Download an Ableton Live Set From Polygonia

Few artists demonstrate such a multifaceted talent and the poise to balance it all quite like Polygonia, the musical alias of Lindsey Wang. Having risen to prominence with an impressive combination of technical mastery and artistic refinement, her work exemplifies a cross-disciplinary approach marked by a deep reverence for visual arts, music production, and sound design. Polygonia’s tracks effortlessly blend organic textures with intricate rhythms, spanning a range of moods from deep and dark to playful and emotionally delicate. Her compositions traverse various genres, including techno, breakbeat, dubstep, ambient, and pop. Beyond her solo projects, Polygonia is also a core member of the IO collective and the founder of QEONE, her newly launched label dedicated to championing emerging talent. Her creative vision also finds a further outlet in the trio Lyder, where she collaborates with musicians Niklas Bühler and Moritz Stahl, merging jazz and techno through improvisation, live looping, and effects pedals, creating immersive electroacoustic sound worlds for listeners to explore. In partnership with Ableton, we recently sat down with Polygonia to trace her fascinating path from a childhood steeped in classical training to the moments that inspired her evolution into electronic music. Along the way, we delved into her creative philosophies, technical methods, and insights into the Munich music scene. For a direct look at her process, she has also shared the Live Set of her new track “Neon Oracle”. ᏢᎾᏞᎽᎶᎾᏁᎥᎪ · Neon Oracle ~⚘ Free Bandcamp & Project Download ⚘~ Download the Live Set to Polygonia’s track “Neon Oracle” here* *Requires a Live 12.1 Suite license or the free trial. Please note: This Live Set and included samples are for educational use only and cannot be used for commercial purposes. Lindsey, thanks for chatting with us today. Let’s start from the beginning—can you tell us a bit about your musical background? I started out with classical music, I grew up with it. My father played in the Shanghai Quartet and with several orchestras here in Germany. My mother works at one of Germany’s biggest companies for sheet music and my grandfather was a clarinet professor. I graduated from a high school specializing in music. My focus was on the violin. I also played the piano. As I grew older, I of course discovered pop music on the radio and MTV. That was my first connection to electronic music; because pop music is often produced with electronic elements. I was never really listening to the lyrics, I was more interested in how the tracks were produced. Later on, some friends introduced me to UK Dubstep. Back then it sounded super new and out of this world to me. That was when I really started getting into electronic music. Was there a specific moment or, maybe an artist that inspired your move into the style of techno you make today? In the beginning, I was not interested in techno at all. What was being played here in Munich wasn’t really my taste. I was digging into left-field hip-hop and finding these crazy beat producers on SoundCloud. There was this label, called Prrrrrrr Records. The label boss, Persian Empire, is also an instrumentalist and composer, he produces and performs in a really wild way. He was one of my key inspirations before I moved to techno. I remember hearing artists like Cio D’or and Rrose play at Freqs of Nature Festival. It was a sound aesthetic I hadn’t heard before. I had been quite into the psytrance scene, and somehow their sound connected to it, because it’s kind of trippy and psychedelic, but way more stripped down, more minimalistic, and more classy, let’s say. Cio D’or is a woman, which also inspired me, because I was like, “Wow, she’s a few generations above me, she has such a great presence on stage.” What she did was so fascinating to me. And Rrose too. They performed right after Cio D’or. It was the perfect combination. While Berlin often receives most of the focus in Germany, how does the music scene in Munich compare? We have a lot of amazing artists coming from Munich. It’s true, the focus is usually only on Berlin, but we sometimes find it a bit unfair. Just recently, I talked to a friend who owns a record shop here in town, and we were like, “It’s a bit sad that Resident Advisor doesn’t have many features about any events in Munich, because we have the amazing Blitz Club club for example, they book quite eclectic artists from time to time. I have my label night there. We also have Zirka Space where Radio 80000 is located. They have a lot of parties and concerts there too. There are a lot of great people in Munich, we all support each other a lot. We have a good sense of community here because it’s smaller. I think that’s why the competition somehow feels less intense. Everybody moves to Berlin to become a DJ. Everybody is a DJ when you talk to them in Berlin! But here, the pressure isn’t so huge. So yeah, we have a vibrant scene. I feel very comfortable here. I’m no