Lex Valverde’s latest single Takatal arrives as the clearest statement yet of where his music is heading. Released on Alleanza, the track continues the shift that began when he stepped away from the Better Than Lex alias and started putting records out under his own name. The move reflects a broader tightening of focus, both personally and musically, with Valverde leaning into a sound that feels more deliberate and self-defined.
In this conversation, Valverde talks through the practical side of how his tracks take shape, from early ideas and plugin discipline to the small technical habits that shape the final mix. He also reflects on the evolving club environment, the producers who continue to challenge his thinking, and the creative identity he hopes listeners will recognise in the years ahead.
What part of your production process tends to take the longest, the initial idea or the stage where you’re refining details nobody else will ever consciously notice?
I tried not to take too long in general when producing music, but I would say the idea takes longer for me. I don’t spend that much time on details anymore, if the idea doesn’t convince me after a couple of hours, I will go to sleep and listen to it again the next day with fresh ear, if it doesn’t convince me still I will archive the project and move on to the next one. Before I wasted a lot of time trying to make bad ideas work, but what’s the point on doing that?
Have you found yourself using fewer tools over time, or are you still someone who likes to experiment with new bits of software and hardware?
Definitely fewer software. When I started learning Production I just went on a spree of downloading every plugin I could find that was affordable (or that I found a cracked version lol), but a 100 plugins cannot make a track great if the idea is not good. Thankfully I had great mentors who taught me better, now I am way more selective with my plugins. On the other hand, I am starting to experiment with Hardware and I am quite excited about that, I will not buy 100 synthitizers because I can’t afford them, (and my fiance will kill me), but thankfully I have good friends who own several so whenever I can I try some, and I do have my eye set on the Poly D from Behringer, maybe it will be my birthday gift this year, from me to me.
Do you ever build tracks starting from something unusual, a field recording, a strange synth patch, a rhythm that doesn’t immediately sound club-ready?
Not to start, but to add some rich and unique elements for sure, Takatal for example has some (in my opinion) super cool birds sounds that makes it more special, it’s subtle, but it makes a difference. But the start of my tracks is purely about the groove, a good kick and bass that are cohesive, it’s simple but effective.
When Takatal first started taking shape, what was the one element that made you feel the track had real potential?
It wasn’t one specifically, I looped an 8 bar loop and listened continuously, then I noticed the hypnotic groove kept pulling me, so I knew this track could work great.
What’s a small technical habit you’ve developed that most listeners would never realise plays a big role in the final sound?
Gain staging, I keep an eye constantly on my channels from the start and make many small level adjustments instead of big moves in the end. Even though I work with an audio engineer for my mix and mastering, I like to be involved and not leave the whole work to him, I feel like it also develops my own ears and I’m getting better at it.
When you look at the wider club landscape right now, what trends actually interest you rather than just feeling like another short cycle?
Day Parties. There’s a whole movement related to wellbeing and more healthy habits that is changing a scene that is predominantely connected to alcohol, drugs and all nighth events, and I am all up for it. I still enioy night clubs, but I have to say the couple of gigs I had during the day, has been such a vibe, and as I am almost 37 now, I do appreciate not going to bed at 6am as much.
Are there producers working today whose records make you rethink how you approach arrangement or sound design?
Of course, Sam Divine, Marco Lys, James Hurr, Arielle Free, Jewel Kid, Crusy, and LP Giobbi, are just some of the many Producers I respect and admire a lot, they all have different backgrounds and journeys, but they manage to keep releasing amazing music that stands out. I study what they do to learn and draw inspiration from them.
When you test music in a club, what are you paying attention to in the room that tells you something about the track you didn’t realise in the studio?
The reaction of people, is this track making the crowd move? is it interesing enought that people pull out their phones and record the moment? are there elements that people emulate (air piano, air drums). Music is meant to make people feel something, so is my new track causing an emotion or does it remain neutral and forgetable?
Looking ahead a couple of years, what would make you feel that this shift to releasing under your own name has really paid off creatively?
That people would hear a track and without knowing it, they will think it’s mine. So basically, allow my creative freedom to craft a sound and style that make people say, oh this is a Lex Valverde track for sure!
Takatal is out now on Alleanza.