MATIA SIMOVICH: INHALT

Matia Simovich is a producer, sound designer and founding member of the electronic music project INHALT.

Ahead of his upcoming DJ performance in San Diego on August 15, we were able to jump on a call with Matia Simovich of INHALT to discuss a few topics that are relevant to his interests, and ours!

All right, Matia, let's start from the beginning. For the uninitiated, can you give me a bit of insight into your journey as a producer?

Well, it's a long journey, because I started out when I was 19. I got hired to program drum machines and synthesizers on a record that was being produced by Keith Hillebrandt from Nine Inch Nails. I went into it from the angle of a programmer and a sound designer. For a programmer, it doesn't mean what it means today, you know; back then, it meant that you were programming synthesizers. You were making sounds on synthesizers, you were making sounds on drum machines, and that's basically my very start. Then from there, I ended up staying at that recording studio for a long time, about 5 or 6 years, and worked on various projects, kind of got to see what, well…what it is that a producer does firsthand. From there I got into making my own music with my band INHALT. After many years of doing that, I started producing records for other people, which, I think, the first one for another label was SRSQ for Dais Records, or it would have been a record with Peter Baumann with  Tangerine Dream.

So, Yeah, that's kind of my start to all of this is, is just very much, I got hired and I was embedded into the music industry from a young age and just learned by working. I never went to school for any of this.

In my field, which is screenprinting, if you ask 10 different printers how to print white ink on a black shirt, you'll get 10 different answers. Granted, all leading to similar results, but how you get there varies depending on who you ask. So, I would imagine when asking producers what it means to produce an album, the answers will vary as everyone's approach will be different. So in your experience, how would you define a producer?

I don't think that there is any one definition because a lot of what a producer does depends on what the artist is walking in with and who the artist is. For me, you know, if you were to ask me what it was like producing like 3 records I've done in my past, none of them were the same. The process wasn't the same. The equipment wasn't the same. The methodology wasn't the same, the overall idea wasn't the same, and I think that's really what it means to be a producer. I've said this in other interviews before: there’s a huge social component, you know, which is reading what the artist needs. And then there's a technical component which is executing that need. Sometimes you act as a co-writer with an artist, and you're like a bandmate. You’re in there coming up with parts, and you guys are riffing off of each other and

Creating sections of songs and you're really, you know, in the nuts and bolts of it. Other times somebody's coming in with a fleshed-out demo or most of it, that feels very, very good, and it's your job to elevate that.

So, I don't know that there's any one thing a producer does. I think it's being able to read the room and and read the artist, and then from there determine what to do. I think no matter what, a producer is supposed to be equipped technologically and intellectually, in such a way that they can provide any workflow, meaning something that's very hands-on, to something that isn't so hands-on, and you need to have the kind of equipment to execute all of those possibilities from the moment the artist walks in.

Let's talk about INHALT and how that project came to be?

INHALT started somewhere in 2008, 2009. Basically, after a number of years of working in the music business after a number of years of pursuing a degree in sociology, after I finished my masters degree, I met a guy named Philip Winiger in San Francisco. We kind of hit it off in terms of records we liked and all all that sort of stuff. With INHALT, I had been exploring really what was called minimal electronic music at that time, which was some of my favorite stuff. I had been importing a lot of records from back home in Europe and trying to bring this kind of sound to the Bay Area. At the same time, a lot of darker music at that time was ruled by like, you know, what I would call kind of dark cybertrance so, I just wanted to make some music that I wanted to hear that was dark and that was minimal, that was made on real synthesizers and not software. No virtual stuff, but you know, physical, obviously referencing things like DAF and Liaisons Dangereuses. I wanted to do a new version of some of these legacy records that I really, really liked, so that was the very beginning of it. We played a lot of shows, opening for bands like Front 242 and Clock DVA. We did a European tour in 2017 where we supported Skinny Puppy on a couple of dates. After that European tour, Philip and I paused INHALT amicably. And then it wasn't until recently until 2023 that I met Johannes of XTR Human. I finally found someone that I had a really great creative and friendly vibe with in Johannes, even better than I had before and formalized him as a permanent and new vocalist and partner in INHALT. We have 2 new songs done, and, well, that's kind of the the trajectory in the lineage of INHALT.

All right, so, Your body of work is quite vast within the dark electronic scene. As you've probably had a hand in creating many of the songs we know and love. Can you give us a rundown of a few of the artists that you have worked with?

Well, most recently, I produced and played on Madeline Goldstein’s LP including co-writing the song Apogee. This album is on Artoffact records and the EP right before it, that would be the most recent stuff that I've worked on. I co-wrote and produced Patriarchy’s “The Unself”, Riki’s debut album for Dais Records, produced and mixed on Boy Harsher’s “Machina” with Ms. BOAN. Iv’e produced the last two Houses of Heaven records, which includes a song with Douglas McCarthy from Nitzer Ebb.

When I started producing records again, I was doing a lot of stuff for Dais Records, and then I shifted some gears and  worked on a lot of stuff that was either for Artoffact Records or independently released, or even smaller labels like Synthicide and Disco Obscura. I have worked with artists like Silent EM, worked with artists that are on the fringes of things, and also very big artists. The most recent thing I have been working on is the next Nitzer Ebb record with Doug and Bon. So, I've been working on that for the last couple of years. Um, you know, that would be something that hasn't come out. And then, as a remixer, I've worked with bands, like KMFDM, Modern English, I have a Pixel Grip remix that Came out on August 7th.  I've worked with The Faint on remixes of their material from the 90s. So, yeah, I kind of straddle an interesting sort of zone that that encompasses both the cutting edge of this kind of music and what I see as the cutting edge and where I think this kind of music needs to go

Residing in Los Angeles, how would you, in your opinion, say the current dark electronic scene is there and, you know, on the rare occasion that you do happen to have a free night, are there any particular clubs or venues that you like to frequent?

Well, I mean, I don't go as much, uh, out as I used to. You know, my work is taxing; making and producing records is very demanding on a creative level as well as on a physical level. It kind of uses both sides of your brain to really create something great. So, when I'm done with it, the last thing on my mind is listening to more loud music, but when I do go out, I try to be really supportive of my friends or of artists I really believe in. I do my best to show up and to support. I tend to favor live shows these days more than DJ sets. I still very much enjoy seeing live music. Sometimes you have to do the math between the fatigue and the time that you have before you have to get up again and do more, and as somebody who is a successful producer that's in demand, my calendar is pretty busy. So, I have to choose wisely when I stay up late.

I would say that over the last year, some notable shows that I have seen were Cabaret Voltaire. Stephen Malinger is a good friend of mine, and I really wanted to see what material he presented. I would also say the Ministry With Sympathy show as well. Those are the things that sort of like stick out. As far as club nights, I would say the Monty Bar has a lot of stuff that I like to show up to. 

I think overall the scene in Los Angeles is really, really good, you know. I think on a creative level, there's an undercurrent that runs in the city that really pushes people, pushes artists to get off their ass and do something and see if it's working. I think LA is at the forefront of dark electronic music, you know. I think the records that I’ve made have influenced the course and direction of dark wave and darker electronic music, and over the last couple of years it’s been great to see other artists and producers push the limits of this music too. I think LA is the epicenter for that, and I think every other city is kind of catching up to what we've all done here in LA.

We're very much looking forward to coming to San Diego. How long has it been since you have played here and are there any local San Diego bands that you have previously worked with or played with?

Well, i've DJ’d in San Diego very recently. I was supporting Carrellee at the whistle stop. I've had a great time coming down to San Diego to DJ over the last couple of years. The time before that that I was DJ support for Madeline Goldstein and Ms. BOAN. I love the San Diego scene, you know, Mario Orduno is a good friend of mine, and has always been super supportive of INHALT. Although INHALT has never played San Diego, now with Johannes of XTR Human and that whole thing, we've relaunched INHALT as a new entity and would  love to line up a live show for us, but for right now, I'm really enjoying coming down and and DJing.

So let's talk gear, man. You know, with the endless stream of new technology, have there been any additions to your studio lately?  As far as analog synthesizers, do you happen to have a favorite?  If I had to guess, probably maybe between the profit 6 or the OB 6?

Well, I have a long history of working on modern analog synthesizers because I'm a sound designer and a beta tester. So, You know, I've worked for Sequential and Oberheim for the past 12-13 years, so i’ve helped develop some of the new analog synthesizers. I would say, of the equipment I've helped develop, I love the Prophet 10. I love the  OB-X8.

You know,  those are some of the new equipment that I use heavily. I worked on the Pioneer Toraiz AS-1, which is a little monophonic synthesizer. I love that synth, and,  you know, my my career has been satisfying on multiple fronts, including being able to help create new synthesizers and make sure that part of the alternative and independent spirit that I represent is also represented in this equipment. I feel particularly satisfied and and accomplished when I think about my contribution to musical instruments, which I've had a significant contribution in  for many years.

As far as outside of the things that I've worked on, I work with a Synclavier system, which is a very obscure, kind of expensive piece of music technology from the mid 80s that was used to make some of the really big records for bands like Depeche Mode, Grace Jones, Frankie Goes to Hollywood, and Michael Jackson. So that is kind of the center of my studio, and I would say about 5 years ago is when I heavily kind of started using that system. As of more recently, i'm big into samplers. I like old samplers, you know. I think analog synthesizers, the modern ones are better than old ones. I think  any modern analog synthesizer is far more interesting than a vintage one and as someone that has made records and has owned many old analog synthesizers, whether polyphonic or monophonic, I think anybody working today is far better suited in that department with a new synthesizer from a company like Sequential, Oberheim, or Moog, but what hasn't been better, improved or reissued. are old samplers.  I find old samplers far more interesting. I have an Emulator 3, Emulator 4, X turbo, and XT Ultra. I have an Akai S 900 and then, of course, my Synclavier system that is primarily a sampler. So, a lot of what you have listened to over the last 5 years has been very heavily informed and produced on vintage samplers, which nobody has been able to make a new sampler that is as good as the old.

Let's jump into the topic of new technology. The use of AI and music production seems to be a highly contested subject. Do you feel there's a place for AI in music production? Do you see AI in music being more of a help or hindrance?

Well, I mean, that's a bit of a loaded question because, which kind of AI are you talking about? I think there's the kind of AI that we're talking about that is a user interface kind of AI, which is basically the way that you engage with a computer, you know?  AI as a method by which of controlling a computer in a lingual way, in a language-based sort of way, I think is a good thing. I think it would be cool if you could, in plain English, talk to a computer and get it to do some shit, you know. Now, AI as a prompting tool, to create generative content, I think is embarrassing. You know, that's really the problem. Overall, I think some of the best records were made far before AI. Nobody has been able to really better what we consider timeless records. you know, if you look at it, at the musical output of cutting edge music over the last 26 to 30 years, it has a hard time holding a candle to things that came kind of before it. So, you know, I think a lot of stuff is shit. It's like, okay, so you're using these models that have been trained on what we consider timeless classic records. So what? It's just some shitty approximation of that. But what makes a classic timeless record is a lot of work and a whole team and a lot of talent. It's a product of many people and many personalities and many talents coming together and a budget. It’s a financial motivator and a financial enabler to to produce something of that of that stature. 

You know, I can give you an example of when I've used AI in the studio and what I find it incredibly useful for, and I think that's something like copying patterns on a TR 808 drum machine. I have a TR 808, there's no copy function, and I like the idea of being able to speak to a computer and say, hey, make me a PDF of a 16 step grid where the kick pattern is 1,5,9,13,15. you know, and then the snare is like 5 and 13 and 15. And then the high hats are one, two, three, and then rest, and then that kind of stuff, you know, as a sort of dynamic annotator that you can engage with in English, I think AI is incredibly useful for.

Now, if you're sitting there and being like, make me something that sounds like Enjoy The Silence, go fuck yourself. I mean, it's like, first of all, you're fucking pathetic.

Second of all, you suck. 

Third of all, fuck off

Let's jump into doing a little bit of manifesting here. When it comes to production, if you're able to work with any artists, Who would it be?

Fuck, that's a loaded question. I've worked with a lot of artists. I have already worked with one of my biggest inspirations in Nitzer Ebb. That was a big, big dream of mine to work with them, to produce a record with those guys. Um, that's a core childhood influence, you know; that's definitely why I do what I do. I've had a chance to share the stage with Skinny Puppy, which is another huge influence on me. I've been very, very lucky that I have in one way or another, have gotten to work with some people and some bands that mean a lot to me. As a producer,  if I was to produce a band, I would love to do an EP for Depeche Mode. Not an album, but kind of a one off, an EP, where there's a lot of room to sort of be interesting and and not necessarily feel the pressure of making a full album, but sort of have a chance to do something, a little bit more one off. That's a band I'd love to work with. I would love to see what that band is like in the studio, as seasoned professionals. As far as new bands are concerned. I'd love to work Maria from the Marias. I think she has a wonderful voice and wonderful vision for what music needs to sound like today in that sort of zone. So that's somebody from the new kind of the new school that I'd love to work with. One artist that is super important to me that if there was an opportunity, I don't even know what I would be able to contribute to this because I feel like this man is so accomplished and so hip, would be David Sylvian from the band Japan. He also had a really great solo career and and a lot of really interesting solo records. I'd love to work with him, and sort of see what I could bring to his palate and to his sound.

Is there, you know, one particular album that stands out or maybe a few that you would say have been extremely influential to you?

For that kind of stuff, I have to think about like the records that really influenced me in terms of making music. I have to kind of peel it back to the records that really push me towards like, what is this great mystery, that is music, and how do you make it? I would say, Depeche Mode's Violator comes to mind. Frankie goes to Hollywood’s Welcome To The Pleasure Dome comes to mind. I would say, Kraftwerk The Mix comes to mind, and a lot of singles from Skinny Puppy, you know, that really chastised me towards making music. I would say Nitzer Ebb, DAF, you know, those kind of bands. Oh, I would equally toss in Tangerine Dream in there

Where can our readers go to be updated on any current works, projects or shows that you have coming up?

Well, I think the best places are the 2 Instagram pages that are associated with me, being  inhalt.us, which I also sort of use to update about my kind of personal engagement with music and things like that. I tend to be sort of perpetually a private person, but, that is one page that is both about the band and about me as a producer and kind of what I'm up to a little bit more of a day to day. The other Instagram page is at Infinite Power Studios, which is the official studio page. People can go to infinitepowerstudios.com, which is the website, for the studio that has a client list, a playlist, things I produced, and then at the same time, if somebody's on YouTube, they can go to INHALT video and there I have a living playlist of records that I've produced, as well as a living playlist of records that have remixed. What a living playlist means is that I update those playlists pretty regularly so they're up to date. So if somebody wants to stay on top of like records I'm working on that are coming out and they want to hear them, they can put on a playlist of all of those records that are actively curated by me and my team to sort of reflect the things that we're working on. So, I would say between Instagram and YouTube, those are the best places to stay on top of what I do and and how to follow me!

See INHALT in San Diego

Matia Simovich of INHALT performs a special DJ set at Paradise on August 15, 2026, at Music Box San Diego.

The night features a live performance by MATTE BLVCK, plus Grizz CLL, Xavier Swafford of 3TEETH and INHALT.

Saturday, August 15, 2026
Music Box — San Diego, California
Doors at 9 PM | 21+

GET TICKETS AT MODERNWAV.COM

Follow Matia Simovich and INHALT on Instagram and explore INHALT’s music on Bandcamp.

Interview by [interviewer’s name]. Photos courtesy of Matia Simovich/INHALT. Edited for length and clarity.