As soon as you press play on Harmonia, it pulls you in—you want to hear more. The opener track Sagrado begins with an incredibly deep, bold strength that sets the tone for the whole album. “The most important thing is capturing a feeling that’s hard to explain but easy to experience,” Trikk says.
Bruno Deodato, known artistically as Trikk, was born in Porto and first discovered rhythm through the djembe at age 11, long before he would find himself drawn to the dark, enveloping simplicity of club music. For years, he lived abroad—Berlin, London—but returned to Porto, where he feels most aligned. “It’s moody, proud and honest,” he says of his hometown. And that essence resonates in Harmonia: a project that feels rooted, present, and unafraid to go deep.
And what’s also quietly beautiful: the tracks don’t rush. They take their time. In a world where everything seems to be getting shorter and faster, it feels almost rebellious—and comforting—to hear songs unfold slowly, some well past the seven-minute mark. You’re allowed to sink in. The music doesn’t chase you—it waits.
In our interview, Trikk speaks about trusting the process, creating emotional spaces without dictating the listener’s experience, and why complexity sometimes fades best in a dark room with a loud sound system.
photography by Ricardo Santos
Hey dear Bruno, just listening to your new Harmonia LP – right now your new release Sagrado is playing. I love the vibe, sound and energy of the track. What do you personally associate with the track, and the work that went into it, when you hear it?
Thank you, I appreciate it. ‘Sagrado’ feels like a moment of reflection within the whole project. When I hear it, I associate it with a sense of closure. It’s intense, yet introspective, and that balance was very intentional. For me, it’s the track that ties everything together, both emotionally and sonically.
In an interview you once said: “The character and feeling for me is the important part – might not be the catchiest track but has to have that feeling we usually cannot put into words.” Which feelings and inspirations have you woven into the Double EP? Is there a thread running through, or do the tracks reflect separate moments and moods?
That idea still holds true for me. The most important thing is capturing a feeling that’s hard to explain but easy to experience. With this Double EP, I wanted to focus on music that felt both physical and emotional, something that moves your body but also stirs something deeper inside. There is definitely a thread running through the project even though each track has its own character and mood, they all follow the same set of principles, emotional openness and club functionality.
You once also said: “I love music that evokes sadness and it’s honest.” Do you want people who listen to your music to feel something specific – or is it more about offering space for their own emotions?
For me, it’s more about offering a space where people can connect with their own emotions, whatever they might be. I don’t want to dictate how someone should feel when they listen to my music. I just try to create an environment that feels honest and open enough for listeners to find their own meaning in it. It’s about creating a genuine emotional space, not forcing a specific reaction.
“The most important thing is capturing a feeling that’s hard to explain but easy to experience.”
Why did you decide to call the Double EP Harmonia?
The name Harmonia represents the balance I was trying to achieve throughout the project. It’s about the harmony between introspection and the dance floor. Harmonia felt like the right word to capture that feeling in a simple but meaningful way. It’s also a nod to the Krautrock band Harmonia, whose music I really like.
Is there a track that feels especially close to you – one you feel just a little more deeply than the others?
Each track revealed itself to me at different moments. At first, ‘Luxo’ was my favorite. Then, more recently, ‘Rigor’ gave me a beautiful moment during the Innervisions 20 Years event in Barcelona, and that feeling has really stayed with me. Now, re-listening to ‘Sagrado,’ it brings back memories of the creative process and the emotions I was experiencing at the time. I think there will be space for all of them to become my favorites over time, depending on where I am, how I feel, and whether a specific moment triggers that connection.
Besides your Double EP, you’ve also got this upcoming collab with Âme & Trikk feat. Jens Kuross – Don’t Waste My Time. What kind of shift did this collab bring for you? Anything you learned or took with you from that process?
Working on ‘Don’t Waste My Time’ with Âme and Jens Kuross was a really great experience. First, working with such talented people really pushes your boundaries, and second, it taught me a lot. It was a long and sometimes difficult process because the track didn’t progress easily, but it showed me that not every track needs to flow quickly. When I work alone, things either happen fast or they don’t happen at all, I rarely spend much time on demos or sketches. But with this one, we had to grind and stay with it for several months. In the end, it was a very rewarding experience which I’m proud of and I hope the listeners like it.
“In a dark room with a loud sound system, those complexities get stripped away. That simplicity feels refreshing to me, almost like a mantra.”
I read that you first got into music when you were 11, overhearing your peers playing djembe in a shared room. If you could speak to your 11-year-old self today – what life advice would you tell him in that moment?
Everything will fall into its right place.
And when was the first time you came across electronic music – was it love at first sound? Did you know right away that you’d want to move in that direction? What is it about creating electronic music that makes it special for you?
I don’t think it was love at first sound. It was more curiosity, and even a bit of confusion, wondering how people felt so drawn to something so barebones, repetitive, and sometimes structureless. Club music is fascinating, but I think you only truly understand it when you experience it in the right context. For me, that happened when I started going to my first parties – like pretty much everyone else. That feeling of communion made everything fall into place. In the end, human beings are quite simple, even though we’re full of complex pathways. In a dark room with a loud sound system, those complexities get stripped away. That simplicity feels refreshing to me, almost like a mantra. It’s archaic in a way, but there’s a beauty and a certain naivety in it, a pure form of escapism.
“In the end, human beings are quite simple, even though we’re full of complex pathways.”
When you start working on a track – do you sometimes just begin with the guitar, or is it always sample-driven at the beginning?
99% of the times it starts with a drone, ambience or a washed-out melody you barely listen in the background. It’s so important for me but by the end of it, it is the least important thing for the listener. Talk about the least most important thing.
You lived abroad many years, but moved back to your hometown Porto. What were the main reasons for that decision, did you feel “home” again there immediately and what does home mean to you?
Apart from the good weather and food. Porto matches my personality, it’s moody, proud and honest. I feel home when the ones I care are around me.
And when you’re not touring or working – what does your perfect day look like?
Being home, look across and my wife and dog are there. Making music and climbing.
And finally thank you for your time and: The most important thing in life is…?
Living.
Listen to Harmonia by Trikk here:
lnk.to/Trikk_Harmonia
Follow Trikk for more:
www.facebook.com/musictrikk
www.instagram.com/trikkmusic
