Nicky Elisabeth

My favorite memory from making “The Way Of Love” was when I had just finished the track, and two of my friends, who also worked on the album, came to the studio. We played the track, and all of us burst out dancing. It was such a funny, spontaneous moment, with the three of us just dancing in the studio and having the best time. This happened about a year and a half ago, and it was really special because it was the first time I was sharing the music with more people. It was just a really, really nice moment.

Each track on the album has its own unique mood and story, and they all tie together to form a bigger narrative. Interestingly, “The Way Of Love” was actually the last track we made for the album, which is quite special since it became the title track. The song is a reflection on love, and in a way, all the tracks that came before it contributed to its creation. So while there’s no direct lyrical sequel, everything leading up to it played a role in shaping the song.

If I had to name one track that influenced the direction of the album, it would be “Fading.” It was the first track I wrote that really set the tone for the rest of the album, and some of the writing and sounds from “Fading” reappear throughout the album.

Apart from "The Way Of Love,” “The Lights” is my favorite track at the moment, though that tends to change regularly. All the songs on the album play so much into certain moods so my current favorite tends to shift sometimes.

The track is about reaching a moment of inner empowerment, where you step into the light and fully embrace who you are, leaving fear behind. The lyrics capture this beautifully: "Can you see me running in the light / Cold as ice and hazy like the night." It’s about pushing through doubt, finding clarity, and finally accepting yourself, even when the journey feels uncertain.

A deep cut from my catalog that I think deserves more attention is “Celeste.” It’s a really special track to me because it was the first one I ever made, and it ended up being released on the German label Kompakt. The track is long, but it’s designed to be a journey. I spent a lot of time refining it, wanting it to capture that feeling of being completely lost in the moment on the dance floor—starting with a big club moment and then slowly transitioning into these beautiful melodic chords. It moves through different emotions, and I think that’s what makes it so unique and personal.

What I love about “Half Alive” by Yune Pinku is how the chords immediately create an uplifting, beautiful vibe. It’s melodically interesting, and there’s an effortless coolness to it. I feel like she’s doing something unique with the sound—there’s not much else like it out there, and that really stands out to me.

What I love about “The Feeling I Get From You” by Jamie xx is how he masterfully transitions between different sections of the track. He’s really able to tell a story through his music, creating this constant play between tension and release. It’s those subtle shifts that guide you from one part to the next, often in unexpected ways, which is what keeps his sound so engaging and interesting.

I really love “Control” by Seb Wildblood. It’s a track that perfectly captures the essence of summer in such a subtle and melodic way. I find myself coming back to it over and over because it evokes such a warm, comforting feeling. What stands out to me is how effortlessly he’s able to set a mood—there’s an elegance to it that makes the track feel timeless.

“Protector” takes you on an emotional journey from the moment you start listening. It feels like a track that’s constantly evolving, never repeating itself, and the longer you stay with it, the more rewarding it becomes. There’s this pressing yet elegant quality to it, like being swept up by the wind—unstoppable, but in a way that feels glorious rather than overwhelming. Few tracks can create that kind of momentum and emotional pull, which is what makes “Protector” so unique.