After a decade-long hiatus from long-form interviews, Sonny Moore-globally recognized as Skrillex-has finally opened up. In a candid conversation featured in the latest edition of the Berlin-based publication *032c*, Moore sat down with artist Ecco2K to dissect the intersection of technology and human expression, his unconventional career trajectory, and the philosophy behind his recent creative ventures.<\/p>\n
## The Human Element in the Age of AI
\nAs artificial intelligence continues to permeate the music industry, Moore offers a grounded perspective on its limitations. While AI tools are becoming increasingly sophisticated, he argues that they lack the fundamental “soul” required for true artistic connection.<\/p>\n
“The true value of art is found in its capacity to make the listener feel understood,” Moore explains. He points to legendary acts like Daft Punk, Metallica, and Justice as benchmarks. These artists resonate because they offer a unique, human perspective that feels deeply personal. According to Moore, while an AI-generated track might achieve viral status through algorithmic luck, it can never replicate the profound sense of being “seen” that occurs when a human artist shares their authentic experience.<\/p>\n
## From MySpace Roots to Sonic Innovation
\nReflecting on his early days as the frontman of the post-hardcore band *From First to Last*, Moore admits that his career has always been defined by a willingness to embrace friction. During that era, he was often caught between worlds-too experimental for the hardcore scene, yet too aggressive for the pop-punk mainstream. <\/p>\n
“I was just building with Legos,” he says, describing his approach to genre-bending. This “go-for-it” mentality served as the foundation for his transition into electronic music. He recalls the scrappy beginnings of his production career, noting that his iconic track “Bangarang” was born from humble origins-recorded using basic laptop microphones. He emphasizes that starting with “imperfect” audio forces a producer to innovate, pushing the sound into unexpected, character-rich territories that polished studio gear might otherwise smooth over.<\/p>\n
## Redefining the Live Experience: The CONTRA Philosophy
\nMoore\u2019s recent focus has shifted toward creating intentional, immersive environments. His *CONTRA* event series at Berlin\u2019s Kraftwerk is a direct response to the digital fatigue of the modern era. In a world dominated by smartphone screens and algorithmic curation, Moore believes the industry must prioritize physical presence.<\/p>\n
“In this era of AI and constant digital noise, it\u2019s vital to create spaces where people can be truly present,” he notes. For Moore, *CONTRA* wasn’t just another show; it was an attempt to “reverse-engineer” the most impactful live experiences of his life. By curating a diverse lineup-including artists like Blawan, Bladee, and Knock2-he aimed to challenge the status quo of what a rave or concert can represent<\/p>\n
For Sonny Moore, better known as Skrillex, the core objective of his artistry has never been about chart dominance or industry accolades. Instead, it remains rooted in the visceral, kinetic energy of live performance. Reflecting on his creative philosophy, the producer emphasizes that his primary goal is to foster genuine human connection. He envisions his music as a catalyst for communal experiences, where audiences can inhabit a shared physical space, move in unison, and lose themselves in the moment.<\/p>\n
This artistic shift toward intimacy and raw connection coincides with a significant structural change in Skrillex\u2019s career. Having officially parted ways with Atlantic Records, the electronic music pioneer has entered a new, independent phase. This transition is not merely administrative; it represents a newfound creative autonomy that is already manifesting in his recent output. By stepping away from the traditional major-label machinery, Skrillex is signaling a move toward more experimental and spontaneous distribution models.<\/p>\n
The momentum behind this independent era is palpable. Following the 2025 release of his provocative LP, “F*CK U SKRILLEX YOU THINK UR ANDY WARHOL BUT UR NOT!! <3\"<\/em>, the artist has maintained a rapid pace of production. This summer, he surprised fans with the release of his latest album, SOMA<\/em>, which further explores his evolving soundscapes. <\/p>\n His collaborative spirit remains as sharp as ever, evidenced by his most recent single, “Rumpta.” Produced in tandem with house music titan Solomun, the track serves as a bridge between Skrillex\u2019s bass-heavy roots and the sophisticated, rhythmic textures of modern house. This collaboration highlights his ability to transcend genre boundaries, a hallmark of his career that continues to influence the global electronic music landscape.<\/p>\n For those looking to dive deeper into the mind of the producer during this pivotal transition, Skrillex offers a candid look at his motivations and future trajectory in the Summer 2026 edition of 032c<\/em>. The full interview provides a comprehensive look at his philosophy on fame, the changing nature of the music industry, and his vision for the future of live performance. The issue is currently available for purchase through the official 032c website<\/a>.<\/p>\n As the industry continues to shift toward artist-led distribution, Skrillex\u2019s move to independence serves as a bellwether for high-profile electronic acts. By prioritizing the “shared space” of the dancefloor over the constraints of corporate release cycles, he is redefining what it means to be a successful independent artist in the digital age.<\/p>\n","protected":false},"excerpt":{"rendered":" Skrillex has opened up about AI and humanity in art, his early career, the rave community and more in his first interview in over a decade. In the latest issue of Berlin-based culture magazine 032c, the\u00a0US artist \u2014 real name\u00a0Sonny Moore \u2014\u00a0discussed his views on AI-generated music in conversation with British-Swedish artist Ecco2K. \u201cI was<\/p>\n","protected":false},"author":55,"featured_media":11029,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ai_generated_summary":"","wpai_meta_description":"","footnotes":""},"categories":[100],"tags":[36],"class_list":["post-11028","post","type-post","status-publish","format-standard","has-post-thumbnail","category-djzone","tag-mixtv"],"_links":{"self":[{"href":"https:\/\/www.mixtv1.com\/index.php\/wp-json\/wp\/v2\/posts\/11028","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.mixtv1.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.mixtv1.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.mixtv1.com\/index.php\/wp-json\/wp\/v2\/users\/55"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mixtv1.com\/index.php\/wp-json\/wp\/v2\/comments?post=11028"}],"version-history":[{"count":1,"href":"https:\/\/www.mixtv1.com\/index.php\/wp-json\/wp\/v2\/posts\/11028\/revisions"}],"predecessor-version":[{"id":11036,"href":"https:\/\/www.mixtv1.com\/index.php\/wp-json\/wp\/v2\/posts\/11028\/revisions\/11036"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.mixtv1.com\/index.php\/wp-json\/wp\/v2\/media\/11029"}],"wp:attachment":[{"href":"https:\/\/www.mixtv1.com\/index.php\/wp-json\/wp\/v2\/media?parent=11028"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.mixtv1.com\/index.php\/wp-json\/wp\/v2\/categories?post=11028"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.mixtv1.com\/index.php\/wp-json\/wp\/v2\/tags?post=11028"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Deeper Insights<\/h3>\n