Pheek chats new release on Aissa...

From psychotherapist to music engineer, Pheek’s journey is anything but conventional. A staple of Montreal’s electronic music scene, he has spent decades pushing the boundaries of sound—both as an artist and as an engineer. Now living in the forest, his surroundings shape his music, bringing a sense of calm and introspection to his creative process.

Pheek’s career spans the early days of underground raves, where electronic music was still considered niche, to his work today as a respected producer and sound engineer. His passion for ambient soundscapes, rhythmic experimentation, and building artist communities has made him an influential figure. A truly intriguing figure, we caught up with him recently to discuss his evolution, his inspirations, the ever-changing electronic music landscape and his upcoming EP on Darem’s Aissa Records…

Can you tell us about your history in electronic music and how you first became involved? What inspired you about it?

Nowadays, it's hard for current generations to imagine what electronic music was in the 80's and 90's. It was mostly music for marginal people; you'd hear it mostly in movies, and some music played on the radio would feature some electronic touches. Depeche Mode, for instance, was a powerful representation of what we loved in electronic music back then. But there was a stigma around it, fueled by some rock purists who felt like electronic music was not real. To love that music, you'd almost have to be secretive and to find places where you could hear that music was often complicated because of the omnipresence of pop and rock. There was no doubt I loved it, plus I loved dancing, so when I heard of Raves, it was my calling to dive into that world. I found my tribe and going to events was special because it was primarily illegal; therefore, it was always an adventure to find the place, and it felt close to being part of a sect, but in a fun way. I just wanted to be part of it because I needed music.

How did experimenting with ambient soundscapes and rhythmic beats inspire your musical identity and lead to your distinctive blend in your sets?

Most songs are ambient, but we've added beats to give them a dynamic edge. If you remove the drums, what's left are melodies, atmospheres, and effects. Focusing on understanding how deep you can go into ambient is rewarding when you return to beats because you can incorporate the scapes you created in ambient mode. Whenever I work with someone who is a bit lost with his music direction, I invite them to try making ambient, and it usually doesn't take long for them to figure out their way again.

What role did curiosity play in your journey as a musician?

Well, curiosity is my journey as a musician. As a kid, I was interested in electronic music, and I wondered how one does that kind of music. There's not a single day I wake up and not wonder how certain things are, musically speaking. I see it as my drive. When I feel defeated or unmotivated, it also brings me back to the essentials. Mostly because I want to be curious about something. To answer your question, it's critical to still have curiosity to create.

Talk to us a bit about Montreal right now. What’s your role on the scene there? 

The scene is very different from 15-20 years ago. Hard techno is the predominant music, but other genres also have parallel scenes. While Montreal had a strong minimal influence in the early 2000s, it lasted for a while, to the point where no one wanted to hear it again. I'm unsure about my role, but the lack of avenues to express myself musically forced me to do other things. I'm primarily invested in building communities through listening events, workshops, and artist retreats. People often refer to me as the dad or godfather. While I have always had appreciation from my fellow clubgoers, I don't have many opportunities to play. When I do, it's mostly in front of a handful of people.

How did you transition from creating music purely for enjoyment to diving into sound engineering?

I make music purely for fun and enjoy my job very much. Sometimes, it isn't easy, but I still love my work. If you enjoy what you do and others are interested in teaming up with you, it's a sign that you can extend your fun zone into your job.

In what ways has your background in DJing influenced your approach to producing music?

In many ways, it completely changed how I do music. From seeing incredible sets by DJs I loved, I wanted to contribute by creating music for them, but indirectly for the people. Seeing the early MUTEK days, when many DJs were exploring experimental ways to play music, shaped my vision of how I wanted to share it. In some of my memories, I remember incredible sets from Villalobos where he'd used multiple decks to create atmospheres. While he's still doing lovely things, there are some sets I've seen from him that influenced my music, primarily by wanting to make marginal music, a step out of anything too predictable. It's hard to explain to younger producers nowadays, but there was a time when making music that would take risks was important. The point is not to be the weirder of the bunch but to try ideas that are an oddball in a DJ set. I've always felt that Ricardo was the first to hypnotize a crowd by mastering the art of uncertainty and then build these wtf moments with elegance and wit. It made sense to want to make that kind of music.

Tell us about working as an independent engineer; is it a very special and creative space where you get to work with like-minded folk?

Yes and no. Many people think my job is easy, fun, but it's also tricky, just like any other job. Dealing with clients requires people skills, and being suggested to work on music you don't initially like requires humbly finding ways to highlight what works. But most of my work demands that I manage clients' expectations regarding what I can and cannot do. Sadly, many people have misconceptions about the music business, and I often have to sit with them and explain certain concepts. My background as a psychotherapist has been quite handy. I've been considering returning to get a new degree in that field as there are limited figures who can understand the reality of artists, neurodiversity and psychology.

Tell us about working with the Aissa Records team. How was the collaboration first broached, and what does support from labels like it mean to you?

Darem is the most professional label owner I have ever worked with. He is communicative, polite, focused on tasks and always delivers. When he first approached me, I was happy that he was based in Montreal, and it felt like a breeze of fresh air. We have worked together since, and it's always been easy, fun, and creative. It was pretty exciting when he said he wanted to work on a release with me because Montreal-based labels never approached me to work with them.

Having overseen so many years of label projects with the Aissa Records team, what's your take on the current status of the electronic music industry vs the evolution of the scene since the beginning of that relationship?

Things have moved significantly in the last 10-15 years. The return in popularity for vinyl has been exciting, but one constant thing is the struggle for artists to strive in a disorganized system. This comes down to the importance of building a community locally and supporting your fellow musicians in the best ways possible. What's refreshing about Darem is his commitment to his label and the people he works with. Both in promotion and in overall presence, whatever is needed to make things right. It's not common. Even as a label owner, there's a point where I lose motivation, but Darem is showing consistency, which will also make him an excellent dad.

You’ve also released on labels like Minus, Safari Electronique, Leftoom and of course, Archipel. How does it differ when working with other labels? How do you decide what music is released where, for example?

If I can fit into the roster and bring something valuable to the label, that also helps. Of course, if I feel a connection with the label owner, that also helps. I don't get many invitations, so it's not too hard to pick, but professionalism gets me on board.

How does your environment, such as living in the forest, influence your creative process?

We can fantasize that the forest brings inspiration and harmony, which it does if you can take the time to tap into its energy. When I do retreats, I rarely see participants take a moment to walk in the forest around my place. It's not my case, but I don't spend enough time in the forest. Indirectly, living out of the city brought me some serenity and calm. When in town, I feel easily unsettled by the noises and people. That is reflected in my music because calm makes me creative. I find it's more challenging to make dance-floor-oriented music since I'm in nature, and I tend to go towards more meditative, ambient tones when I explore ideas.

What vibes were you aiming for when you wrote the Demure EP, and how did that process differ from your other projects?

I was in a phase where I wanted to make music that was still close to my sound signature, but I wanted to explore more melodic ideas and test different emotions. For people who make the kind of music that I do, it's easy to go towards darker, introspective realms and flirting with uplifting melodies can feel adventurous. All songs were made in a moment where I dove deeply into modular synths, and then I assembled them being inspired by artists like Four Tet and Stephen Goldmann.

How do you feel about Mihai Popoviciu's remix on the EP? Are you generally receptive to people remixing your work? Or is there sometimes an apprehension that goes with the process?

I hate being remixed, nothing less. I was hesitant to have anyone remix me as I usually declined to revisit my songs. Most of the time, I feel uneasy about the results, and being so close to my music, the ideas aren't respected the way I want them to be. Many times, I ask myself if it's necessary. While I was apprehensive about receiving the Mihai remix, it turned out to be perfect! It was such a relief, and I was happy with it.

What advice would you give to young artists seeking to discover their own sound?

Recently I've been encouraging people of every age to learn how to make music. There are so many benefits to making music, and it gives you an important tool for life: expression in ways you can't do on your own. It's essential for your health and creativity and to connect with other artists. The only advice I give people is to not worry about being released and to focus on your community instead. This is the heart of your art and where you can find your purpose. Mostly because the community is immediate and can provide support. Too often, I see music explorers seeking validation through being released on a label and end up disappointed because it doesn't mean anything. What matters are ideas and making things that mean something to the artist and their community. 

How important is it for you to keep learning and starting afresh in your musical journey?

Music is my way of journaling. I constantly think about it and make music every day. There is so much to explore and learn, but if you don't remain open, you quickly can become stagnant. 

Keep up with Pheek on Instagram and Soundcloud 

Keep up with Aissa Records on Instagram

Purchase [ISA003] ‘Demure’ EP by Pheek (Incl. Remix by Mihai Popoviciu) via Subwax

Listen to our premiere of YEAH below