That shared philosophy is evident throughout Heartbeat Changes, a new three-track EP on R&S Records that moves from the lysergic minimalism of “Loud Blue” and the emotional depth of the title track to the breakbeat-fuelled psychedelia of “Richard Missing”.
Described by R&S as some of his most fearless work to date, the release arrives at a moment when Lenny seems increasingly comfortable trusting his instincts. As our conversation revealed, he’s not interested in perfection, formulas or competing with anyone else. He’s interested in ideas, in evolution and, above all, in keeping people curious.
Your records feel like you’re actively embracing unpredictability. Has your relationship with imperfection evolved over the years to produce your special grooves?
I think being more relaxed or less ‘perfect’ gives you more space to explore. I usually have an idea when I start a track but I’m quite open if the track wants to lead me elsewhere. It’s a bit like when you walk the dog but then the dog starts walking you and you end up in dogs places. It’s different but still fun and special.
How conscious are you of creating space in a record versus filling it?
The secret of beauty is the distance between elements, it works in architecture, cuisine, fashion and clearly music.
When you were working on music, do you deliberately ignore current club trends in favour of following your instincts?
I only think about my path really. I couldn’t possibly follow something already out there when in general I get bored of what is going to be my next release. Luckily after a while I start liking it again. But I do follow. Involuntarily mostly from the past. I try to morph my past in the future mixing it with other nonsense ingredients to make it unique. Or at least that’s the intention.
“Heartbeat Changes” feels rooted in house music on the surface, but underneath there’s a clear Detroit influence and a deeper emotional current. What is it about Detroit techno’s philosophy that still resonates with you today?
It’s rough, it’s real. It gives you the impression that it’s happening in that moment. Has that live feeling, has an emotion. I think that it’s the true essence of house music. It’s fun, who cares if it’s a Jam just record it.
Dino Lenny – Heartbeat Changes EP is out on 3rd July on R&S Records
You’ve said that after decades in music you’ve become “like a big sponge”, absorbing influences from great artists over time. Looking at this EP, what are some of the influences that have filtered through the sponge recently, not necessarily musical influences, but ideas, films, books or experiences?
Being a father made me think that I needed to leave behind something special. I want my music to sound great in the future and not necessarily now. I was probably more eclectic but also less focused when I was more isolated a few years ago. But today I am more confident with my vision. The more djs/people don’t get what I do the more confident I become. Djing is also how you play music and not only what you play, if you think like that my music has a good chance to be around.
What role does language play for you in electronic music? I love the spoken elements in many of your tracks. Are you interested in telling stories, creating tension, or simply adding another texture to the arrangement?
About 25 years ago I started recording my own vocals. It was more practical and way cheaper. I had a few good trax out there and people started using my accapellas and asking me to collaborate. But you can’t always trust what they do with your voice and I rarely like how they edit it so I’m more precious about it these days. I like a message in track. If I can say something useful or something that is going to make you think in a different way I’m happy. I mostly do them for my daughter so she can listen to my voice if she misses me. It’s easier than reading dad’s notes
Across Rekids, Bedrock, Cocoon and R&S, you’ve been releasing music that feels unmistakably yours while still fitting naturally within very different label worlds. Do you consciously adapt music to a label, or do you simply make records and trust that the right home will reveal itself?
Good question. The people that run the labels I’m signed to have my same age. We have probably listened and witnessed the same story. Sometimes I finish a track and I say this would be perfect for Renaat or Radio Slave or maybe Sven if I speed it up a bit etc. If it doesn’t change the mood, I’m happy to make them happy too. It has happened that I did release on a non-obvious label for me but it always sounded like one of mine, which is confusing because they are all quite different from the previous release but what they all have in common is that F*** it element!
Dino Lenny – Heartbeat Changes EP is out on 3rd July on R&S Records
You recently said, “We need to mix, we need to blend. It’s the way forward.” That idea seems increasingly relevant in a scene where genres are dissolving and producers are pulling inspiration from everywhere. Do you feel electronic music is entering a more open-minded phase again?
‘We need to mix and blend’ is also referred to the world. In my opinion nothing is mine and nothing is yours but just ours. Music is the perfect example it should never be about making money but instead just simply making great music. Producers have nothing to lose these days. We can keep the essence alive with creativity, diversity and ignoring the competition, that will only lower the bar and so far it has.
Heartbeat Changes was written with Roberto Longiarù. What does collaboration bring to your creative process that you can’t access when you’re working entirely on your own?
I don’t collaborate much. Rob is a good friend. He’s like a good wine. He doesn’t ask too many questions. When I am away for gigs he does exactly what is written on the tin. And he knows what a good synth sounds like. There isn’t much difference really I don’t really listen to others if I know what I want. I pretend I listen but I always go the way I like. To be fair they aren’t real collaborations. But when I work on my own tracks are more unpredictable.
There is a certain fearlessness in this release on R&S from the minimalism of “Loud Blue” to the breakbeat psychedelia of “Richard Missing.” The press release even describes them as some of your most fearless productions to date. At this point in your career, what does taking a risk actually mean?
Regarding risks when you have been around for decades taking a risk would mean to stop making records. The more ‘out there’ I am with my productions the less risky it will be. People are probably just curious to listen to what’s happening in my head. But in reality, I’m only doing what every producer was doing when house music started.
In the 90s most of electronic music was fierce. Every record that came out was different from the other. Even if it was under the same kind of genre they were just different sounding dance records. So, I just do that. I’m not really doing anything special but in this globalised world it might seem odd.
You spoke recently about the danger of producers spending hours perfecting a kick drum instead of focusing on ideas. Looking back at this EP, was there a particular moment where the original idea arrived quickly and you knew it was worth protecting rather than overworking?
Well even if I say that I know that a record is never finished but also you must try to not overproduce it and make the idea suffer. Sounds funny to talk about suffering but ideas usually have a soul and they start coming to life while producing. Sometimes you have to let it breathe. Going back to it after a few days and checking if it flows and lives is always a great move. Listening while driving usually tells me a lot. But sometimes a classic is done in hour. So there is really no rule. Sorry for wasting your time reading.
R&S has always been be a label associated with innovation, but also with records that endure. What does releasing on R&S mean to you personally?
Best label in the world. It’s an honour to be part of it.
Dino Lenny – Heartbeat Changes EP is out on 3rd July on R&S Records
You’ve said that if you were ten years younger or ten years older, you’d probably be a different artist. Listening to Heartbeat Changes, what do you think this record says specifically about who Dino Lenny is in 2026?
I don’t think this track says anything different from my latest mood. If we want people to keep good music alive, we need to keep it real, we need to keep people curious about the journey. There is so much good music out there that needs to be discovered. I’d like to see more of certain some DJs do their thing. Some time ago a Mainstage DJ told me ‘your music is cool but we do two different jobs’. I thought we were both DJs but thinking back on that and considering what he played I guess he was right.
Dino Lenny – Heartbeat Changes is out on 3rd July on R&S Records. Pre-order it on Beatport HERE.
Head to Beatportal to read The Night Bazaar exclusive interviews in partnership with Beatport HERE.
Dino Lenny – Heartbeat Changes EP is out on 3rd July on R&S Records
