Ayk Talks 'Demon In The Mirror': Inside the Iranian Artist’s Psychedelic Hip-Hop Debut on R&S Records

Belgium’s R&S Records continues its long-running mission of stretching beyond electronic dance music with a new release from Iranian artist Ayk, whose Demon In The Mirror arrives as a striking piece of underground psychedelic hip-hop. Backed by remixes from Som.1 and Trash Cells, the record situates the 22-year-old rapper-producer within a lineage of boundary-pushers, while also introducing a voice shaped by geography, constraint and experimentation.

Ayk hails from Guilan province in northern Iran, a place that remains deeply embedded in his music. “Guilan itself has always been one of the biggest sources of inspiration when it comes to me and the music,” he says. “Aside from sampling the local folk music… I’ve also drawn inspiration from the cityscape itself.” He adds that he’s “always tried to include where I’m from in the music, whether it’s direct sampling or references within the lyrics,” noting that Demon In The Mirror first appeared as part of a tape referencing the region directly: “My release ‘Demon In The Mirror’ was also part of a tape called ‘All Quiet On The Northside’, with Northside being where Guilan is located.”

Although his work now circulates internationally online, he resists the idea that it’s shaped primarily by global internet culture. “The music itself doesn’t have much to do with the global online music culture,” he says, instead pointing to local traditions: “the excessive use of vocals in the local music… sometimes becomes mantra-like due to the repetitive nature of its lyrics.”

Still, the path to his current sound began in a very online space. Early experiments with meme tracks and voice messages slowly became something more serious. “Experimentation is key to everything,” he explains. “When we started our journey with meme tracks, we weren’t thinking about anything serious, but it slowly turned into a desperate effort toward a professional music career.” The lack of structure in those early pieces forced creativity. “We had to produce songs that were listenable and humorous using voice messages from Telegram… and all those hours we spent on meme tracks resulted in a broader view and artistic vision.”

That evolution also shaped how he sees himself creatively. “I detest the idea of being called a ‘rapper’ or ‘producer’,” he says bluntly. “I think the sole act of creating a piece of art is far more precious than these labels and titles. I’d rather call myself an artist and leave it open to interpretation.” With studies in English literature alongside theatre work, he embraces a multidisciplinary identity: “Whether it’s the theatrical things I’m doing or the music itself,” he says, he prefers to keep things open-ended.

The label has described Demon In The Mirror as “underground psychedelic hip-hop,” a phrase Ayk embraces and expands. “To me, psychedelic means a combination of genres,” he says. “It means experimental music that rekindles the lunatic in you and gives it the steering wheel. Music that drives you to insanity, whether it’s the instrumentation or the lyrics that touch the deepest parts of you.” In his local context, he sees this approach as necessary. “Where I come from, hip-hop is tied to its original form and there isn’t much risk-taking done by producers. I believe it must change.”

Electronic music plays a foundational role in that change. “Electronic music, to me, is the foundation of every genre there has ever been,” he says, recalling the impact of Kanye West’s Yeezus: “It was like an epiphany.” From there, artists like Aphex Twin, Autechre, Squarepusher and DJ Shadow became key influences. Genre blending, he insists, is not always intentional. “I’d say it’s a deliberate act, but then I’d be lying. It just comes naturally… I find it extremely intriguing to blend genres that weren’t meant to be blended.” Sampling is central to that process: Demon In The Mirror itself samples a psychedelic rock track that I had found earlier on.”

The emotional core of the track is deeply personal. “Most of what I create is personal, because otherwise I feel no need to create,” he says. “Someone once told me that music must be therapeutic to the artist, and that’s what I’ve been holding on to since the beginning.” The song captures a turbulent period. Demon In The Mirror was meant to portray the chaotic nature of my life and how bizarre things were at the time. It depicts an all-over-the-place mess that became my day-to-day life. Unhappiness veiled by madness.”

The central image carries symbolic weight. “When I wrote the hook, I was thinking of symbolism and how seeing a demon in the mirror could be interpreted,” he explains. “The demon hasn’t taken control yet, but he’s visible and powerful. Not giving in to the demon but being aware of its existence is what I wanted the imagery to convey.”

The track’s adaptability made it a natural candidate for remixes. “I think it has unlimited production potential,” he says. “It could be turned into a hundred songs and still sound fresh.” Rather than feeling protective, he embraces reinterpretation. “It has never been anything even close to a vulnerable experience. In fact, I find collaborations extremely fun and fruitful.” He praises both new versions: “The Som.1 remix is something I’d listen to every day myself if it were by another artist… The Trash Cells remix is also in tune with the original sample and the drums… so it’s much closer to the earliest version.”

Collaboration has always been central to his work. Early on, he was part of the Twilight Marauders collective; now, he works closely with producer Katana. “Being next to such a creative and excellent producer makes it easy to do things the way you want,” he says. Still, he values the lessons learned from group work and theatre. “My individuality lies within cooperative approaches,” he says. “The true value of group work lies in flexibility and acceptance of ideas that aren’t your own.”

Signing with R&S Records was a surreal moment. “Words can’t describe how proud I was when I first got in touch with them,” he says. “Following the path of artists like Aphex Twin, James Blake and Nicolas Jaar was something I never deemed possible.” Coming from Iran, the opportunity carries additional weight. “Where I come from, this is a once-in-a-lifetime opportunity that can’t be described by words. I thank Renaat every day for believing in me.”

Yet he doesn’t see the release as an endpoint. “I don’t see it as validation. Not yet,” he says. “I do see it as a massive opportunity to achieve that validation… this is only the beginning of my journey.” The experience has shifted his outlook: “It made me believe that no matter the circumstances, it’s possible to reach certain heights that once seemed far away and unattainable.”

Live performance remains difficult under local restrictions. “I haven’t had the pleasure of performing live yet,” he says, explaining that permits and limitations make it nearly impossible. Still, he imagines what it could be. “I’ve always thought about how energetic and brilliant it must be to involve your audience and bring them as close as possible to the music itself.”

Looking forward, he’s already deep into new material. “It is indeed a continuation of the experimental approach I picked earlier,” he says, describing an upcoming album with “psychedelic elements” and a stronger focus on production. Ultimately, he’s most excited about music’s potential. “I’m beginning to think there’s much more to it than I’ve ever thought… I want to explore more genres and create things that exceed my current abilities.”

For listeners discovering him through this release, he hopes the story resonates beyond genre. “I hope they grasp the difficult situation artists like me are in,” he says. “To be able to do this is a blessing… We can’t be silenced, and we will never be. I want people to see the music as it is, not something our circumstances shape us to be.”

Ayk's Demon In The Mirror arrives via R&S Records on February 20.

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