№ 144 - Purelink

Originally based in Chicago and now operating from Brooklyn, New York, the group emerged from a shared fascination with ambient, dub techno, IDM, and the softer edges of club music, finding common ground in deep listening and collaborative experimentation.

Their calm yet propulsive sound lives at the intersection of ambient music and rhythmic electronic forms, blending foggy pads, submerged melodies, and subtle pulses into emotionally resonant compositions. Rather than adhering strictly to beatless ambient traditions, Purelink often introduces modest grooves and textural movement, creating sound that feels fluid, spatial, and mildly kinetic.

The trio first gained attention through a series of EPs before releasing their debut album “Signs” in 2023 on the Los Angeles-based label Peak Oil. Built from extended live improvisations, the album showcased their intuitive group dynamic and drifting aesthetic. In June 2025, they followed with “Faith, a more expansive and introspective album featuring collaborations with producers like Loraine James and poet Angelina Nonaj, deepening their emotional form of expression.

Working collaboratively rather than as isolated producers, Purelink create sound worlds that feel alive and shared - shaped by collective decision-making and an emphasis on atmosphere over ego. Their music invites listeners into quiet, contemplative spaces that reward patience while remaining rooted in a contemporary electronic language. Just like their mix for The EDWIN Music Channel, that brings almost 70 minutes of gentle tripping musical bliss, calming down our spirits with exquisite ambient charmers by producers like Portland, Oregon-based Elijah Jamal Asani, UK’s finest dub master Carrier, Willson Tanner from Australia, as well as friends of twisted electronic experiments like Félicia Atkinson or Roxymore.

As ever, we sat down with our hosts and discussed their creative output, their way of working, their take on AI as a production tool and other secrets out of the tender Purelink world.

Q. When did Purelink first come together and how?



Tommy Paslaski: Ben and I grew up in the same town and have known each other a long time. Our last names are alphabetically close, so we were always in the same homeroom in high school. I remember reading on Wikipedia that DJ Spinn and DJ Rashad had a similar experience in high school. We both moved to Chicago in 2017, where we reconnected and met Akeem and found shared excitement in music. In February 2020, we started working together, and the COVID-19 lockdown gave us time and space to make stuff. We were already friends when we started the project and had few expectations, so it’s been a great experience.

Q. Your music always has this sense of patience and openness. How do you know when a piece is “done”?



Ben Paulson: Tough to ever say when a piece is done, mostly just a feeling, or not being bothered by it when you listen :) Having three producers on every track can get chaotic quickly. When it comes time to finish a release, we try to focus on eliminating any elements that aren’t needed. We like keeping restraints on things and do a lot with a little. 

Q. Looking back on your early releases, how do you feel your sound or mindset has evolved since then?



Ben Paulson: I think our tastes and interests have naturally evolved over the years, leading us to ditch some of the more overt musical tropes we may have fallen into with our early music. While it’s natural to follow what came before you when learning the craft, we are all focused on creating work that feels genuinely new and personal. We have started to connect different threads over a wide range of influences and see possibilities I don’t think any of us imagined when we started this. We are excited about the future of the project; it’s been a nice journey with friends.

Q. If Purelink could leave listeners with one lasting feeling or insight about life through music, what would it be?

Akeem Asani: I’ve heard many people listen to our music to meditate or wind down; it always feels good to be able to provide a little solace in what feels like such a hectic timeline we’re living in. But I hope any listener can experience all kinds of feelings or insights from our music - whatever speaks to them or what they can take away in that particular moment in time.

Q. When you’re starting a new track, what’s usually the first spark - is it a texture, a rhythm, or just a mood you want to capture?



Tommy Paslaski: We are not boxed into one way of approaching a new idea. Sometimes the process of starting an idea is one of us bringing a simple loop that excites them, and the others will improvise over that. Sometimes the thing that sparked an idea won’t even make it into the final track. Occasionally, we find success jamming and taking the best bits of a long recording. Or we’ll start a discussion from a shared point of inspiration and work on a piece slowly over time. We’re always talking about what we want out of the music and paying close attention to the feelings that arise.

Q. Would you consider scoring for film, installation work, or other cross-disciplinary art forms?



Akeem Asani: We would love to do any type of cross-disciplinary work, but scoring a film is a dream of ours. When I’m not in the studio, there’s a good chance I’m watching a movie - we often sample sounds and elements from films in our music and have movies on in the background during our studio sessions. Films are always inspiring us, and I’d love to have the opportunity to contribute a soundtrack to a film one day. 


What’s your take on AI-assisted music tools - creative assistants, sample manipulation, or generative systems?



Ben Paulson: We have friends who have used it in the last couple of years, with fun results. Despite the ethical concerns, I do think there are creative ways artists can use it to their benefit. Certain tools, such as stem splitting, are critical for our work, and it seems AI has helped tools like this (we aren’t overly tech savvy). That being said, AI doesn’t have taste, and a lot of people don’t either, so there will be a lot of useless slop. I think there may be a misconception of how it’ll end up affecting music. I don’t believe it’ll ever be able to achieve what humans truly need from music. People want something to relate to and connect with; AI can’t offer that. There are better things for the industry to be investing in as we move forward.

Q. How do you balance living in this fast, hyper-digital world while making music that feels so calm and unhurried?

Tommy Paslaski: I don’t know if one would exist without the other. For myself, the patience and calmness in much of the music is a sort of reaction to the fast-paced chaos. I find it very comforting and helpful.

Q. The calmest place in the Brooklyn neighbourhood?



Akeem Asani: Technically in Queens, but I enjoy spending time at the Ridgewood Reservoir when I’m looking for calm. There are a few pockets with wildlife and flora that feel like you’re out of the city.

Q. Is life just work, work, work?

Akeem Asani: It’s easy to feel like you mostly work to live or live to work - and work can mean so many things. When it’s starting to take a toll, trying to find good moments in between the work keeps me going.