Lex Valverde On Reinvention, Rhythm And The Dark Club Energy Behind ‘Takatal’
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- 5 min read
Lex Valverde begins a new chapter with ‘Takatal’, out now on Jewel Kid’s Alleanza label, a record that marks his first clear statement since retiring the Better Than Lex alias. After several years building recognition under that name, the shift reflects a more personal and focused direction, aligning his real identity with a sound that has grown darker and more precise on the dancefloor.
Driven by intricate percussion, rolling tribal rhythms and a controlled low-end, ‘Takatal’ sits confidently between tech house and techno. Subtle melodic accents lift the arrangement, while an atmospheric spoken word vocal adds texture without weakening the track’s club impact. The result is a late-night record designed for tension rather than spectacle.
For Valverde, stepping away from his former alias changed the way he approached the studio.
“I changed it a lot. When I started Better Than Lex 4-5 years ago, I was very curious about sound design, plugins, and tips and tricks overall, but as I got into a more mature part of my journey, I felt comfortable with my style and didn't experiment much. I just kept it linear for about a year, which became a bit boring.”
Returning to his own name brought back a sense of experimentation.
“Once I decided to change my identity and open myself up more as an artist and person, I returned to my curious nature and started experimenting with sounds I wouldn't have dared to use before. This has unlocked a world of possibilities for me, combining the maturity I've achieved with Better Than Lex and the open curiosity Lex Valverde brings.”
Before relocating to Amsterdam, Valverde spent five formative years in Germany, a period that shaped his relationship with European club culture.
“To be honest, I have a love-hate relationship with my time in Germany. I owe the country so much, but I was also dealing with depression for some time, so it was quite an intense period.”
One moment from that time remains particularly meaningful.
“One that comes to mind was playing at FAIRGROUND Festival, my first major European Festival. I got a chance (by mistake) to hang out in the Backstage with artists like John Summit, Kölsch and Umek, and had great conversations with them that first inspired and motivated me to keep going.”
The experience helped reshape his confidence as an artist.
“It was probably the first time in my whole career that I didn't have impostor syndrome, and I was just like yup... I belong here, I can do this.”
As his bookings began shifting toward later club sets and darker dancefloor environments, Valverde adjusted his productions to match that energy.
“I started getting more and more bookings for late-night club sessions or festivals where my more ‘light’ type of music wasn't really made for, and I love playing my own productions in front of a crowd, so I decided to build my catalogue more for that space.”
That shift naturally fed into the darker tone of ‘Takatal’.
“I also enjoy the energy of these darker kinds of sound, almost feel like playing with good vs evil, maybe this is the start of my villain arc hahaha. No, I'm kidding, I'm a nice guy most of the time.”
One unusual feature in the track is its spoken word vocal, which arrived through instinct rather than a deliberate concept.
“I would love to have a more poetic answer for this one, haha, to be honest, it just came in one of those times you are listening for hours to hundreds of samples from either Splice or Loopcloud, can't remember. And it just clicked in my brain.”
For Valverde, creative freedom remains essential.
“I'm a true believer that music shouldn't have limits; if it feels right, I can make it work.”
Support from artists including Mark Knight, David Tort, Low Steppa and Illyus & Barrientos has helped strengthen his presence across the European club circuit, but his approach to career growth remains strategic.
“I simply visualized where I want to be in 1, 3 and 5 years and identified the labels and the people that could help me reach those milestones.”
That vision stays visible inside his studio.
“I then wrote down a list on a whiteboard that I keep in my studio, and basically see it every day. I mark the achieved labels to remember my successes and keep my focus on those I still want to release with.”
Now based in Amsterdam, he finds himself immersed in one of the world’s most knowledgeable club audiences.
“I'm very new to Amsterdam; I just moved here in December, but I have a lot of respect for the Dutch crowd.”
The environment pushes DJs to sharpen their skills.
“These people were raised listening to electronic music, and so far, no one has approached me asking if I could play a Bad Bunny remix while I am playing my most underground tracks.”
It also raises expectations behind the booth.
“If I make a mistake in a transition in Mexico or Germany, only the other DJs in the crowd would notice, but in the Netherlands, people notice it more.”
Despite the excitement around his new identity, leaving Better Than Lex behind was not without hesitation.
“There was a lot of doubt and fear, of course. I'm super proud of what I did with Better Than Lex, and a part of me was scared to lose the momentum I built and that people will not recognize the new artist project.”
Ultimately, the decision felt inevitable.
“In the end, the more I thought about it, the better it felt, and it also felt like the right time.”
Rhythm now sits firmly at the centre of his production approach.
“I work on the low-end so that the kick moves the track and the bass gives the sustain, with some sidechain and multiband EQ to keep it breathing.”
Percussion shapes the groove through subtle detail.
“For my percussion, I like to play with the groove and some micro-dynamics. I use Ableton's Groove Pool for feel, and then shape some sounds to give each element a defined role.”
The aim is clarity across every system.
“In the end, my focus is to keep it punchy, but clean enough to sound good in all kinds of sound systems.”
Touring across Mexico, Europe and Japan has also broadened his perspective on how different crowds respond to darker records.
“I love this question because I was recently humbled by my experience in Japan. It was a completely new market, and my first time ever visiting the Asian continent.”
Preparation can only go so far.
“You can always prepare up to a certain point… but in the end, you have to stay flexible with keeping an eye on the crowd and reading their reaction.”
Across regions, certain elements always connect.
“Overall, people react well to good music, a catchy vocal, and good percussive rhythm.”
Looking ahead, Valverde sees evolution rather than reinvention.
“Not a full reinvention, I carry the experience and the knowledge I gained from Better Than Lex for sure.”
Instead, the foundation remains while the details continue to evolve.
“Simply put, I want to keep my low-end in a similar way, but the new magic comes in the energy and sound design of the mids and highs that I am experimenting with at the moment.”
With ‘Takatal’ now out on Alleanza, Lex Valverde’s first release under his own name sets the tone for what comes next: darker grooves, sharper rhythmic focus and a renewed curiosity about where his sound can go.
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