to use some external elements to bring texture and unpredictability into the sound. In the end, the most important thing is keeping the creative flow alive.
What were your early musical inspirations that drew you to electronic music and made you start producing and DJing as a profession?
I have always been very interested in music that creates atmosphere and emotion. When I discovered artists like Kraftwerk, Depeche Mode, Tiga, Vitalic and Anthony Rother, it opened an entire universe for me.
The way they mix emotional depth with dance-floor energy had a big impact on my decision to start producing and performing.
What drew you to releasing on Clash Lion, and how did the relationship with the label come together?
It happened quite naturally. I was already following the label’s work and felt an aesthetic affinity with what they were releasing.
In August 2025 I was on tour in India and met Shall Ocin, the founder of Clash Lion. That night I met a very kind person who eventually became a friend. Later we exchanged messages and he invited me to send demos to release on the label.
Growing up and starting your career in Santa Catarina, far from the major club scenes in São Paulo or Rio, how did that shape the way you approached making music early on? What’s unique about the local scene out there?
Being outside the major centers ended up teaching me to build my own path. There is a certain independence that comes from that process.
At the same time, the southern scene has a very strong connection with the dance floor and with more immersive experiences, and that influenced a lot the way I think about music.
You’re currently based between two of the most important cities in electronic music, Berlin and Barcelona. What does that actually mean in practice – where do you actually call home, and how does moving between those two worlds influence your creativity and your career?
Each city has its own energy and musical culture. Moving between these environments feeds my creativity a lot. I still keep a strong connection with my origins, but I enjoy this dynamic of movement and constant exchange.
Your music sits at this crossroads of techno, electro, and indie dance. Was that blend something you consciously crafted, or did it develop instinctively over time?
I think it happened quite naturally. I have always listened to different styles within electronic music—synth pop, rock, hip hop—and I never wanted to limit the creative process too much. Over time, that mixture became part of my sonic identity.
Artificial intelligence is becoming an increasingly present topic in music production and the wider creative industry. Where do you stand on it — threat, tool, or something else entirely?
I see it as a supporting tool, as long as it is used moderately within the creative process.
For someone just starting out, especially outside of the major electronic music hubs, what’s the most honest advice you could give them about building something real and lasting?
Focus on consistency and identity. Trends pass quickly. Building something real takes time, so it is important to believe in your own sound and keep evolving.
After Asteroid Mirror, where are you heading creatively? Is there a sound or direction you’re itching to explore that people haven’t heard from you yet?
I am starting a new direction without losing the DNA of my sound—something more dance-floor oriented, more rhythmic and energetic. The next tracks will be one hundred percent dance-floor energy.