With Echolalia, Boy Witch presents a hypnotic sonic universe where pulsing groove, psychedelic textures, and an experimental approach intersect organically. Through unconventional guitar tunings, electronic layers, and atmospheres that oscillate between dreamlike softness and raw intensity, Felix’s project stands as a deeply personal and handcrafted creation. Embracing a strong DIY ethos, the artist takes on multiple roles — composer, producer, musician, and visual creator — to shape a work that simultaneously explores nostalgia and futuristic aesthetics.

By Sandra Pinto

In this interview, Felix reflects on the creative process behind the album, his influences, and the way he builds the immersive world of Boy Witch.

Felix, Echolalia features a pulsing groove and hypnotic riffs. How did the idea for this song and its musical concept come about?
Hey there, first, thanks for the interview! It all started with the verse of the song, which I played in a non-standard guitar tuning. After adding additional parts and layers with various instruments I came up with the lyrics.

The retro-space video includes footage from NASA missions, aligning with Artemis II. What was the inspiration behind this visual choice?
I really like old videos, which have a retro vibe and make the viewer travel in time for a moment. I’m also a big fan of Boards of Canada and there are many videos by fans on YouTube, which were edited by using old videos from the 60s, 70s, and 80s. This inspired me to create such a video for my own music. The visuals of the video give the song a whole new dimension and open new doors for interpreting the song.

The track blends soft and distorted tones, culminating in an expressive solo. How do you balance gentleness with intensity during the songwriting process?
This normally comes naturally by trying out different guitar effects and synths. The gentle and more dreamy parts often have different delays, echoes, phasers and other effects. The heavier and more intense parts are created by using more distorted effects. I like to blend both in the songs.

This is your debut album. What were the biggest challenges in creating such an atmospheric and multidimensional sonic universe?
You have to be patient, if you want to create an album by yourself. I sometimes added additional parts after months because I felt the song could use some extra layers. This also eventually resulted in a different mix of the songs, having a coherent sound on all the songs.

Your music combines psychedelia with electronic and experimental elements. How would you define Boy Witch’s unique sound?
I’d define it similarly to your description. Boy Witch combines Psychedelic Rock, Alternative Rock, electronic and more “experimental” elements.

You worked on every song as composer, producer, musician, and visual artist. How do you manage so many creative roles within one project?
Thankfully, today it is possible to create and record on your own without having a huge record label who pays for recording in an expensive and fancy studio. I like the DIY style that other artists like Mac DeMarco, Tame Impala, Unknown Mortal Orchestra and other musicians follow. I have my own little studio, rehearsal space and I know some cool smaller studios in Berlin, where I can create and record. The writing process itself comes naturally and spontaneously. Moreover, it’s also about experimenting with different styles, sounds, and visuals.

Which artists or sonic experiences had the biggest impact on the album? You mention influences like Wand, Boards of Canada, and Unknown Mortal Orchestra…
The dreamy synth parts are inspired by my love for Boards of Canada, especially the album “the Campfire Headphase”. UMO, especially their first two albums, inspired me, too. QOTSA and their “…like Clockwork” was an inspiration. Soundgarden and Alice in Chains have also had a big influence.

Gidon Carmel plays drums on the record. How was the collaboration with him, and how did it influence the energy of the songs?
Gidon is a session drummer who has played in numerous projects and knows how to play in many different styles. He is the main drummer for Lucy Kruger and the Lost Boys, a cool band you should check out. I sent Gidi my demos beforehand and we went to the studio to record the drums. I told him what vibe the songs should have and then he added his ideas to the songs.

When planning your live shows, how do you recreate this fusion of psychedelia, groove, and instrumental intensity?
For the live shows there are additional musicians, to recreate the Boy Witch sound. I play with an international band with interesting backgrounds and musical styles.

Your sound blends nostalgia with futurism. Is this intentional, or does it emerge naturally in your creative process?
I think this comes naturally. I’m a big fan of music from the past decades but I also like the advantages of being able to create everything more easily with more modern techniques. I like old tape machines, old videos tapes, and things like that, but it’s also nice to record with a DAW and play around.

After the album release, which creative directions or sonic experiments are you eager to explore next?
There are already enough songs for a new EP or even LP, but first I want to play live and perform as Boy Witch. The next album might even be a bit more collaborative with the band members and different instruments.

If you had to describe Boy Witch in three words for someone who has never heard your music, what would they be?
Raw, dreamy and real.