In 2023, the veteran Italo-German producer, composer, DJ, and musician David August released VĪS, an ambitious, experimental piece of narrative music that, in the artist’s own words, “imagines an alternative evolution of mankind through sound.” Last November, August augmented that work with a collection of tracks that he calls VĪS Reinterpretations. Released on the artist’s own 99CHANTS imprint, the album features reinterpretations of VĪS from an exciting range of artists—among them, Claire Rousay, Ulla, and Space Drum Meditation. We sent some questions over to August to learn more about the project. Read his answers and listen to VĪS Reinterpretations, below.

How did the VĪS Reinterpretations project come about?

David August: The Reinterpretations emerged from a need to let the project evolve and be viewed from a fresh perspective. While I consider the original work somewhat impersonal, it still reflects my life experiences, which shaped the music. Ultimately, I was curious to see how other artists would reinterpret it. This is also the first time one of my albums has been revisited. I wanted to take a completely different approach by offering an alternative version of the entire album—not just selected singles—which is why there are 13 reinterpretations in total.

What kind of methodology did you use when selecting the list of participants for this project?

The artists involved have been a source of inspiration to me over the years, so it felt natural to pass the torch to them. I couldn’t be more honored that these incredible talents accepted the invitation. I believe each artist brings a unique color palette, one I could recognize in the microcosms in the original album. With Reinterpretations, they had the freedom to expand these colors into a macro version, fully exploring their creative vision. 

The concept of "scale" has also been a guiding force throughout the project, bringing both the music and its concept to life. From the Imaginary Alphabet—mapped onto the music and structured into individual groups that form a larger picture when combined—to the more metaphysical ideas behind the album, it serves as an offering to the world around us, bridging the visible and the invisible.

Were there any particular reinterpretations that blew you away? Was there one that surprised you the most?

All the contributions carry equal weight within the album. Despite their vastly different approaches, there’s no sense of repetition—only a diverse understanding of the album’s essence and a reshaping of its elements. It was important to me to provide each artist with all the stems from the album, rather than limiting them to remixing a single track. As with the original album, there’s no hierarchy; each piece fills a gap, and I believe the work can only fully make sense when experienced as a whole. In a way, the original album might be seen as a kind of blueprint.

Could you talk about any narrative concepts around the original VĪS? How did that narrative shift when the sonic material got into the hands of outsiders?

The original album was an attempt at world-building, but approached from an archaic perspective. It represents an imaginary timeline, stretching from the past to a utopian future. However, it also feels like a circular timeline, one with a variable starting point. That’s why I describe it as an "impersonal" work—it wasn’t about me, but rather an observational perspective.

When I wrote VĪS, the world was in chaos (not that much has changed since). It raised many questions and sparked a desire to propose an alternative narrative about our species. Admittedly, it’s a very romantic approach and perhaps too idealistic in terms of what impact music can have. But I believe we need utopias. That’s what I love about art: its ability to propose alternatives and offer inspiration, an energy that has the potential to move us.

Do you personally like doing remixes or reinterpretations of other people's music?

Yes, I do, but I usually put a lot of effort into the music I write, so the process needs to feel natural. I often spend some time working with the material before deciding to commit to a remix. In some cases, though, the original music is already so strong that it feels challenging to present another perspective. I suppose I only agree to work on a remix when I can hear the potential to offer a meaningful alternative.

What has it been like performing music from VĪS live?

It has been an incredibly rewarding and special experience. A lot of time and effort went into bringing the whole show together, involving collaborators like Franka Marlene Foth (choreography), MFO (scenography), and Andrea Belfi (drums and percussion). One of the most memorable performances was at the Barbican in December 2023. The overall reception has been beautiful, and it truly felt like we were able to transform the atmosphere in the room through the performance.

What is your favorite part of the sound design process?

The unexpected moments, those "little happy accidents," are the most rewarding. Sometimes you set out with a specific idea in mind, but other times, you simply experiment until something intriguing emerges. It’s in those moments—when things feel beyond your control—that the excitement peaks. They often lead to outcomes you could never have envisioned at the start, paving the way for something inspiring. 

Any favorite music from 2024 that you want to tell the world about? What are you excited about in 2025?

I really loved the albums released last year by Pyur, Nala Sinephro, Abdullah Miniawy, Skee Mask, and Arooj Aftab. As for 2025, I’m excited to finally dedicate more time to collaborations, something I’ve been looking forward to for quite a while. Let’s see what unfolds this year—there are some projects I’m very excited about.