With Purple Radiance, Neonlight step into a new chapter, pairing cinematic restraint with meticulous sound design. Released via Evolution Chamber, the track reflects a period of reassessment and refinement, shaped by time, distance, and clarity of intent. We caught up with Tobias to unpack the tune’s long journey from remix to original, his evolving production mindset, and the influences that continue to shape the Neonlight sound.

There’s a real sense of space and movement in Purple Radiance. How did the first idea for the track begin, and what guided the direction once you were in the studio?
First of all, thank you for having me in this interview.

This song actually started as a remix in early 2023. After continuously working on it, a rough version of the song shaped up and I started playing this version out in summer 2023. In early 2025, I got the 100% confirmation that this remix is not going to happen, so I decided to delete everything that came from the original track and started overworking it.

That slow build in the intro feels like it’s setting up something cinematic before the first drop hits. Was that structure something you planned early, or did it grow naturally as you worked?
The intro was one of the key elements I had to rewrite after this project turned from a remix into an original track. I got the inspiration from one of the main groove elements I used in the drop. It was quite obvious to make a triplet-related rhythm section in the intro to get all the parts connected and consistent. I was able to keep mostly the build up from this remix project. The glueing element to connect the intro over the build up to the drop turned out to be the pad I added, also in the re-writing process.

The main synth line is bold but controlled, sitting right at the centre of the tune. Can you talk about how you shaped that sound and decided it was the core of the track?
This triplet synth groove is in its origin a layer of 3 or 4 different Serum patches which I played around in the beginning writing this song. After I had the foundation I really liked, I started changing and adjusting this synth line many times. In total this sound you can hear in the final version has a sub bass layer, three different mid range layers and on top some more tonal mid-top layers which are modulating and changing because of filter movements.

The switch to a straight 4x4 pattern in the second drop catches the listener off guard in the best way. What made you want to take it there, and how did it change the energy for you?
Working with a triplet groove makes this kind of switch a good way to vary in the songwriting. This slight change in the kick drum pattern has quite a huge impact on the groove and on the energy of how the bass sounds coming through in the mix. As I prefer to make the 2nd drop a bit different, I liked this way of making the difference between those two drops.

You’ve built strong creative relationships over the years with people like Mefjus and Black Sun Empire. How have those collaborations influenced the way you work together now?
To be fair, the Mefjus collaborations you mentioned are really far away. It happened in 2011/2012 at a time we were still quite new to the game and every new song was a discovery trip into production and sound design. Working with Martin was really inspiring and a game-changer in things like ‘re-sampling’ and ‘layering’.

The songs we made with Black Sun Empire happened at a later stage in our career. The main thing I personally took from these sessions with them was to keep things as simple as possible without losing the impact of a sound or the arrangement.

All the mentioned techniques became part of our daily productions from then.

This release marks your first appearance on Evolution Chamber. What drew you to the label, and how did that connection come about?
I am in close and quite constant contact with James from Magnetude for years now. He was one of the first names Neonlight crossed on events in the UK and also in a general networking context. Since Evolution Chamber is a thing, we talked about making something happen. It took a while and after dropping my remix of Receptor’s Parkour in November 2025, it finally worked out with the release of Purple Radiance. We are already talking about a follow up.

Your catalogue runs deep across labels like Blackout and Eatbrain. Looking back, how has your production approach or philosophy evolved since those early records?
Treat every track to make it the best possible to this date. And I am not talking about loudness or adding the ultimate amount of crazy sounds within 16 bars.

I am talking about creating a song which reflects the moment you were in writing it with all your experience and knowledge as producer, songwriter and human being.

There’s always been a balance in your sound between technical precision and musical detail. How do you keep those two elements in check without one taking over the other?
Well this is definitely a thing which shaped the sound Jakob and I created through the years. It brought together the personal interests and also the individual philosophies that a good Neonlight track needs. Since I am working on the music for Neonlight by myself I still try to keep this a major part of the writing process.

When you’re away from the studio, what helps keep ideas flowing or inspires you to start something new?
I actually never work on music when I am away from my studio. I enjoy the time being away from it. That helps me to refresh my head, and also I am sure to go ‘hungry’ back on my projects.

You’re stranded on a desert island with one turntable, a generator and one record. What’s it going to be?
Ed Rush & Optical - Wormhole!

Great choice!

Purple Radiance marks a considered step forward for Neonlight, aligning their finely tuned sense of movement with a darker, more spacious framing. Out now on Evolution Chamber, the release underlines their commitment to evolution over excess, with further material already in discussion as the project continues to refine its forward momentum.