Interview with ELTUS

I found "CAN'T OWN ME" to be a declaration of personal autonomy wrapped in compelling electronic production. ELTUS builds the track around a powerful emotional premise, using driving bass house rhythms and progressive EDM textures to amplify Askella’s commanding vocal performance.

The low-end hits with dancefloor force, and the vocal remains the emotional anchor, delivering the song’s message of self-worth and independence with conviction. Inspired by a real moment witnessed during travels through the East, this sense of purpose gives every beat additional weight. It works just as well in a packed club as it does through headphones, reminding us that true freedom begins with owning your own identity.

Interview with ELTUS

"CAN'T OWN ME" was inspired by a specific woman's quiet act of defiance that you witnessed while traveling through the East. How did you mentally translate that visual, real-world moment into a driving electronic music composition?

What stayed with me was not a loud confrontation, but the moment I saw a woman silently refuse to let someone else decide everything for her. There was fear in that moment, but there was also strength. I translated that tension into the track: the heavy bass represents pressure and control, while the driving rhythm and rising energy represent her inner resistance. The vocal becomes the voice she may not have been able to express openly at that moment: “You can’t own me.”

You’ve stated that this track was built "message first and beat second." As an EDM and Bass House producer, how difficult is it to prioritize a lyrical message without losing the high-energy club bounce your fans expect?

It is a difficult balance, because in club music the energy usually has to work immediately. With “CAN’T OWN ME,” I treated the message and the production as one system rather than two separate elements. The lyrics define the emotional direction, while the bassline, rhythm, and drops give that message physical force. I did not want the words to interrupt the dancefloor energy — I wanted the beat to make the meaning feel stronger.

Askella delivers an incredibly fierce, independent performance on this record. What was the creative brief or conversation you had with her in the studio to get her into that exact emotional headspace?

I told ASKELLA that the performance should not sound like anger for the sake of anger. It had to feel controlled, confident, and final — like a woman who has already made her decision and no longer needs anyone’s permission. I asked her to combine vulnerability in the verses with strength in the chorus, so that every line would feel personal, but never weak.

The production beautifully balances powerful, heavy low-end bass pressure with a vocal track that stays completely crystal clear. How did you approach the mix down to prevent those aggressive lower frequencies from drowning out Askella's emotional delivery?

I focused on creating space rather than simply reducing the bass. I tightened the sub frequencies, removed unnecessary low end from the other instruments, and used careful EQ, dynamic control, and sidechain compression between the kick and bass. I also gave ASKELLA’s vocal its own clear space in the midrange and used automation instead of excessive compression, so her emotion remained natural and present even during the most powerful sections.

Your music blends elements of Bass House, Progressive House, and festival-ready EDM. Which sub-genre did you feel naturally possessed the right "attitude" to anchor a statement of self-ownership like this one?

Bass House became the foundation because it naturally carries confidence, tension, and physical power. Its heavy groove and sharp low end perfectly support the message of self-ownership. Progressive House added emotional development and atmosphere, while festival EDM gave the chorus a larger sense of release. But the attitude of the track comes primarily from Bass House.

Travel often changes an artist's sonic palate. Did your journey through the East introduce you to any unique rhythms, musical instruments, or concepts that you subtly wove into the background layers of "CAN'T OWN ME"?

I did not want to use obvious Eastern musical clichés. The influence was more emotional and atmospheric. I was inspired by the contrast between restraint and inner intensity, which I translated into repetitive rhythmic tension, subtle percussion, and darker tonal layers. These elements sit quietly in the background, but they help create the feeling of pressure and resistance that runs through the track.

Your bio mentions that your primary mission is to "move emotions and awaken feelings." When you are testing out a new track in your studio, what is the physical or emotional sign that tells you a song has achieved that true connection?

The clearest sign is when I stop analysing the track technically and begin reacting to it instinctively. If the rhythm makes me move, the vocal gives me chills, or a certain moment creates a strong emotional image in my mind, I know the connection is real. A successful track should affect the body and the imagination before the listener has time to think about why.

Independent electronic music can sometimes feel overly digitized or cold. How do you inject that distinct sense of "vulnerable humanity" into your synths and arrangements so that the track feels alive?

I believe the human element comes from imperfection, contrast, and emotion. I avoid making every sound and transition mechanically perfect. I use subtle changes in dynamics, evolving synth textures, and moments where the arrangement creates space for the vocal to breathe. The most important test is physical: if a melody, vocal phrase, or transition gives me goosebumps, I know the track is no longer just technically correct — it feels alive.

The song is described as working equally well on a crowded dancefloor and in a solitary headphone session. Do you personally prefer hearing your music blasted through a massive club sound system, or do you prefer the intimacy of a listener experiencing it alone?

I would not want to choose between them, because they reveal two different sides of the same track. On a massive club system, the bass becomes physical and the energy connects an entire crowd. In headphones, the listener can hear the emotion, details, and tension inside the vocal. For me, the perfect track should make one person feel understood and, at the same time, make a whole dancefloor move together.

The underlying theme of "CAN'T OWN ME" is drawing a firm boundary around one's own soul. In your own journey as an independent music producer, what has been the hardest boundary you've had to draw to keep your artistic vision pure?

The hardest boundary has been refusing to change my music simply to follow trends or satisfy other people’s expectations. Advice can be valuable, but the final decision must remain mine. I would rather grow more slowly with an authentic sound than gain attention by creating music that does not represent me. Protecting that freedom is essential to my identity as an independent artist.

Now that this fierce new single has officially set a powerful benchmark for your 2026 release schedule, how will the message of freedom and positivity found in "CAN'T OWN ME" ripple across the rest of your upcoming tracks?

“CAN’T OWN ME” helped define the direction of my upcoming releases: emotionally direct, empowering, and driven by strong club energy. I do not want to repeat the same story in every track, but I want to preserve the same principle — music should give the listener strength and awaken a desire to move forward. Future songs may explore resilience, desire, transformation, and personal freedom, but each one will combine meaningful emotion with powerful electronic production.

(•)> That's all, Folks! Check out ELTUS on the Pigeon Opinion Playlist