KUALA LUMPUR, Feb 12 — When it comes to music debate, none quarrel quite as hard as the EDM community. It’s something Illenium knows all too well.

Born Nick MIller, the Denver-based DJ made embarked on his first ever Asia tour, stopping at Zouk Kuala Lumpur last week. He began making music a year after seeing a Bassnectar show at Red Rocks Amphitheater in Colorado in 2012 — the relevance of that later — before releasing his debut album Ashes in February 2016.

From early 2013, his remixes created a steady following in the US. They were lauded for a certain depth in emotional and melodic song structure that gave him an edge on peers.

Small club gigs turned into festival slots. Online output was prolific and explosive. Sophomore album Awake was met with more acclaim than Ashes 18 months prior, managing to knock expectations out the park.

In January, Forbes tipped Illenium as one of electronic music’s next big stars. As admirers pointed out and critics acknowledged, “everything he touches turns to gold.”

But then there was the issue of the music itself, or the sound specifically, which caused detractors to surface.

“What’s with all the Illenium hype?” one online forum posited. Devotees recognised the future bass direction only to highlight that the tunes aren’t completely out of the ordinary. The influences are there for all to see — Porter Robinson, Skrillex to name a couple — not necessarily bad comparisons but achieving a similar sound can take away the achievement altogether.

The jury is out and there is only the man can answer.

What is setting apart this up-and-coming 27-year-old from the rest?

“It’s a mixture of things. With the music it’s the emotional connection I’m trying to achieve,” said Illenium, who adopts a phoenix logo to signify being reborn through music.

“I want people to share that bond between the artist and the listener, something special that is overlooked a lot in the dance music community.

“More recently the live show I create is refreshing for a lot of people,” he added, in reference to the incorporation of playing instruments on stage.

“It’s not ‘one, two, three, put your hands up’, regurgitated EDM. I still throw down crazy stuff in my sets, but a good blend is refreshing.”

Illenium has in fact addressed this criticism before, albeit in a style not many producers would opt for.

On the aforementioned post, he replied the commenter himself with just as composure and level-headedness that comes across in person, writing that while his tunes are not everybody’s cup of tea, it’s the freedom of opinion that needs to be respected.

“I love some music and don’t like some music. It’s not wrong,” he cleared up.

“If I can clarify to them why I make music it could help bring them around or at least see the passion that I have. It’s a benefit to whoever reads the comment, whether they love or hate my music.

“I like to start off with a warm sound,” he went on to say, explaining the “organic” process behind the melody-making.

“I try to get an intro before finding the lyrics. I love warm sounds, I love vocals and I love lyrics. I don’t start off with a drop.”

The likes of songs Crawl Outta Love and Sound of Walking Away, with words of heartbreak and chords that progress into euphoria-inducing melodies, are prime appetisers for this.

“I aim for something that really inspires, the first time I hear it I want to really love it.

“I want to write some timeless songs that are much deeper,” he added.

“The goal is to dive deeper into the emotional side of things, maybe like personal stories.”

Even if it’s not the most unexpected new sound to emerge in EDM, there’s little doubt Illenium strikes a connection with fans not many in the industry can boast of.

Countless to have witnessed one of his electrifying shows or indulged in his “feels-y” records have sent out personal thanks for helping them through hard times, the death of a friend for example, or even just stood up for the man they see as vastly underrated.

Making people feel better is part of the job, Illenium has said in the past, as adulation begins to spread worldwide.

He kicked off the Asia tour with sold-out shows Hong Kong and Taipei before China where he added four more. Almost 1,000 turned up for the near sell-out at Zouk last Thursday ahead of sets in Jakarta and Bangkok.

“It’s been cool to be back playing club gigs and being able to look people in the eye and connect with individuals,” he said of his first-ever visit to the continent.

“I’ve made all my music in Colorado so my bubble was small and I felt like it was growing. Now it feels like ‘woah’.”

It’s only February, but there’s a distinct impression 2018 could be the year Illenium becomes a household name in EDM, especially outside the US. He’s on the bill at Coachella and more recently announced his own headline show at Red Rocks where it all began six years ago.

If success does become global, he vowed not simply make a radio hit to accomplish that feat.

“I don’t want to go to the far side and make a pop song just to get big somewhere. The music is translating and I think with a few good songs it’ll just keep on building,” he said.

Perhaps it’s the safe knowledge he has the ability to produce a popular hit that makes Illenium one of dance music’s most exciting acts right now.