Viken Arman – a French producer, DJ, and musician – crafts a unique sound that bridges timeless and modern influences, blending jazz, house, minimal, hip-hop, and world music. His hypnotic live performances have captivated audiences at iconic venues and festivals like Fusion (DE) and Burning Man (USA), while his six-hour improvisational set at New Morning in Paris showcased his artistic depth. As a driving force in Paris’s music scene, he launched the Minimal Trip collective, Denature Records – signing over 20 artists including Stavroz, Acid Pauli, and Nicola Cruz – and the global SouQ festival, which expanded across Europe, the Middle East, and the Americas. His collaborations span genres, performing with the likes of The Lebanese Philharmonic Orchestra, Michel Portal, and Guillaume Perret. With achievements like his #1 Beatport hit ‘Willow’, a celebrated Cercle Live performance, and the release of his 9-track LP Alone Together, Viken continues to redefine electronic music with innovation and authenticity. Beyond the stage, he stays connected to his roots, co-founding an Independent Modern Art Museum in Yerevan with the Rambalkoshe collective, fostering Armenia’s cultural landscape and creating spaces for local and international artists to thrive.
Read our interview with the synth savant below.
Paint us a picture: what sparked your passion for the arts in the first place? Was there a single moment or experience that solidified your decision to pursue this path?
Music has always been there. I remember that for years, there was only one record in my dad’s car: Keith Jarrett’s Köln Concert. So, every morning on the way to school, I had this guy with me. Even though I started piano at the conservatory very early, I think the real revolution happened when we got our first computer at home when I was 10. I immediately understood the concept of sampling… and decided to ruin my dad’s entire music library making hip-hop beats. At some point, I realized I was spending more time making music than doing anything else… and… I still do.
When you create, what leads the way – a feeling, a story, or the sound itself?
It’s like cooking… you start with an ingredient (a sound, a feeling, a rhythm), and you just… go with it. Most of the time, there is a real intention, a melody pops into my head, and I build around it. Other times, I find a weird modular sound that intrigues me, and I chase it down the rabbit hole. There’s no strict recipe, just a lot of intuition (and probably some overthinking).
What’s in your toolkit? Share the gear, gadgets, or software you can’t create without.
My favorite synth is the Yamaha CS70M, like an old wizard: wise, unique, warm, and elegant. It has such a special soul. Then, of course, there’s my upright piano (no electricity needed: very practical), and a bunch of modular synths that sometimes feel like moody pets. I don’t use that many plugins. Ableton/Logic are my main hubs, but I love blending analog and digital. In the end, everything runs through the Studer and my strange master chain.
What’s your go-to ritual or trick for getting into the creative zone?
I stare at my gear like it’s going to start playing itself. If that doesn’t work, I make some tea, walk around the room, and pretend I have a plan. Then I call some friends, make jokes, relax, and after a good laugh, I remember that there is nothing so serious. I’m just a kid in a kindergarten, so: have fun. Usually, inspiration comes when I stop trying too hard… Music has a sense of humor that way. The juice always comes at the very end of the session… I need time. And music needs time too.
What’s the one item you always keep within arm’s reach while creating or performing?
Some essential oils that my wife and I make ourselves. I put a little on my temples, and suddenly, I feel at peace.
How did you ultimately end up defining your sound?
By refusing to define it. If you ask me today, I’d say my music is a blend of ancient grooves and futuristic textures. If you ask me tomorrow, I might say it’s jazz meeting electronic music in a strange room. But yesterday it was minimal house. It has never stopped evolving over the past 20 years. Either way, I like to think of it as a bridge between cultures, times, emotions, and people.
How has your creative process or perspective shifted since you started your journey?
In the beginning, I wanted to control every sound. Now, I’ve learned to let the sounds guide me. Also, I stress less about “perfection”. Some of the best moments happen when you make mistakes. (Except when you forget to hit record… that’s just tragic, good night).
Walk us through a recording session: what’s the most memorable moment you’ve had in the studio?
There are so many… Collaborations always transform a session. I’ll never forget one in Armenia a long time ago with my friend Tigran Hamasyan… our first musical dialogue together. As soon as we started playing, magic happened. No words for hours, just music. We couldn’t stop jamming. It was a dream come true.
Are there any unexpected or dream collaborations hidden in your work?
I’d love to work with an avant-garde filmmaker. Composing a soundtrack, serving the images through music, that’s one of my biggest dreams.
Any side projects you’re working on?
Mainly my project with my brother Cesar Merveille: VIZARE.
Who’s an emerging artist you think deserves more recognition right now?
A lot! But my matey Harvey Grant recently launched his new project: Dweller. He’s next level. Check it out!
What’s the strangest or most surprising song currently on your playlist?
Sun Ra – ‘Strange Strings’. A hell of a recording. They randomly bought instruments from thrift stores and recorded an album with them. Pretty wild! Almost impossible to enjoy, but I keep it because it’s pure freedom (and a lot of mad samples inside).
Which song, album or playlist do you never get sick of no matter how many times you listen to it?
Miles Davis – Kind of Blue. It’s like a good wine: timeless, complex, and always hits differently depending on your mood. Legendary jazz album with all my heroes: John Coltrane, Bill Evans, Paul Chambers, Cannonball.
Are there any unexpected hobbies or projects you’re exploring outside of your main work?
I’m renovating my house at the moment. Nasty.
If your life and career were an album, what would its title be, and what’s the hidden track only your fans would know?
Title: Be. Hidden track: ‘Free’.
Give us a glimpse into the future – what surprises or milestones are coming up for you this year?
Our first VIZARE record will be out in June, featuring amazing guests like Seth Troxler, Traumer, and Luciano, to name a few. Together with my friends Session Victim, we’ll be releasing some tracks in April. I also have a new solo EP coming in September. There are some collaborations with Mano Le Tough in the works as well. And of course, my brother Acid Pauli and I are cooking up plenty, especially focusing on our event: Cosmic Days.
Famous last words?
Alone Together
Follow Viken Arman:
Spotify – Soundcloud – Instagram – Facebook – X
