Profetik’s latest release, “Tetra,” marks a significant evolution in the artist’s career, arriving on his own imprint, Seraph Records. Built around the concept of scale and weight, the track draws inspiration from the four-faced living creatures in Ezekiel’s vision. Brian Van Anderson, the creative force behind the project, translates this imagery into intricate sound design, layering a lion growl, an eagle screech, an ox grunt, and a human voice to construct the track’s foundational bass. This meticulous attention to detail serves as a hallmark for the broader Profetik project, signaling a refined approach to melodic techno.
After establishing himself in the progressive trance scene with releases on labels like Ride Recordings, Armada, and Black Hole—earning support from industry titans such as Armin van Buuren, Above & Beyond, and Cosmic Gate—Van Anderson stepped away from music in 2020. The hiatus was driven by a desire to build a company, a pursuit that ultimately provided the perspective needed to return to the studio with a fresh, darker sonic direction.
“Tetra” is the fifth release on Seraph Records this year, highlighting a prolific output that balances original mixes with extended versions, such as the upcoming Beatport exclusive. For Van Anderson, this return is not merely a comeback but a strategic shift in methodology. He emphasizes that his background in progressive trance was instrumental in shaping his current sound, particularly regarding bass design. “Progressive trance is where I learned bass sound design, and that is the single biggest thing I carried over,” he explains. “The discipline of building a bass that has real character rather than just filling space is the same work in both genres.”
The launch of Seraph Records was a necessary step for Van Anderson to maintain creative control over the visual and narrative world surrounding his music. Managing nine releases in a single year is a demanding endeavor, particularly when the artist takes a hands-on approach to artwork, video production, and social media assets. “The visual side, easily, consumes the most time outside the studio,” he notes. “Every release needs artwork, a set of videos, and social cuts, and all of it has to feel like it belongs to the same world.”
By treating music as a passion project rather than a career-driven obligation, Van Anderson has found the freedom to experiment with textures and atmospheres. His current work feels less like a standard dance music session and more like scoring a film, where sound design acts as a form of storytelling. As he continues to develop the Profetik project, the focus remains on pushing the boundaries of melodic techno, proving that his older trance discipline can indeed evolve into something heavier and more profound.