Shaping Sounds with Avalon Child: Jay Lumen’s Deep Dive into House, Garage and Everything In Between

Avalon Child

After two decades at the top of techno, Hungarian producer Jay Lumen is reshaping his sound, not by changing direction, but by creating a new space entirely under the name Avalon Child.

His latest EP under the alias, The Tree, dropped on 20th June via Playground. It’s a deep, genre-blending three-tracker that explores UK garage, deep tech, soulful house, and more. There’s no single lane here, and that’s the point. Buy it here: https://www.beatport.com/release/the-tree/5079668.

“I don’t like to stay in boxes,” says Lumen. “I don’t really believe in limits. If I like another genre too, why should I stay behind walls?”

This new alias gives him that freedom. Where the Jay Lumen sound is heavy, fast and percussive, Avalon Child gives space to glide, swing and breathe. The EP’s lead track, ‘The Tree’, features wordless vocal textures from Sandra Bjurman layered over dusty drums and a moody, late-night groove. It’s a low-slung garage reimagining of the classic ‘Hanging Tree’ motif.

‘Rock It’ lands somewhere between minimal and UKG, laced with clipped vocals, neon stabs and a slick, bouncy low end. The closing track, ‘Home,’ hits deepest with warm, rolling percussion, R&B vocal samples, and sleek tech-house energy.

Avalon Child isn’t a complete departure, but it is a reset.

“My main sound is techno now,” he explains, “but I’m coming from house. I made deep house and tech house over 15 years ago. I’ve collaborated with Green Velvet. House has always been in my DNA.”

Creating Avalon Child meant he could release those ideas again without clashing with his main identity. “It’s not a sound-changer alias. I just want to separate it. A few times a year, I still play 100 per cent house sets, especially in summer. Now house music is colourful again, there’s no reason to keep those tracks hidden.”

Even in the studio, his process hasn’t changed much. “Music is music, even if the sounds are different. House uses more samples, maybe, but the groove is the same. I approach it the same way.”

So what does house music give him that techno doesn’t?

“Nothing different. I love both. That’s why I created this project, to just do both freely.”

When asked about the emotional tone of Avalon Child, he points to tracks like Firza’s ‘Erase It’ and William Kiss & Luke Alessi’s ‘Hold Up’. But it also goes back to his roots. “If you’re a real artist, you can’t totally separate house and techno. They come from the same basics.”

There’s no master plan for Avalon Child. No live act ambitions or commercial rollout. “I just feel the vibe and go with the flow. I want to stay on the artist level, not turn into a business planner.”

Still, the project is gaining attention. Releases are lined up, including an EP on Hot Since 82’s Knee Deep In Sound.

When it comes to inspiration, he still looks to classic names like Todd Terry, Danny Tenaglia, Rhythm Masters and Armand Van Helden’s Da Mongoloids. More recently, Kolter’s ’15 Seconds of Fame’ has been in rotation. “It’s fresh, easy and positive. Not overcomplicated. A perfect summer vibe. I like house music to share good energy.”

With Avalon Child, Jay Lumen isn’t starting over. He’s opening up, exploring the deeper corners of groove-led music, and showing that after 20 years, he’s still evolving.

Avalon Child

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