After 10 years in a business that has earned him a legion of fans, counting among them the trance elite, Lange shows no sign of slowing down; he has carefully honed his music style into a cutting edge blend of raw and filthy Electro baselines and angelic melodies, resulting in some of the most original and characteristic trance records of recent times.

“I like to have an idea or a feeling or place that I want to portray; but of course I’m always influenced by the sets I’m playing and the music of other, certain sounds that really get me excited.”

What are the best crowds you have ever played to?

I’ve played some amazing events from Godskitchen’s Global Gathering to the Zurich Street parade which attracted some 800,000 people. I often prefer the smaller venues though as it can be a much more intimate experience. One place I really enjoy playing time and time again is on a small island in the Western Isles of Scotland. I was invited up there some 7 years ago and have been going there ever since. The club is very small and holds only a couple of hundred people but I’ve had some of my most memorable gigs there!

We Are Lucky People is an amazing album, how long did it take you to put that tougher?

Thank you very much; the album took me about a year from conception to finish. I released singles along the way and I did a few new twists and things to the final project in the end which took an extra month or so.

How have your musical outlooks and ideaologies changed over time? Are certain aspects of music more important to you now than they were 10 years ago?

Music has always been important to me, (that will never change), but you do approach it a little differently as your career progresses. It’s a constant learning curve and as a producer, you’re always striving to make the ultimate track, but never quite achieving that. I love a wide range of music from big, epic music to groovy techno. I certainly think as times gone by I have a much bigger respect to those producers who manage to keep their tracks so simple and minimal, yet can create such an impact. That’s something I strive for more now in the studio. ‘Less is more’ as they say.

Your first major success was the remix of DJ Sakin – Protect Your Mind. How did you become involved with the project?

I was signed to Positiva who were releasing it and I had been doing a few remixes for them. Originally the track was going to be a smaller Additive release but the remix went down so well it got a full Positiva release and made it to No. 4 in the UK. As you can imagine it was an incredible time for me.

What is your opinion about the new generation of trance producers? Which young trance producer is your favourite?

There’s some really great new talent out there and the production quality keeps on rising. Unfortunately more than ever, a lot of producers tend to be cloning the big tracks but every now and then you get something really unique. My favourite from the new breed include Stephen Kirkwood, Tangle, Mateusz, Anske and Craig Connelly.

Why do you think there are hardly any ‘pop’ music that experiments with trance sounds?

Actually I hear a lot of ‘trance-edged’ elements in house and have noticed some cropping up in pop, although my exposure to mainstream music is pretty minimal. Can you really define what trance music is anymore anyway? I’ve said it before, I think trance music is less of a specific style or sound and more of a community of people who love to dance and be touched by music.

What’s one of the wildest adventures you’ve been on during your travels?

I’ve had plenty of trips that have gone wrong… lots of missed flights, that sort of thing. Sometimes it’s been my fault, but not usually – I’m actually fairly well behaved on tour! I’m pretty responsible!

What’s the most insane thing you’ve done to create a unique sound?

To be honest I can’t really thing of anything off the top of my head that’s totally insane. I’ve definitely had some funny experiences, such as getting the cops called on me by scared parents because I was recording the sounds of their children in a public park with a shotgun mic – and without their permission of course. Ha! Typically I start my sound design process with recordings I make, and they could literally come from anything from field recordings to taking a screwdriver to an electric guitar, to taking a cello bow to various metals. I’m really attracted to organic, modulating sounds, so that’s why I pretty much always start there. After that it could be any litany of processes. I love granular and spectral based processing of course, but even simple stuff like straight pitch shifting , or using very short delays can be a ton of fun.

With your continued success, how do you keep your music sounding new? How do you stay on top of your game?

Tough one! I guess every track I approach with a fresh idea, I’ve been told I have a certain sound by people but I try not to approach tracks in this way, which probably means I give myself extra work!! I like to have an idea or a feeling or place that I want to portray; but of course I’m always influenced by the sets I’m playing and the music of other, certain sounds that really get me excited. I’d like to think that this approach is hopefully allowing my music to always offer something different to my previous release.

When it comes to Djing, how do you select the tracks to play? Do you play promo copies of third parties or do you also buy tracks? And do you consider music from new comers or you rather opt to play it safe and only play music from known artists?

I get a lot of promos sent to me. I still go through them looking for new artists – if none of us did, we would never find those hidden gems and new talents. I occasionally buy extra tracks but in all honestly, the few hundred tracks I get a week keeps my ears pretty busy!

Do you have any tips for aspiring producers, both technical and musical?

Write for yourself and enjoy. That’s what makes you an artist, when you believe in what you’re doing. Of course, the temptation is there to just copy what’s popular into your own tracks and if popularity and fame are your sole motives, then go do the latter or just pay some other producer to do it for you! Marketing is obviously hugely important these days. Get the word out on everything you do and give your fan-base the attention it deserves.