Sebastian Hal [interview]

Sebastian Hal is a talented artist whose style ranges from progressive house to organic house. His music tells a story and uses melody to spark emotions on a dancefloor.

His tracks combine traditional Middle Eastern musical influences with modern electronic sounds, and he has featured on respected record labels such as Cafe De Anatolia, Shango Records and Cosmic Awakenings.

"Storm in my Soul" is Sebastian Hal’s latest release, and it’s a dazzling progressive house single released by Polyptych Limited.

We invited Sebastian Hal for this interview to learn more about him and his new release…

Hi Sebastian Hal, thanks for taking some time to do this interview. How has the start of 2026 been for you so far?

Honestly? Busy in a good way. A lot of studio time, which is exactly where I want to be. The Polyptych release was a real highlight; that kind of thing sets a good energy for the rest of the year. I'm in one of those creative periods where ideas are connecting faster than I can finish them, which is a nice problem to have.

Excluding your own music and performances, can you list any tracks or gigs that have stood out for you since the start of the year?

There's been some really beautiful stuff coming out of the organic and ceremonial space lately. Rukin has been on heavy rotation for me, and Idin Gorji is doing something really special; that blend of Eastern emotion and deep electronic texture is exactly where my ears want to be right now. Bahri Bekil as well, consistently impressive. Artists who aren't afraid to take their time and let things breathe. That's the stuff that actually makes me go back and listen again.

Where did you grow up, and how did that location help shape your taste in electronic music?

I grew up in Israel, and it's one of those places where the music around you is already doing something interesting before you've even consciously noticed it. Middle Eastern scales, Mediterranean rhythms, it's just in the air. But beyond the music, Israel itself has this incredible energy, the people, the culture, the mix of ancient and modern, all living side by side. It gets into you, and on top of that, the Israeli trance and progressive house scene in the late 90s, early 2000s was massive. But I was also deep into 90s rock at the same time; that era had a real emotional intensity and rawness that left a mark on me. So, you end up carrying all of those things, ancient modal traditions, four-on-the-floor energy, and the grit and feeling of rock. That tension never really resolved for me, and I think that's exactly why I make the music I make.

Please list a classic track that you have never stopped listening to.

I can't pick just one; there are two that are basically the DNA of my electronic sound. Paul van Dyk's 'For an Angel' and Chicane's 'Saltwater'. Both of them have this quality that I keep chasing in my own work, an emotion that doesn't need to shout. They're euphoric but also deeply melancholic at the same time, which is a very hard balance to pull off. I must have listened to both hundreds of times, and they still do something to me. I think they permanently shaped how I understand what electronic music can feel like at its best.

Before finding their own sound, many artists start by emulating others. Tell us about your own journey and how your sound has evolved.

Yeah, I absolutely started by chasing what I loved, progressive builds, trance euphoria, the big peak-time stuff. That was the world I was in. But Pink Floyd was always there in the background, honestly, the way they built atmosphere, the space they left in their music, the fact that nothing felt rushed. That stuck with me more than I realised at the time. And being born in Turkey and growing up in Israel, you're surrounded by Middle Eastern and Oriental music naturally, it just seeps into you. At some point, I stopped fighting that influence and started embracing it, and that's really when my sound found its direction.

Tell us about the vibe of your new "Storm in my Soul" single on Polyptych Limited, and how typical is the release in comparison to your usual sound?

With 'Storm in my Soul', I wanted to revisit that progressive energy, but through a more modern lens. It's not a nostalgia trip; it's more like taking something that was always inside me and rebuilding it with the tools and taste I have now. The result is something that feels both familiar and fresh to me, energetic and euphoric, but with more depth and texture. In terms of how typical it is, it's actually very me, as it brings together where I came from and where I am now.

How did "Storm in my Soul" come to be released by Polyptych Limited? Is it your first time working with them, and what other record labels have you worked with?

I submitted a demo, and it got picked up; that's honestly the most straightforward way to put it. This is actually my third release with Polyptych now, not counting compilations, so the relationship has built up naturally over time, which I'm really proud of. Polyptych is a great home for my more progressive and edgy sound; they really get that side of what I do. Finding the right label for a track matters; it's not just about getting it out there, but about who's going to understand what the music is trying to do.

How has "Storm in my Soul" been received; any stand out DJ support or moments that have made you proud?

Honestly, I'm not someone who obsesses over reception metrics. I put it out, it's on Polyptych, it's in the world, and that already means something to me. The satisfaction was in making it and finding it the right home. That said, I do believe in the track. Deep music takes time; it percolates rather than explodes. I've seen releases quietly build momentum months after dropping, and I'm patient about it. What happens next is out of my hands, and I'm genuinely fine with that.

Let our readers inside your studio for a moment, and list some of the equipment that helped bring "Storm in my Soul" to life.

Ableton is really the heart of everything; that's where it all happens. Beyond that, it's mostly in the box, working with VSTs, Serum 2 is a big one for me, and I lean heavily on Ableton's own core plugins, which are often underrated. I also do my own mixing and mastering, which I think is important; it means the track stays in my hands from start to finish. For mastering, I use UAD and Waves, both really solid chains that give me the headroom and clarity I'm looking for.

Tell us about DJing; how do you compare the creative process, and do you use gigs to test your own unreleased music?

I'm actually much more focused on the production side; that's where my head is at. The studio is my natural habitat. I'm not really someone who's chasing gigs, because I'm often busy working on the next track. I’m always hunting for the perfect sounds and the right melody. I think there's real value in performing and reading a room, but for me personally, the creative energy goes into making the music, rather than playing it out. That's just who I am as an artist.

Could you list your current top five tracks by other artists?

My listening is all over the place, which I think is healthy for creativity. I have a real soft spot for Israeli pop and rock, as it's a part of who I am. Pink Floyd is always somewhere in the background; that expansive and atmospheric sound never gets old for me. Although, sometimes I just need the raw energy of Metallica, as there's something about their intensity that recharges me creatively. I also spend a lot of time enjoying ambient music, as I love how it creates a space rather than fills one. And of course, deep electronic music, whether that be organic or ceremonial, I love stuff with patience and texture. That's the world I professionally live in, and I never get tired of discovering new things in it.

Who are some of the DJs that inspire you the most? Imagine you had to create your ideal lineup for a night out.

That's a fun one. If I'm building my ideal night, then it has to be a journey, not just a collection of names. I'd start deep and atmospheric with Satori, as his ceremonial organic sound is the perfect way to set the mood. Then I’d get Acid Pauli to take things somewhere more hypnotic and unpredictable. Nils Hoffmann would be a natural progression from there, as his melodic, emotional style always builds beautifully. Finally, I’d have Bedouin as the closing act, because they have this incredible ability to weave Middle Eastern and North African flavours. They play peak time sets in a way that feels completely natural. From start to finish, that would be my kind of night!

How do you think social media impacts today's music industry, and how important is it for building a network of peers and fans?

It's complicated. On one hand, it's genuinely incredible, as I'm making Oriental Deep House in Israel, and connecting with listeners in Berlin, Istanbul, São Paulo, and all other parts of the world. That wouldn't have happened the same way ten years ago. On the other hand, there's this constant pressure to be visible, to post, and to present your artist identity online. I feel this constant presentation on one’s self can be at odds with the kind of creative work that makes music worth listening to. Social media can create pressure and make people rush, rather than take the time needed for perfection. So, I try to use it, without letting it use me, which is sometimes easier said than done.

What are your passions outside of music? Do you have any other creative interests, perhaps a hobby people don't know about?

By day, I work in cybersecurity, which most people in the music world often find surprising. Cybersecurity keeps a completely different part of the brain active, and I actually enjoy that balance, as I'm also a total AI freak. I love following where technology is going and experimenting with it within my creative process. Outside of that, I'm a live instruments guy at heart. I have five Rav drums handpans, which I absolutely love, an oud, a bağlama, and a whole bunch of percussion in the studio, and that's just there to play with and have fun. I'm also a big soccer fan, and that's my way of completely switching off from everything.

Could you recommend any good TV series that you have watched recently?

I just finished Harry Hole, and absolutely loved it, as that kind of Nordic crime drama always gets me. It has a darkness and atmosphere that I find really compelling, and once I start, I can't stop watching. I'm a sucker for a good binge watch, especially when the storytelling has that slow-burning quality to it.

Tell us what else you have planned for 2026, any other gigs or releases you are excited about?

A lot is happening. I have some collaborations and remixes scheduled, plus some new original music coming. The big thing I'm really focused on is an ambient album that I've started working on, and I plan to release it before the end of 2026. It's a very different space for me to be working in, more patient, more textural, but it feels like a natural direction to explore. That's the future project I'm most excited about right now, but currently, "Storm in my Soul" is my main focus, as I’m really proud of the track.

"Storm in my Soul" is out now on Polyptych Limited. Grab a copy here.