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Aeyde Radio—Mix 11
In Conversation with Endel
“Music for the Subconscious”

Words: Whitney Wei
Images: Vika Bogorodskaya
Date: 10.07.2026
Instead of lullabies, these sleep soundscapes are a delicately rendered art and science.
"Modern man does not understand how much his 'rationalism' (which has destroyed his capacity to respond to numinous symbols and ideas) has put him at the mercy of the psychic 'underworld'," wrote Carl Jung in his seminal book ‘Man and His Symbols.’ "He has freed himself from superstition (or so he believes), but in the process he has lost his spiritual values to a positively dangerous degree." Where these lost, nonsensical symbols finally surface, of course, is in one's dreams.

The latest edition of Aeyde Radio, tied to the house's SS26 theme 'Traum,' is an eight-hour mix intended to soundtrack the full sleep journey, from wind-down, onset, and rest-to-wake transition. The soundscape, supported by neuroscientific research and created by Endel, a generative sound wellness company based in Berlin, explores the still-abstruse impact of sound on sleep, and even, perhaps, the subconscious—the very "psychic underworld" to which Jung refers.

Every soundscape for slumber must follow a surprisingly strict formula. "It always starts with a jingle," Dmitry Evgrafov, Endel's co-founder and lead composer, said. "It's an entrainment succession of tones that are the same each and every evening, like a Pavlovian reflex. When people listen to it time and time again, they get their brain to understand that it's sleepy time."

The initial:'jingle' melodic state then dissolves into more fluid, organic sounds, such as placid ocean waves, before the third 'slumber' stage where the listener drifts off and a gentle melody enters again. The next stage, the 'plateau,' as they call it, is when the listener is finally asleep and the sounds diffuse into subtle layers, played in restricted lengths and successions.

In the past, Endel has also collaborated with several producers, including Grimes, with whom they created a lullaby experience for her newborn, and James Blake, who partnered on the 'Wind Down' soundscape designed to lower listeners' cortisol levels and activate the parasympathetic nervous system as they prepare for sleep. But unlike most electronic-adjacent productions where the artist's audio predilections take center stage, sleep ambience must follow strict parameters. Even the slightest eccentricity in timbre can disturb the listener, meaning these eight-hour experiences operate more through sparsity and prudence of functional sound rather than active variety or spontaneity. There are specific successions of technical audio rules that must be followed. Sleep sounds, according to Evgrafov, are precious.

To better understand the complexities of sleep, Aeyde spoke with Dmitry Evgrafov, Endel's co-founder and composer, and Samuel Morgan, one of Endel's PhD researchers and data scientists. Morgan is part of the Lullabyte network, which is an Europe-wide network of PhDs from different disciplines conducting research into music and sleep.
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Image: Vika Bogorodskaya
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Image: Vika Bogorodskaya

Whitney Wei: Tell me about these endless soundscapes that Endel's composers help create and the intention behind them. 

Dmitry Evgrafov: It's an art in itself. It's a very specific state of mind for a composer to be in to create this kind of sound because it has to be unintrusive, unobtrusive, but still interesting and detailed and granular enough to be entertaining in a very subtle sense. There are two metaphors that we in the sound team circulate. One of them is that it's very ‘expensive,’ like Japanese incense that you sense in the room, but you cannot really pinpoint exactly what it is. It elevates your mood, but you forget about it easily. Another is a premium fabric that appears fine from a distance, only to reveal its beautiful, intricate pattern up close. 

Whitney Wei: But these soundscapes are distinct from a producer creating ambient music and combining it altogether into a mix, though?

Dmitry Evgrafov: When you just start doing a soundscape, it's an iterative process. You create a batch of sound, and then you want to update the soundscape, adding more sound, adding more variety. But since we are working in laid-back and functional music, which has to follow specific psychoacoustic rules, like not being too bright, too shallow, too active, too varied in tone. If you try to add more sounds to this ecosystem, it's like it starts to be an ecosystem. If you try to add a lot of yourself—you as an artist, you as a sound designer—or if you have too much ego and try to add sounds that are too eccentric, you will immediately hear that the sound will stand out and will be too distracting for the user. 

Whitney Wei: How does this relate to a soundscape, like the one created for Aeyde Radio, specifically to aid sleep? 

Dmitry Evgrafov: I have to follow the scientific principles and this specific modality of audio. So it's a really humbling experience. We have to delete a lot of stuff. We have to delete it even after [we publish it]. The sleep soundscape is an anecdotal example of that because at the start of its existence there was much more audio, there was much more variety of audio, but then time and time again we got feedback from users. They say things like, “there's this specific sound that wakes me up at night.” So we delete one sound, we delete another sound, we delete a third sound, and then we're left with a very limited pool of audio, pool of timbres that we can play with. 

Whitney Wei: Could you tell me more about the research you're doing on music preferences and sleep quality and any surprising findings coming out of that?

Samuel Morgan: My particular topic would be improving sleep quality by personalizing the music that we play. There is quite a lot of diversity in the music people choose. I think a lot of people have this very common sort of idea that it's going to be typical ambient sounds, but actually, if you ask people who use music to sleep, there's a fair degree of variation within that—some people even pick really random stuff like metal. 

This indicates that there isn't a one-size-fits-all music for sleep. There have been previous studies that show, for example, that if people prefer a certain type of music or are familiar with it, then they find it more relaxing, like subjectively. But what [my research] does is take this throughout the whole period of the night, not just relaxing at the start, to see if, even when you're in deep sleep, this preference is still activating your brain in some sense and making a difference. 

Whitney Wei: While there might not be "one size fits all" music for sleep, is there a single genre that is better?

Samuel Morgan: It's a very important question. I think it would be nice in some sense if there was some sort of universal sleep music archetype that is best for everyone. But there are a lot of different mechanisms at play. It doesn't necessarily need to be something present in the music itself. It could be a piece of music that you put as part of your identity, or maybe your friend likes it, or there are the technical aspects, where you really like certain harmonics or you're interested in certain kinds of slow-moving or fast-moving music.

Whitney Wei: What do you think about the growing culture of sleep optimization? 

Samuel Morgan:  I think there are two sides to it because, on one hand, it's very good for people to be aware of sleep quality and I think it's something that has been neglected a lot in the past. People wear their four hours of sleep like a badge of honor, and this isn't a good thing. But then, do you know Matthew Walker? He's a kind of pop scientist and he wrote a book called ‘Why We Sleep.’

Initially, he was going on all these podcasts and emphasizing the importance of sleep. But then later on, he regretted going so hard on this because it made people more neurotic about their sleep. I talked about sleep apnea before as an example of someone not perceiving themselves as having poor sleep, but objectively, they do. You can have insomnia cases where it's the other way around, where they are sleeping less than the average person but they’re not sleeping for only one hour, for example. But psychologically, they are perceiving their lack of sleep as much worse.

This goes both ways: their impression of how badly they slept might make them feel more tired during the day. And if they have this prior idea that they sleep badly and struggle to fall asleep, this can actually make the insomnia worse. One of the ways to deal with this is therapy. You don't necessarily need physical medication, because it can be psychological.

Whitney Wei:  In improving sleep, it seems like it's as much about the approach to sleep as it is the actual sleep itself.

Samuel Morgan: It's like if you're studying for an exam. You study in a reasonable way, like eight hours every day. Then you do the exam, you do well, and you're happy with it. But if you were really panicked and you study for sixteen hours a day, and you burn out completely before the exam, then you do badly. You were studying in a less mindful way, in a manner that undermines what you're trying to do in the end. In general, the routine before bedtime is important to improving your sleep, and that can involve listening to music.

Mix 11 by Endel is broadcasting on Aeyde Radio now.

Read Next:

Aeyde Radio—Mix 10
In Conversation with Josef Laimon

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