Jonas Saalbach Gives Us The Lowdown On His New EP 'Waterfalls'

Fresh off his second EP on Purified Records, Jonas Saalbach swung by to chat about trusting his instincts and the stories behind his latest release.

Melodic producer Jonas Saalbach creates immersive and emotionally rich music that invites listeners to connect on a deeper level. Over the years, he has built a respected presence on labels like Bedrock and Einmusika and taken his sound to iconic festival stages, including Burning Man and Fusion Festival. His move from Berlin to Portugal has become a significant source of creative inspiration as his new surroundings have unlocked a more intuitive process, allowing ideas to flow more naturally.

At the core of Jonas’ creative philosophy is a simple principle: never force the process. Rather than rush the outcome, he prefers to follow the flow and let the music develop organically. That same commitment to his artistry extends to Radikon, the label he co-founded in 2018. He is equally discerning about the labels he partners with, always prioritizing his creative vision above all else.

When a label aligns with that vision, the collaboration unfolds naturally. This approach has fostered a strong connection with Purified Records, where he debuted with Data Romance, an EP that explored the tension between the digital world and humanity’s search for connection. More recently, Jonas Saalbach has returned to the Nora En Pure-led imprint once again with his latest EP, Waterfalls, continuing his exploration of evocative storytelling through melodic electronic music.

We caught up with the visionary artist to discuss his creative process in the studio, the inspiration behind the project, and what the release means to him. Listen to Waterfalls on your preferred platform and read on to learn more about Jonas Saalbach’s evolving artistry and what’s next on the horizon for him.

**Stream Jonas Saalbach – Waterfalls on Spotify**:

Hey Jonas, thank you so much for taking the time to chat with us today. Let’s jump right in. You’ve already released so many tracks this year. How has the creative flow in the studio been?

Honestly, it’s been one of my most productive periods in a while. I think the move to Portugal really helped – I have more space, more calm, and that naturally reflects in how I work. I’m not rushing anything. The ideas come when they come, and I just follow them.

You mentioned that with Data Romance EP, you realized you had been overthinking your music, which led you to go back to your roots and work with melodies first, with no plan and no focus on fitting current trends. What led you to that realization?

I think I just noticed at some point that I was producing with my head instead of my gut. I was always asking myself, “Does this fit the scene? Is this what DJs play? Is this peak time enough?” And when the music started to feel a bit stiff, I just stopped all that and went back to what I did when I was younger – melodies first and vibe first. It immediately felt better.

Moving on to your latest EP, Waterfalls, you reference the idea of not “chasing waterfalls” but instead embracing curiosity. What does that sense of freedom look like for you in the studio, and how did it shape the production?

It started with finding Theia. I was looking for a vocalist with a Lana Del Rey-type quality for a long time – someone who brings that cinematic, dreamy feel. When I found her, I built a loop with a lot of space and sent it to her. She wrote lyrics about chasing waterfalls. That line – “they say don’t go chasing waterfalls, but I can’t help it” – that’s exactly the feeling I was going for. I just followed the impulse.

You also mentioned that at a time when dance music is very functional, this EP comes from a more musical perspective. How do you personally define the difference between “functional” dance music and music that feels more intentional and musical in its approach?

Functional club music for me is mostly a bit harder. It’s the same kind of bassline patterns producers use to raise energy, the same sounds and presets many are using. The problem I see is that when something seems to work in the club, producers start to copy it – and then it becomes a functional trend. On my USB, I have both – more musical music, music where producers took a risk, and functional “bangers”. And I mix all of it. For me, more musical means maybe also a bit more melodic in that context.

“Wild Child” is such a beautiful concept. You describe it as an homage to your son. What specifically about watching him experience the world for the first time stayed with you creatively?

Thank you. My son turns two next week, and he has zero filter. Everything is new, everything is exciting, there’s no hesitation. He just goes for it. And I realized that’s exactly what I want in my music – that energy. Just feeling it and going with the flow. “Wild Child” is basically that feeling captured in a track.

And finally, what can fans expect from you for the rest of 2026?

I drop a release every month. Next up is “Dark Turns To Light” on the American-based label Interstellar – it describes that moment when a party shifts from night to day. After that, I have an EP on ICONYC with my brother Nairo. And there’s more in the pipeline that I’m really excited about.