Nacho Scoppa - Mixmag Italy #03

Dear Readers

Every October, Amsterdam turns into the epicenter of our culture. The Amsterdam Dance Event is more than the largest gathering of its kind, it is the week where the city itself becomes an instrument, vibrating with energy, ideas, and possibility. ADE is not just about music; it is about how music reflects who we are, how we connect, and how we dream together.

For Mixmag, being here feels like home. We have never been outsiders looking in. We live inside this scene, alongside the artists, promoters, dancers, and fans who shape it every day. Our job is not just to cover events but to understand the pulse of the community and to bring those stories to life. At ADE that pulse beats louder than anywhere else in the world.

Community is everything to us. From the smallest basements to the biggest festival stages, we believe in the power of shared experience. ADE takes that spirit and amplifies it across the globe, reminding us why electronic music is not just a genre but a culture. It is a culture that thrives on openness, creativity, and a willingness to constantly reinvent itself.

This edition of Mixmag is our way of celebrating that spirit. We are excited, proud, and deeply grateful to be part of ADE once again. As you read through these pages, I hope you feel the same sense of belonging and anticipation we do. Because in the end, ADE is not only about what happens on the dancefloor, it is about the connections we build and the future we shape together, one track and one night at a time.

Patricia Pareja, Editor in Chief

STAFF MIXMAG ITALY

DIRECCIÓN: Patricia Pareja

REDACCIÓN:

Patricia Pareja

Borja Comino

Federico Cortina

Juanma Molina

Sergio Niño

DISEÑO: Adrià Clotet

Dante Salas

DIRECCIÓN CREATIVA: Carlos Pego

Alessandra Sola MÚSICA: editor@mixmag.es

DEP. COMERCIAL: campaigns@mixmag.es

Lovefoxy

Ares Carter

Podcast Panels

Nacho Scoppa

Alex Farell

Anthony Godfather

Levs

Terminal V Theory X

Trancemaster Krause

Imanu

Zuma Dionys

Opinion: Old-schooler

Amber Bross

Juliet Fox

Dhuna

Marie Vaunt

Per Pleks

Gi.o

Alba Franch

Bárbara Lago

Biianco

Sumia

2Hot2Play

Noise Mafia

Afem Syko

Peterblue

Matrakk

Héctor Llamazares

Home Again

Menesix

Tech: Vtècnics

Reviews Álbumes por Bruno Garca

Reviews Drum & Bass por Olga Casas

Reviews Electro por Federico Cortina

Reviews Hard Techno por Alejandro Serrano

Reviews Melodic House & Techno por Marian Ariss

Reviews House por Francisco Pérez

Reviews UK Garage por Borja Comino

bits beats

Roland launches the new TR-1000

The legendary Japanese brand surprises with the TR-1000, a drum machine that combines the analog essence of the TR series with a next-generation digital engine. More polyphony, more effects, and a design made for both studio and live performance. An instant new classic set to become the centerpiece of many live sets.

+info: https://www.roland.com/mx/products/tr-1000/

Rekordbox now connects with Spotify

Pioneer DJ’s platform officially integrates with Spotify. Now you can access your favorite playlists directly from Rekordbox and prepare sets without the need for local downloads. A union that promises to change the way sessions are prepared. With millions of songs just a click away, preparation becomes faster than ever.

+info: https://rekordbox.com/es/

Primavera Sound 2026: a line-up for every taste

The Barcelona festival once again breaks boundaries with a lineup that blends electronic, pop, rock, and experimental acts. From big international names to emerging gems, Primavera Sound 2026 is shaping up to be one of the most diverse editions in its history. The event promises to reaffirm Barcelona as a global capital of live music.

+info: https://www.primaverasound.com/es/home

Alphatheta presents the CDJ-3000X

The evolution of the flagship player arrives with an improved touchscreen, advanced streaming integration, and new creative features for DJs. The CDJ-3000X is set to become the new standard in booths worldwide. Innovation and power at the service of those looking to take their performance to the next level.

+info: https://alphatheta.com/es/product/player/cdj-3000x/black/

ADE 2025 Guide – Mixmag

ADE 2025 is once again one of the most anticipated weeks in the dance calendar, turning the Dutch capital into the beating heart of global electronic music.

From October 22 to 26, Amsterdam transforms into a sprawling network of parties, panels, workshops, and demos that bring together industry experts, veteran DJs, emerging talent, and fans from around the world. This year carries an extra special energy as the event closes on the same day the city itself celebrates its 750th anniversary.

Whether you’re chasing sunrise warehouse sessions, intimate label nights, or career-changing conversations at ADE Pro, this year’s edition promises five packed days of discovery. To help you navigate, here’s a day by day guide to unmissable highlights that balance business, art, and, of course, the dance floors.

WEDNESDAY, OCTOBER 22

Bandcamp | Essential Insider Knowledge

Location: Felix Meritis

Bandcamp remains a champion of independence in today’s music scene, allowing artists and labels to connect directly with fans while retaining control of their rights. This session explores how its artist-first model, with unmatched revenue shares, supports sustainable careers. Expect strategies for maximising income, engaging fans, and diversifying revenue streams in the modern music landscape.

Inside

the Rise of Vintage Culture: Branding, Vision, and Global Impact

Location: Felix Meritis

Vintage Culture, Guga Trevisani, and Jay Pidgeon join Carly Wilford for an in-depth fireside chat. The conversation delves into Brazil’s electronic music scene through the lens of Vintage Culture’s career, highlighting his global influence and innovative approach to bridging genres and cultures. Attendees will gain insight into the creation and growth of Só Track Boa, the label and movement supporting emerging Brazilian talent. The session delves into branding, artistic vision, cultural impact, and how this team continues to shape the international electronic music scene.

ANOTR, No Art & SONA: Independent, International & In Control

Location: Rosewood, Ballroom

Amsterdam duo ANOTR, together with Bora Güney, Ruud Boymans, and Omid Kahali, co-founded No Art and transformed intimate local gatherings into a globally recognised lifestyle brand. Their approach blends music, art, and culture for audiences across Europe and the Americas. Through their SONA Worldwide platform, they collaborate with collectives such as Circoloco and Keinemusik, producing immersive events that push creative boundaries. By merging underground sensibilities with international reach, they continue to position Amsterdam as a hub for innovative music experiences.

The

End of Ticketing (As We Know It)

Location: Felix Meritis

Industry leaders Joost Aanen, Simon Weber, and Sana Ali Aamir, moderated by Ruben Meiland, explore the future of ticketing. From NFC and eIDs to AI and RFID, discover how technology is transforming sales, fan experiences, and data insights, and learn how these innovations will redefine the live events industry.

The Grid: Embodied – Victor Dissel, Bram van Ravenhorst & Arno Schuitemaker

Location: Door Open Space

One of six Opening Specials highlighting the crossover between electronic music and art, The Grid: Embodied is an immersive premiere by Victor Dissel, Bram van Ravenhorst (Blind ’92), and choreographer Arno Schuitemaker. Sixteen moving columns and performers transform the space into a hypnotic dialogue between humans and machines, reimagining the club as a fluid, transcendent, and deeply personal experience.

THURSDAY, OCTOBER 23

Mixmag Sessions NL

Location: The Social Hub

From 18:00 until midnight, join us for future-facing house and techno, from hard-edged to trance-laced. A special b2b between Amber Broos and Juliet Fox headlines, alongside Dhuna, KAS:ST, Marie Vaunt, Space 92 b2b Nicole Moudaber, and Oxia b2b Nicolas Masseyeff.

Mixmag Lab: ABEL

Location: Powders Laundrette

ABEL is a UK star making global moves as a DJ, songwriter, and producer. Her own potent vocals shine across groovy warm-up sounds and peak-time cuts. Expect plenty when she steps into the Mixmag Lab, set inside a working laundrette in the centre of Amsterdam.

Helix | Cutting Through 100,000 Daily: Strategies to Break Artists Today

Location: Felix Meritis

Patrick Moxey, Steve Hogan, and Maesic share their insights on breaking artists in today’s oversaturated digital landscape. With 100,000 tracks released daily, cutting through the noise requires mastering TikTok, Instagram, touring, marketing, and radio. Learn strategies to stand out and make a lasting impact.

Google DeepMind | Beyond Prompts: Creative Tools for Music in the Age of AI

Location: Rosewood, Ballroom

Explore how AI reshapes production and performance with Google DeepMind. Live demos showcase cutting-edge tools, example tracks, and future features, offering a glimpse into how machine learning inspires creativity and performance innovation.

Fireside Chat: DJ-Kicks at 30 with Modeselektor & Eris Drew

Location: Felix Meritis

!K7 hosts a special conversation celebrating 30 years of DJ-Kicks with Modeselektor and Eris Drew. They’ll reflect on the series’ legacy, their contributions, and its impact on contemporary dance floor culture. Expect insights into creativity, spirituality, and the art of mixing.

From Prototype to Dancefloor: Innovation Lessons from 300+ Festival Tests

Location: Felix Meritis

Esmee Bouwmeister, Leonore van den Ende, and Lina Tsegaye, moderated by Elisha Weeber, share lessons from over 320 festival prototypes. Discover how rapid experimentation in music, sustainability, and tech drives scalable, culture-driven innovation.

ADE: Miss Monique Presents Siona Records

Location: Het Sieraad

Miss Monique’s influential label returns with an exclusive showcase. Since 2019, Siona has championed emerging talent in progressive house and melodic techno, building an international following. She’s joined by Agents Of Time, Carl Bee, Genesi, Greenjack, Paradoks, Pongo, and Smailov.

FRIDAY, OCTOBER 24

Mixmag Sessions NL: Baum Festival 10 Years

Location: The Social Hub

Colombia’s Baum Festival celebrates a decade as one of Latin America’s most vital electronic institutions. From 17:00 until 01:00, we bring the sound of Baum to Amsterdam with 2Hot2Play, Afem Syko b2b Noise Mafia, Alba Franch b2b Barbara Lago, Biianco b2b KTK, GiO b2b Guestlist, Matrakk b2b Peterblue, Per Pleks b2b Sumia, and a secret guest.

Mixmag Lab: IMANU

Location: Melkweg

Dutch-Surinamese powerhouse IMANU headlines alongside Rhode, plus live sets from BABii ft. Iglooghost, Mod, Nikki Nair b2b Thys, and What So Not b2b Habstrakt. Expect a showcase of IMANU’s brutalist style.

Beyond the Booth: Donato Dozzy & Neel on the Art of Live Performance

Location: Rosewood, Ballroom

Spazio Disponibile founders Donato Dozzy and Neel break down their approach to live performance, balancing improvisation, structure, and technology while reading the room. A rare chance to learn from two masters of deep techno and ambient.

Rethinking Festival Travel: On the Road to Zero

Location: Felix Meritis

Presented by the Dutch Ministry of Infrastructure and Water Management, this session explores how festivals like Mysteryland are reducing emissions through the use of electric buses, scaling up public transport, and implementing postcode-based planners.

Music, Money, and Moral Lines

Location: Felix Meritis

As festivals face scrutiny over corporate ties and global controversies, this panel examines the ethical dilemmas that arise when money collides with responsibility. Designed for professionals, artists, and media makers.

Masterclass | Liebing & Slater’s Remix Philosophy

Location: Rosewood, Grand Library

Techno legends Chris Liebing and Luke Slater dissect their remix of Depeche Mode’s Ghosts Again and share philosophies on production, collaboration, and innovation.

ZERØBPM | 39.5-Hour Ambient Meditation Experience

Location: de Thomaskerk

A marathon of ambient meditation with 26 techno artists and nonstop guided sessions by Bruno Sitton. Part of ADE x Amsterdam 750, featuring performances from JakoJako, Neel, Marco Shuttle, and more.

Low Jack presents Lacrimosa

Location: Oude Kerk

Philippe Hallais (Low Jack) presents Lacrimosa, an intimate requiem-inspired piece that blends grief, classical lyricism, and electronic experimentation, performed by Ensemble vocal Voix des Outre-Mer.

ADE: Lilly Palmer Presents

Location: Westweelde

Lilly Palmer and Spannung Records debut a new high-voltage concept of connection, intensity, and raw techno energy at Westweelde.

SATURDAY, OCTOBER 25

ADE x Wereldmuseum: Chinese Club Culture

Location: Wereldmuseum

Explore Chinese club culture with Yu Su, SUNK, Tommy Hendriks, and Kexin Hao, plus live art, cocktails, and the Made in China exhibition.

ADE: Fabric x Loud Contact

Mixmag Sessions NL

Location: The Social Hub

Expect multi-genre firepower from NYC prodigy Ares Carter, Spanish veteran Héctor Llamazares, Berlin’s Lovefoxy, Amsterdam favourite Menesix, and the Home Again Soundsystem.

Mixmag Lab: Hydro:Ice

Location: Casa Rosso

House, Afro, and tech sounds from, Chelina Manuhutu and Franky Rizardo inside Amsterdam’s infamous Casa Rosso, complete with its giant neon pink elephant.

Focus… (Aftermath, US) | Your Favourite Producer’s Favourite Producer

Location: Felix Meritis

Five-time Grammy winner Bernard “Focus…” Edwards Jr., son of Chic’s Bernard Edwards, shares insight from decades shaping the sound of Kendrick Lamar, Beyoncé, and Dr. Dre’s Aftermath.

Sound Systems: Raves, Riots and Revolution

Location: Felix Meritis

A global discussion on sound systems as tools of resistance and cultural change, from Notting Hill to anti-apartheid to present-day raves.

Location: Westweelde

Fabric and Loud Contact unite with Jeff Mills, DVS1, HAAi, and Héctor Oaks for an audiovisual celebration, powered by Dreamrec visuals.

Rock and Roll People in a Disco World

Location: Felix Meritis

Dave Clarke, Stefan Olsdal (Placebo), and Digital 21 discuss the crossover between rock and electronic, studio approaches, influences, and lessons between genres.

From the Baile to the World: The Journey of Brazilian Funk

Location: Felix Meritis

A deep dive into Baile Funk’s roots, sub-genres, and cultural impact, from underground Brazil to global dancefloors.

SUNDAY, OCTOBER 26

ADE: extENDed w/ East End Dubs (All Day Long)

Location: The Other Side

ADE 2025 closes with East End Dubs taking over The Other Side from 16:00, delivering six hours of groove-heavy house, garage, and rolling rhythms, a standout finale to a monumental week.

Mixmag Netherlands at ADE25: Podcast Panels That Shape the Future

Amsterdam Dance Event has long been the beating heart of global electronic culture, connecting enthusiasts from all corners of the world. Each October, the city transforms into a living, breathing network of ideas, talent, and sound. ADE is more than just the world’s biggest club festival; it is where the industry gathers to decode the present and sketch out the future. From DJs to label heads, from promoters to tech visionaries, the conversations that happen here ripple across the entire scene, reaching and resonating with electronic music lovers worldwide.

For Mixmag Netherlands, ADE is home turf. We are not just reporting on the story; we are part of it. As Europe’s most influential hub for electronic music discourse, we bring our editorial voice to the forefront of podcast panels that cut through the noise. Our goal is to spotlight the dynamics shaping the dancefloor, to amplify diverse perspectives, and to contextualize the shifts that matter to both insiders and the next generation of listeners.

This year, our programming extends beyond the room. Every conversation will be streamed live on our Netherlands Instagram and released as a podcast via Spotify and Apple. That means the dialogue in Amsterdam can resonate everywhere, from São Paulo to Seoul, from Detroit to Dubai. By opening the conversation to the world, we continue to democratize access to knowledge, insight, and foresight in electronic music.

The stakes are high. Genres are mutating at light speed, scenes are globalizing, and the politics of booking, diversity, and storytelling are more urgent than ever. These panels are not simply discussions; they are interventions, catalysts for how we collectively move forward.

Here is what we are bringing to ADE25.

See you online at www.instagram.com/mixmagnl

THURSDAY, OCTOBER 23

14:00 – 15:00

A&R In Flux: How Labels Discover And Shape New Sounds

The machinery of A&R has never been more complex. As boundaries blur and micro-trends flicker across TikTok, labels are recalibrating their role. This panel dissects how gatekeepers are scouting talent in a hyper-saturated world, balancing algorithmic hype and the timeless need for artistry. From risk-taking to ROI, the conversation cuts to the heart of how electronic music evolves.

For Mixmag Netherlands, this is not just about industry mechanics but about the soul of dance culture. Who gets invested in defines what sounds fill our clubs in two, five, and ten years. Expect sharp takes on the collision between underground discovery and commercial survival, and how labels can champion innovation without losing sight of the dancefloor.

15:00 – 16:00

The Next Frontier: Why MENA Matters for the Future of Electronic Music

The Middle East and North Africa are not emerging, they are here, and they are here to stay. With a young demographic, deep cultural heritage, and rapid infrastructural investment, the region is poised to set the tempo for the next decade in electronic music. This panel examines how the MENA region is not just a player, but a game-changer, shaping the global music landscape, from emerging festivals and labels to artists breaking international boundaries. It’s an exciting time for electronic music, and the MENA region is at the forefront of this revolution.

From our editorial perspective, the MENA region’s ascent is both cultural and political. This is not just about expansion; it is about redefining the map of electronic music. For artists and investors alike, the region represents untapped opportunity and cultural renaissance. Expect conversations that go beyond clichés to reveal the realities of building sustainable ecosystems in this powerful territory.

16:00 – 17:00

Breaking the Lineup: Booking Realities in a Saturated Scene

The competition for festival slots and club residencies has reached fever pitch. Behind every lineup is a complex calculus of hype, economics, and curation. This session lifts the veil on the booking process, examining how promoters weigh risk, loyalty, and trend cycles in a market where everyone is competing for the same stage time.

Mixmag Netherlands´ editorial perspective is unflinching. The booking game defines careers and shapes scenes. For newcomers, understanding how to cut through without compromising artistry is survival. For veterans, it is about longevity in a constantly shifting hierarchy. Expect candid insights on how power dynamics, social capital, and sheer talent collide when deciding who gets behind the decks.

17:00 – 18:00

Voices of a Movement: Artists Behind Afro House’s Global Rise

Afro House is no longer a niche genre; it is a global movement with deep roots. This panel puts the spotlight where it belongs, on the artists themselves. Producers and DJs at the forefront will share how they navigate the balance between tradition and innovation, and how the genre’s DNA is being carried into clubs from Lagos to Lisbon to Los Angeles.

Editorially, this conversation is overdue. Afro House has been commodified as a trend, but its creators are rewriting the narrative by centering authenticity and history. Expect a powerful exploration of how identity, storytelling, and global demand intersect, and how Afro House continues to expand without losing its essence.

FRIDAY, OCTOBER 24

14:00 – 15:00 |

Beyond the Buzzword: Rethinking Diversity in Festival & Club Lineups

Diversity has often been used as a marketing tool. This panel dismantles the buzzword and asks the more complex questions: who actually gets booked, who does not, and what structural change looks like beyond tokenism. Promoters, artists, and activists will engage in a frank conversation on accountability and inclusion.

For Mixmag NL, this is the pulse of where the industry is headed. Representation is not an accessory, it is central to the health of the scene. True inclusivity means shifting power structures, not ticking boxes. This panel promises to move past rhetoric into strategies that actually reshape how our lineups look and feel.

16:00 – 17:00

Beyond the Press Release: The Future of Artist Storytelling

In an era where algorithms dictate virality, PR is being forced to reinvent itself. This session delves into the next frontier of artist storytelling: hybrid campaigns that merge influencer strategy with traditional press, cross-platform narratives, and the constant fight for attention in a content-saturated world.

From our standpoint, this is about controlling the narrative. Artists are no longer passive subjects in media cycles, they are brands, storytellers, and strategists in their own right.

Expect sharp insights into how PR agencies, managers, and platforms are reinventing their role, and what it means for the next wave of talent.

17:00 – 18:00

After the Peak: What Comes Next for Hard Sounds?

Hard techno is everywhere, but every peak has a comedown. This panel asks the big question: what happens when the hype cools? From genre sustainability to the inevitability of mutation, the discussion will unpack whether this wave can evolve gracefully or collapse under its own weight.

Mixmag Netherlands’s perspective is pragmatic. Scenes thrive when they adapt, not when they calcify. For artists, labels, and promoters invested in hard sounds, the challenge is to innovate while retaining intensity. This panel offers a rare moment of foresight, examining how to avoid boom-and-bust cycles and keep the sharpest edges intact.

Conclusion

ADE is where the global conversation in electronic music takes shape, and Mixmag Netherlands is proud to be at the center of it.

These panels are not only reflections of what is happening now but frameworks for where we are going. By broadcasting them worldwide via Spotify and Apple, we ensure that the insights shared in Amsterdam reach every corner of the scene.

As journalists, curators, and insiders, our role is to amplify, interrogate, and contextualize the forces shaping electronic culture.

ADE25 reminds us that the dancefloor is not only a space for music but also for ideas, debates, and visions of the future. We remain committed to making sure those visions are heard, understood, and carried forward to the next generation.

Jurrien Romeijn has been shaping the sound of Armada Music for more than a decade. With eight years of experience in A&R, he worked closely with sublabels like Electronic Elements and The Bearded Man, collaborating with artists including Lost Frequencies, Jan Blomqvist, Tensnake, Yulia Niko, Reinier Zonneveld, Boys Noize, Henrik Schwarz, Gerd Janson and Floorplan. He then spent two years as Head of Creative at Armada Publishing before stepping into his current role as Head of Music, where he drives the label’s artistic vision and overall music strategy.

Armada Music Group is the parent company of Armada Music, the world’s largest independent dance label; BEAT Music Fund, the first-ever dance music investment fund; and Armada Music Publishing, a dedicated publishing division. With offices in Amsterdam, New York, London and Laren (NL), the group combines label, publishing and catalog acquisition under one roof to support artists worldwide, while pursuing its mission to amplify creativity and success across the electronic music landscape.

JURRIEN ROMEIJIN

Podcast Panel : A&R in Flux: How Labels Discover and Shape New Sounds

Podcast Panel : A&R in Flux: How Labels Discover and Shape New

MARTIN DUNCAN

Martin Duncan is one of the two founders and strategic force behind Hot Meal. With background in the film industry and a sharp entrepreneurial instinct, Martin has spent years building projects from the ground up. After traveling extensively in his early years, he launched several companies, ultimately selling one before partnering with Bad Boombox to launch Hot Meal. It emerged as a response to something missing in Berlin’s darker electronic scene: a space for fun, bold sounds that didn’t compromise on quality or community.

Since its creation, Martin has directed hot Meal’s vision and growth; serving as A&R, manager/booking agent for both Bad Boombox and Mischluft. Under his leadership, the label, events and agency have carved out a distinct identity rooted in Hot House, Hard Groove, and bouncy bass, developing both emerging talent and established acts.

In under two years, Martin has built more than a brand: he’s positioned Hot Meal as a platform, a creative hub, and a new blueprint for doing things differently in the music scene.

Hot Meal is a Berlin-based electronic label, booking and management agency and events collective focused on emerging sounds, bold visuals, and building real platforms for artists. What makes our team stand out is our diversity; culturally and professionally. We come from Australia, Colombia, France, Germany, Italy, and Luxembourg with backgrounds in media, finance, biotechnology, live production, advertising, and creative direction. Together, we bring a 360° understanding of the music industry. From mainstream to underground, strategy to execution.

Across marketing, programming, artist care, and operations, we handle everything in-house, combining industry experience with a shared drive to shape what’s next in electronic music. With strong ties to both global networks and local scenes, we’re building something that’s rooted in community, driven by curiosity, and not afraid to take risks. We’re excited to bring that perspective to conversations shaping the future of club culture.

Podcast Panel : A&R in Flux: How Labels Discover and Shape New Sounds

Jørn Brands is a respected figure in the electronic music scene, blending artistry and strategy to help artists and brands grow with purpose. As an industry veteran, former producing artist, and the Founder and A&R of Verknipt Records, he curates bold electronic music that channels the energy of the legendary Verknipt events. Known for pushing boundaries with hard techno. Verknipt Records is a home for rising talent and established names alike, delivering releases that capture the chaos, intensity, and atmosphere of unforgettable raves.

At Adapt Music Management, Jørn has played a key role in discovering and developing both emerging talent and established brands, helping them gain recognition and access the resources needed to grow. Backed by a global network built through years of collaboration with industry leaders, promoters, and festivals, he crafts strategic paths that deliver lasting success. His approach focuses on sustained growth, resulting in major festival bookings, chart-topping releases, and high-profile collaborations.

JØRN BRANDS

Verknipt Records was born from the legendary Verknipt events, where hard techno takes center stage. Known for massive shows that push boundaries, we capture that same raw, relentless energy in every release. The label is a home for both rising talent and established names in the scene. Every track echoes the chaos, intensity, and atmosphere of our raves. Verknipt Records is where the sound of the dancefloor lives on.

Mika Heggemann is the sound of the future. Berlin-based and club-raised, this self-taught sound engineer has been producing bouncy techno and trance-infused anthems for nearly three years, blending the gritty underground with a new-school edge.

MIKA HEGGEMANN

Podcast Panel : A&R in Flux: How Labels Discover and Shape New Sounds

Whether it’s through his razor-sharp basslines or relentless beats, one thing is certain—when Mika hits the decks, you won’t be sitting still.

Mika’s journey began behind the scenes, working as a studio assistant for band recordings, but his passion for electronic music quickly took center stage. Over the past nine years, he’s honed his skills and carved out a name as one of Berlin’s most exciting talents. Not just content to make music, Mika is one of the founders of the Polyamor, an infamous collective that embodies the rebellious and exhilarating spirit of the next generation of club-goers. He’s also one of the brains behind the Berlin Dance Music Event (BDME), Berlin’s very own industry conference for electronic music, proving that Mika is not only shaping sounds but also leading conversations in the scene.

What really sets Mika apart is his signature style: euphoric build-ups, punchy drops, and vocals that get under your skin. With releases like “Vibrations” and “Millennium Bitch”, Mika has made serious waves, catching the attention of top-tier DJs. His latest collaboration with Part Time Killer on Teletech, has been spun by the who’s who of the scene. In the past few years, he’s graced stages at some of the biggest venues and most influential brands, including Teletech Festival, Unreal, Watergate Berlin, Mondo Disko, and Nordstern Basel.

For Mika, the mission is simple: to get you moving. His tracks aren’t just for listening—they’re built to make you feel something. He’s a master of crafting tunes that take over your body, flooding the dancefloor with energy that no one can resist. If you hear Mika Heggemann’s music, expect to dance—hard.

Looking ahead, 2025 is set to be Mika’s biggest year yet. With major festival appearances, collaborations that are out of this world, and performances at the most relevant clubs in the industry, he’s on track to solidify his place as a tastemaker for the new wave of club culture. His vision? To shape the dancefloor, and, in doing so, define the sound of an entire generation.

Mika’s connection with his fans is pure electricity. With every performance, he delivers a high-energy set that leaves no one untouched, drawing people in with his infectious personality and refusal to take things too seriously—unless we’re talking about the music. Because when it comes to sound, Mika’s all about quality.

So, if you’re looking for a night where you can’t stop moving, and where every beat hits harder than the last, you’ll find it with Mika Heggemann. The future of club music is here, and it’s unapologetically loud, bouncy, and unforgettable.

Polyamor emerged in 2023 as a creative collective blending music, international events, and design. It brings together a record label, podcast, event and booking agency, and clothing brand under one roof. Since its inception, Polyamor Records has become a launchpad for forward-thinking talent and future-defining sounds in the global electronic music scene

Podcast Panel : A&R in Flux: How Labels Discover and Shape New Sounds

ANDY DANIELL

Andy Daniell is a Grammy-nominated A&R and the current Director of Music at Defected Records. Over the past two decades, he has become one of the most trusted figures in dance music, signing pivotal records like Storm Queen’s Look Right Through and CamelPhat & Elderbrook’s Cola. His time at FFRR/Parlophone saw him work with global names including Diplo, David Guetta and Kenya Grace, racking up UK number ones and six Grammy nominations along the way.

Defected Records, founded in 1999, is one of the longest-running and most influential independent house labels in the world. Beyond its catalogue, the company has grown into a global music media group encompassing publishing, management, events and its own festivals, while maintaining a strong cultural identity. With a digital community of over 12 million, Defected has consistently embraced innovation while keeping house music at the core.

Returning to Defected in 2024, Andy oversees all the label’s imprints including Glitterbox, D4 DANCE, DFTD and Classic. His focus is on leveraging Defected’s market position to support both established names and emerging artists, continuing the label’s legacy into its next 25 years.

Podcast Panel :Breaking the Lineup: Booking Realities in a Saturated Scene

Diego Aldea is a former professional water polo player turned entrepreneur in the entertainment business. Diego started doing events combining studies in international business and marketing while successfully achieving in his waterpolo career as a captain back in 2013. With humble beginnings, he started throwing parties for just 50 college kids then turned his brand into a well-known midwest production company that was bringing international DJs to his parties in St Louis, Missouri. It was in one of these negotiations when Diego met his former partner at Cumac Bookings, where he then started working as a North America agent for artists such as Miguel Bastida, Adrian Hour and Ron Costa.

DIEGO ALDEA

Upon graduation in 2016, he committed to working full-time at Cumac Bookings and moved to Galicia where the headquarters of the agency was. While developing his career as an agent, Diego with artists such as Wade, Solardo, Camelphat, Steve Lawler and Franky Rizardo. In 2022, he decided to pursue his own project and created Oasis Bookings, a worldwide boutique agency that started with a roster of 12 artists and only 2 people working. Currently, the agency has grew to a roster of more than 50 DJs and a team of 8 people in just 3 years surpassing many goals along the way. Oasis Bookings now has artists on the roster such as East End Dubs, Mason Collective, Fleur Shore, Richy Ahmed, Stacey Pullen, Joey Daniel, and more.

Podcast

Panel :Breaking

the Lineup: Booking Realities in a Saturated Scene

MICHAEL WEICKER

After completing his training as a banker, Michael Weicker began his career in the music industry in 2001 alongside Timo Maas. With the club Room 106 near Frankfurt, he established one of Germany’s most influential electronic music venues, hosting artists such as Ricardo Villalobos and Paul van Dyk. In parallel, he built successful hospitality ventures, which he later exited after a personal setback.

In 2011 he founded Ask My Management, which quickly became a central platform for electronic artists. Under his leadership, the careers of Chris Liebing and Marcel Dettmann were strategically developed with a focus on album releases, label expansion, branding, and international touring.

In 2015, together with Artist Alife, Weicker co-founded the Electronic Music Culture AG (EMC), a 360 degree company that united Ask My Management, Artist Alife, and 99 Ghosts.

For more than twenty years he managed Loco Dice and shaped his international career. HEwas instrumental in the breakthrough of Tale of Us, initiating the very first Afterlife deal at Space Ibiza and co-developing the iconic hanging man logo. With HYTE he helped build one of the most globally recognized electronic music brands, hosting events across the world from Amsterdam to New York to Vietnam. The expansion into Amnesia Ibiza, however, marked a turning point and led to the loss of much of what had previously been created.

During the pandemic Weicker launched Metropole Agency and Metropole Talent GmbH in Berlin as a complete new beginning. The focus has been clear from the start: artist development through management and booking. Metropole works on longterm strategies that go far beyond show brokering, covering branding, positioning, release planning, and global touring.

The roster today includes Haftbefehl, Genetikk, Shimza, and Gordo, all of whom Metropole has played a decisive role in breaking and establishing at the forefront of their genres. The agency has also overseen major tours such as the Boris Brejcha tour across Germany, Austria, and Switzerland.

Metropole operates through three divisions: management with career planning, branding, and international development, booking with worldwide placement across clubs, tours, and festivals and live with concert productions, festivals, and tailored event formats

Until 2024 Weicker was heavily involved in the growth of the WET Festival in Stuttgart and Sindelfingen, which attracted more than fifteen thousand visitors per edition. He is also co-owner of the Home Again Festival in Berlin, which since 2023 has hosted international headliners such as Peggy Gou, Solomun, and I Hate Models.

In 2025 Metropole opened an office in Asia to further strengthen its international presence and to support artists directly in new markets. The next step is the opening of an office in South America, reflecting Metropole’s evolution into a truly global management and booking powerhouse.

Chris Bauduin is a seasoned music industry professional specializing in artist management, marketing, and PR. At Adapt Music Management, he plays a key role in shaping the careers of both rising talent and established names, working closely with current breakout artist Franc Fala (producer of global hit ‘Yamore’, with over 230 million streams and counting) as well as household names such as Marco Lys, Flashmob, T78, and A*S*Y*S. With over 15 years of experience across agencies and promoters, Chris has built a strong reputation for crafting strategic campaigns and guiding artists through every stage of their careers. In addition to his work at Adapt, he also serves as the International Event and PR Manager for Verknipt Events, where he has contributed to the brand’s global expansion, from 14 events in 2022 to 61 events in 2025, by implementing his international experience and outreach strategies.

ADAPT:

Adapt Music Management provides the full range of services artists need today to progress, develop, and grow their careers. From strategic career planning, branding, and marketing to bookings, touring support, and day-to-day management, Adapt offers a complete framework for sustainable success. Our team combines decades of experience across different levels of the dance music industry and has cultivated a strong global network since 1999. This allows us to guide both emerging talents and established names with a tailored approach, ensuring each artist can thrive creatively while building long-term impact in the international scene.

CHRIS BAUDUIN

Podcast Panel :Breaking the Lineup: Booking Realities in a Saturated Scene

Podcast Panel :Breaking the Lineup: Booking Realities in a Saturated Scene

KATHI LONGINUS

Kathi Longinus is an Artist Manager and Marketing Coordinator at Night Department, a London-based artist management and consultancy company representing some of dance music’s most exciting names including Sara Landry, Eli Brown, Ben Hemsley and more. With a strong background in branding and marketing, she brings a strategic yet creative approach to artist management.

Originally from Hamburg, Kathi studied Business Administration before working over five years in international marketing at BSN Medical. Drawn to the creative industries, she relocated to Amsterdam, gaining broad experience across electronic music before focusing on artist management. Since then, she has built an impressive track record working with talents such as Honey Dijon, Franky Rizardo, Mha Iri, Luuk van Dijk, Aida Arko and others.

In her current role at Night Department, she combines day-to-day management for Eli Brown and Mha Iri with global campaign strategy, fan engagement initiatives, and close collaboration with major promoters worldwide.

Night Department

Based in London, Night Department is an artist management and consultancy company operating at the forefront of electronic music. Their roster includes AK Sports, Ben Hemsley, Eli Brown, and Sara Landry, a mix of underground innovators and international headliners who tour worldwide and reach millions of fans.

With a driven and experienced team, Night Department goes beyond traditional management. They handle all aspects of an artist’s career: from strengthening rights and maximizing live revenue to developing branding, marketing, and diversified income strategies. Their multidisciplinary approach allows artists to grow sustainably while maintaining full creative freedom.

Combining strategic vision with creative energy, Night Department is dedicated to elevating its artists to new professional heights and building careers that resonate both within the industry and with audiences across the globe.

Podcast Panel: Voices of a Movement: Artists Behind Afro House’s Global Rise

Born amidst the vibrant colors and ancestral rhythms of Benin, West Africa, AMÉMÉ - born Hubert Sodogandji - is a force of nature. He is not merely a DJ or producer; he is a cultural alchemist, channeling his heritage into electrifying beats and hypnotic melodies that traverse continents and unite souls. With every track, AMÉMÉ weaves a narrative - a tale of roots and revolution, tradition and transcendence.

The Rhythm of Evolution

AMÉMÉ’s sound is a living tapestry of Afro-house, tribal percussion, and ethereal vocals, underpinned by the pulse of deep house and tech. It is music that transcends borders, pulling listeners into a communal heartbeat. This is not just dance music; it is a ritual - a celebration of life, ancestry, and the indomitable human spirit. His works, championed by icons like Black Coffee, Diplo, and having earned his own spotlight on Pete Tong’s iconic ‘Essential Mix’; have now graced the decks of some of the world’s most illustrious stages: Coachella, Burning Man, EDC, and Tomorrowland.

One Tribe: A Vision of Unity

At the core of AMÉMÉ’s artistry lies One Tribe - a visionary concept that defies the confines of a singular medium. One Tribe is a global movement, a record label, a fashion identity, and an ethos rooted in unity. Established in 2017 as a New York event series, it has evolved into a cultural phenomenon, spotlighting Afro-house while fostering a global dialogue through music and art. It is an invitation to embrace our shared humanity, to dance not as individuals but as a collective, a singular tribe. In 2024, AMÉMÉ revitalized the One Tribe event series, hosting shows at venues like fabric in London, House of Yes in New York, and a quarterly residency at Amsterdam’s iconic Shelter.

AMÉMÉ

A Cinematic Journey

The story of AMÉMÉ unfolds like a gripping film. From mixtape competitions with his siblings in Benin to charting a hip-hop career that garnered national acclaim, every moment was a stepping stone to his destiny. His initiation into electronic music came through French house tapes brought home by his brother - a spark that ignited his transition into the world of electronic soundscapes. New York became the crucible for his burgeoning dream, as he spun records at underground parties before moving to Berlin, the spiritual mecca for electronic music. In every chapter of his life, AMÉMÉ’s innate curiosity and unyielding drive shine. Banking gave way to beats, and corporate boardrooms were traded for dance floors. Yet his analytical acumen remains a cornerstone of his empire - a methodical approach that turns dreams into movements, and movements into global phenomena.

2025 and Beyond: The Mission of a Visionary

AMÉMÉ is not merely an artist; he is a herald of a cultural renaissance. As he steps into 2025, his mission is clear: to elevate Afro-house music into a universal language that transcends boundaries, blending the ancient and the contemporary into a soundscape that resonates across the globe. With One Tribe, he seeks to expand this platform’s frontiers of community and creativity, curating immersive experiences that bridge worlds and foster connection. And upcoming releases and collaborations with some of the world’s top artists and labels are sure to pave the way. From Benin to Brooklyn to Berlin, AMÉMÉ’s journey is a testament to the power of rhythm and resilience. It is a reminder that music, at its core, is a force of unity - a reminder that we are all One Tribe.

Combining his unrelenting passion for music with an inextinguishable desire to make a positive impact on his surroundings, Shimza is a totem figure in South Africa’s music scene and one of the leaders of house music in Africa. Making worldwide waves with re leases on the likes of Cadenza Records and Knee Deep In Sound, Shimza launched KUNYE (which means together in Xhosa/Zulu) in November 2020, an imprint that provides a bridge between South Africa’s emerging producers and the global stage. Inviting a selection of artists to perform in KUNYE’s weekly livestream sessions, Shimza formed a new movement for Afro Tech Sounds, while amplifying the label’s mission to unite people through the love of music.

Shimza’s musical skills can be traced back to the young age of fifteen, fuelled by the encouragement of his ever-supportive family. In 2009, he launched his philanthropic One Man Show in Soweto, South Africa to raise funds for underprivileged children. Maturing into annual event, OMS now hosts over 25,000 people each year and has seen the inclusion of some of the country’s most in-demand artists, such as AKA, Black Coffee and Black Motion. Such was its success; the concept was subsequently introduced to European audiences with events in Portugal, Spain and France. Signing with the highly acclaimed Soulistic Music label in 2013, he met another career milestone, joining a roster boasting the country’s most revered artists.

Shimza’s outstanding ability to seamlessly cut, loop and fuse between genres and styles showcases his technical prowess, leaving dancefloors in awe. Delivering explosive performances at Boiler Room Johannesburg and RESISTANCE Cape Town, Shimza has also enchanted international audiences in the likes of New York, London, Paris, Berlin, Amsterdam, Manchester and Sicily. Having caught the attention of RUMORS label boss Guy Gerber, he made his Ibiza debut at Destino’s Closing Party alongside Luciano in 2016. Leaving a lasting impression on both Gerber and the White Isle, he was invited back to Destino’s decks a further four times and was named a new rising star by Ibiza music and party authority, Essential Ibiza.

Making history on Nelson Mandela Day 2020, Shimza became the first artist to perform on World Heritage Site Robben Island, where the former South African President and Nobel Peace Laureate was imprisoned. Raising money for the Kolisi Foundation, the Nelson Mandela Foundation, the Shimuzic Foundation and Robben Island itself, Shimza’s livestream performance fused music and culture to engage and educate audiences around the globe, while giving back to the community in extremely testing times.

Renowned for his deep and rhythmic strain of underground music, Shimza’s back catalogue includes his full length Shimuzic album, as well as a long list of collaborations and singles; from his stunning collaboration Uwrongo with Prince Kaybee, Black Motion and Ami Faku, to his Eminence EP on Cadenza and his Kings And Queens EP on Knee Deep In Sound. His Kimberley EP on Cadenza received an official remix from label head Luciano, as well as other international producers. Marking his imprint’s inaugural release with Calling Out Your Name Ft. Mikhaela Faye, Shimza delivered a stark message of man’s cataclysmic effects on Mother Nature. Fast forward to 2021, KUNYE welcomes music legend and Masters at Work boss Louie Vega, alongside South African, Berlin-based “Afro Futurist” Floyd Lavine to the imprint. Featuring as remixers on Shimza’s lockdown-inspired release, Fight To Love Ft. Maleh, this release serves as the most significant and high-profile release to-date, and continues to push the label’s mission into the eyes and ears of the global scene.

Podcast Panel: Voices of a Movement: Artists Behind Afro House’s Global Rise

PHILOU LOUZOLO

Philou Louzolo is a Dutch DJ and producer with West African roots. From this heritage, he draws rhythm and influence, shaping a forward-thinking sound with house and tech at its core, enriched by melodic and afro house. Forever pushing boundaries, Philou fuses genres with futuristic elements, creating a space where cultures, communities, and sounds converge. Since 2016, he has been celebrated as a pioneer in building these bridges.

Over time, he has grown into one of the scene’s leading figures. The first Dutch artist of his genre to sell out major venues in Amsterdam and Rotterdam, he cemented his legacy with marathon headline sets, 10 hours in 2025 and an unprecedented 15 hours in 2026 at Thuishaven Amsterdam, moments that marked new milestones for his artistry.

In 2019, Philou launched Wokoundou, a label born as a vessel for his vision. It became the home for his debut album in 2022, a work that earned a nomination for Best Album of the Year by 3voor12 and recognition from DJ Mag and BBC Radio 1 as one to watch. With a catalogue of EPs and releases on respected labels such as DGTL, MoBlack, Cacao and Secret Teachings, his music continues to ripple outward, shaping the global house scene.

His breakthrough came in 2017, opening doors to iconic stages from Berghain to Tomorrowland, Fabric, No Art, E1, Awakenings, Loveland, Nuits Sonores, DGTL, Lowlands, Dekmantel, Best Kept Secret, Down The Rabbit Hole and beyond. His journey has taken him across Europe, Africa and the Americas, amplified by the support of Black Coffee, whose Rotterdam headline show he opened in 2024. Along the way, his music has earned admiration from artists such as Dixon, Solomun, Honey Dijon, Laurent Garnier, Jamie Jones, Francis Mercier, Damian Lazarus, TSHA and many more.

Beyond music production, Philou curates experiences that reflect his artistic vision. At Lofi, he launched Symfora, a club night where musical storytelling, cultural connection and forward-thinking curation come together. Since 2022, he has also hosted his own Philou Louzolo & Friends dayto-night sessions at Thuishaven. Across venues like Club Shelter, The Loft, Lofi and Thuishaven, he has invited acts such as Shimza, Blond:ish, Damian Lazarus, HoneyLuv, Floyd Lavine, Black Motion, Cincity, Jaden Thompson, Jamiie, Amémé, Culoe de Song, Samm & Ajna, TSHA and many more.

Philou’s journey is one of heritage and innovation, resilience and imagination. His story unfolds through music that is constantly evolving: futuristic, boundary-breaking and unafraid to look ahead.

As the UK’s leading ambassador for African-influenced electronic music, Kitty Amor has built a reputation as a DJ, producer, label owner, and advocate for underrepresented communities. Her dedication to the afro sound has taken her to stages such as Glastonbury, Tomorrowland CORE, Ultra Music Festival, Voodoo Village and ANTS Ibiza, pushing the genre into new territories.

On the production side, Kitty has delivered acclaimed releases including her rework of Dennis Ferrer’s “Hey Hey” with Da Capo and a remix of London Grammar’s “Into Gold.” Her latest single “The Answer” (with AWEN) reflects her mission of empowerment and equality, previewing a larger project set for 2025.

Through her imprint Mahaba Music, Kitty champions artists from across Africa and beyond, amplifying the sound she has championed since her early London parties Sessions and Motherland.

Featured on the cover of Mixmag in 2020, she has since launched a world tour, a Nike partnership, a Rinse FM residency, and the documentary Who Is Kitty Amor?—solidifying her influence both on and off the dancefloor.

Deeply connected to her heritage, Kitty’s spellbinding sets blend hypnotic basslines, soulful vocals, and tribal rhythms, bridging South Africa’s vibrant culture with London’s energy. A role model for black and queer women in electronic music, she continues to inspire globally while driving afro house forward with authenticity and passion.

KITTY AMOR

Podcast Panel: Voices of a Movement: Artists Behind Afro House’s Global Rise

Haitian-born DJ and producer Francis Mercier is celebrated worldwide for his culturally rich, melodic, and high-energy approach to house music. By blending percussion, spiritual frequencies, and global influences, his productions transcend borders and generations, resonating deeply with international audiences.

With over 400 million streams, Francis has sold out venues across the globe and performed at some of the world’s most iconic stages including Coachella, Tomorrowland, EDC, Ushuaïa, Ultra, L’Olympia and even the Pyramids of Giza. His catalog boasts over 4 million Shazams, features in more than 180 global charts, and placements in the Spotify Viral Top 50. He has collaborated with Swedish House Mafia, DJ Snake, Rüfüs Du Sol, Omah Lay, and other Grammy Award-winning artists, while his music has been synced by Disney, Porsche, IBM, Netflix, Snapchat, the UFC, and more.

Beyond his own artistry, Francis is the founder of Deep Root Records and Solèy. Deep Root has become a platform for globally recognized artists, generating over 500 million streams and supporting international tours. Solèy—meaning “Sun” in Haitian Creole—serves as his tribute to multiculturalism, showcasing radiant sounds from the Levant, Africa, and the Caribbean.

Featured in Forbes, Billboard, Rolling Stone, Mixmag, and DJ Mag, Francis continues to build his influence as both an artist and entrepreneur. Fluent in English, French, Spanish, and Haitian Creole, he curates performances that are as soulful as they are electrifying—inviting connection, joy, and movement wherever he plays.

Podcast Panel: Beyond the Buzzword: Rethinking Diversity in Festival & Club Lineups

Nils Caspar Thabo Gelfort is the founder and CEO of Home Again, a Berlin-rooted collective, label and festival platform. Over the past decade he has built a festival that has scaled consistently, while also developing a respected label and an international touring brand. His programming is guided by a commitment to authentic music culture — pairing established headliners with rising artists and creating consistent pathways for new talent, with a focus on diversity and long-term inclusion. Alongside his festival and label work, Nils runs an agency delivering culture-first brand partnerships. As a DJ and producer, he tours globally and releases on various imprints.

Home Again is a Berlin-rooted collective founded in 2016 that has grown from an intimate party into a respected label, festival, apparel line, and international platform. Built around house music, community and creativity, Home Again curates experiences that channel authentic Berlin music culture into both club-scale nights and large-scale festivals. By 2025, the Home Again Club Festival welcomed more than 15,000 guests across five nights, making it one of the fastest-scaling new events in Germany.

NILS GELFORT

Podcast Panel: Beyond the Buzzword: Rethinking Diversity in Festival & Club Lineups

JEAN-PIERRE

Jean-Pierre Fisher, also known on stage as Jezzebel, operates out of a mindset rooted in inclusion and freedom. Born in Suriname and based in Amsterdam, Jean-Pierre currently the artist booker/ programmer for Milkshake and co-creates community-driven events such as Marimba. Marimba, an afro electronic community focused on breaking boundaries and bringing communities together through music.

Through the drag persona Jezzebel, masculinity and femininity melt together in performances that draw from heritage. Whether curating line-ups, organizing fundraisers, shaping safer spaces, or commanding a stage, the mission is always the same: to celebrate identity and community without compromise.

Where the creative process normally ends, that’s where you’ll find Marieke’s start. Her broadmindedness brought forth magic like Supertoys, Vieze Poezendek and Milkshake

Festival. The festival scene lacked a for all who love ethos with an endlessly diverse crowd. Taking brands she fully supports to a higher level, also makes her heart beat faster. Her creative spirit and commercial insight are the perfect combinations that get the best out of a collaboration. Her motto? The time is always now.

MARIEKE SAMALLO

Podcast Panel: Beyond the Buzzword: Rethinking Diversity in Festival & Club Lineups

Podcast Panel: Beyond the Buzzword: Rethinking Diversity in Festival & Club Lineups

SOPHIA KEORNEY

Sophia’s career history spans the likes of WME and ATM Artists working across projects for the likes of Swedish House Mafia and Miike Snow moving on to co-found The Weird & The Wonderful management who historically managed Maya Jane Coles for over a decade alongside stints with Catz ’N Dogz, Magda, and many others, Currently she co-manages successful globe trotting HST resident SYREETA and Emily Nash who in 2025 was the second youngest woman to co-produce a UK number 1 for MK and Chrystal’s “Dior”, undoubtably one of the songs of the summer. She also works closely with esteemed management company One of Us consulting on management or label projects for the likes of Desiree, ANNA, Solarce Brothers and Mochakk. She is also a regular speaker, curator and partner of global industry conferences plus freelances as a radio host and voice over artist.

HE.SHE.THEY: As co-founder of HE.SHE.THEY. Sophia has cultivated an electronic music brand that in just seven years that has activated in 60 cities across 25 countries and counting, with festival stage takeovers at the likes of; Glastonbury, Coachella, Mystic Garden, Dockyard, Tomorrowland, Lost Village, Kappa Futur, Nature One, Mad Cool, Glowball, Creamfields Chile amongst many others, a multiple year Ibiza residency at Amnesia and the award winning label of the same name approaches it’s 100th release in 2026. HE.SHE.THEY.’s ethos is focused on inclusion and representation leading to the brand being nominated for BBC R1 Dance’s “Dance Impact” award in 2024 and a two year Radio Residency with the same station. Brand collaborations with Desperados, Ballantines, Apple and a Beatport documentary commission “Off The Record” sharing the motivations of HST and the stories of the founders debuted in 2024 show the brand has no signs of slowing down.

Ashraf Ejjbair has been part of HE.SHE.THEY. since its inception, moving from performer and artist liaison to his current role as Label Manager. With a background in acting and immersive theatre alongside over a decade in music, he brings a multidimensional perspective to the brand, blending creative sensibilities with operational expertise. His work connects the label’s releases, events and artist development into one cohesive vision.

HE.SHE.THEY. is an award-winning event series, label and fashion brand built on inclusivity and representation. With events in more than 40 cities — from Detroit, Chicago and New York to Berlin, Paris

and Ibiza — the collective has established itself as one of the most progressive and intersectional spaces in electronic music. Its parties are designed to welcome all identities, breaking down prejudice and celebrating diversity on the dance floor.

As HE.SHE.THEY. continues to expand globally, Ashraf’s role ensures that its ethos remains intact: a community-first approach that blends music, fashion and activism into a cultural force.

ASHRAF EJJBAIR

Podcast Panel: Beyond the Buzzword: Rethinking Diversity in Festival & Club Lineups

Podcast Panel: Beyond the Press Release: The Future of Artist Storytelling

ALEX JUKES

Alex Jukes is the Founder and Director of Jukebox, a globally respected press and communications agency in electronic music and nightlife. Over the last decade, he has delivered campaigns for some of the industry’s biggest clubs, DJs, labels and tech brands, while also co-founding The Tribes, an influencer marketing company that bridges brands with audiences at festivals and large-scale events. His work has helped shape the visibility of over 225 events annually across the UK, Europe and South America.

Jukebox operates at the intersection of music, leisure and Music-Tech, offering high-impact campaigns and strategic media outreach. Known for its ability to amplify messages across global markets, the agency has become a go-to partner for projects looking to connect with culture at scale. Its sister company, The Tribes, focuses on influencer engagement, festival partnerships and brand activations, leveraging a network of over 40 million followers across 200+ community-driven social channels.

Together, Jukebox and The Tribes provide a complete communications ecosystem, combining press, influencer marketing and strategic planning to ensure global visibility and cultural impact for artists, events and brands alike.

Lauren Chester has over a decade of experience in music and events PR. Since joining Listen Up in 2016 (with a brief period in hospitality during the pandemic), she has led campaigns that merge traditional press with digital storytelling, including social media strategy, podcasts and immersive activations. Her portfolio includes artists such as ANOTR, Sammy Virji, Skream, Nicole Moudaber and Black Coffee, alongside festivals like Brunch Electronik, OFFSonar, Beyond the Valley, SW4 and Parklife.

Listen Up is a global music promotion agency operating at the intersection of music and culture. With more than 15 years of activity and offices in London, Los Angeles and Ibiza, it builds full-spectrum campaigns that connect artists, brands and audiences through press, brand partnerships, influencer networks and creative activations.

LAUREN CHESTER

Podcast Panel: Beyond the Press Release: The Future of Artist Storytelling

Podcast Panel: Beyond the Press Release: The Future of Artist Storytelling

PATRICK AMES

Patrick Ames Conner is the Founder and Executive Director of APRICITY, a creative communications agency rooted in music, fashion and the arts. With nearly a decade of experience across PR agencies, editorial work and corporate strategy, Patrick has built a profile as a specialist in shaping artist narratives and international media campaigns. His background spans senior communications roles at Downtown Music, campaign work for Ultra Records and Insomniac, and bylines as a senior writer at EARMILK with contributions to Mixmag, giving him insight into both sides of the media landscape.

APRICITY is a multifaceted communications agency that combines PR, artist development, audience strategy and visa support. With clients ranging from independent artists to global labels, the agency focuses on authentic storytelling, long-term partnerships and tailored media campaigns across digital, print and new media. Its work extends into career mapping and brand coaching, ensuring clients grow sustainably and remain culturally relevant.

By positioning artists authentically and fostering connections across global markets, APRICITY has become a trusted partner for those looking to expand their reach. From strategic press campaigns to specialized O-1 visa support, the agency continues to operate at the intersection of creativity and strategy.

Enno Lombaert is a publicist at Dispersion PR, one of the UK’s most influential full-service PR and marketing agencies in electronic music. With a roster that has included Warp, Hot Creations, FUSE, Up The Stuss, Phantasy Sound, and Last Night on Earth, the agency is recognized for shaping campaigns that truly resonate within the scene.

Over the past four years, Enno has built strong expertise managing press, radio, and club campaigns. His current roster features heavyweight names such as CLR, Rekids, MOOD, FURTHER, Rhythm Section, and SEVEN, while also championing emerging projects that represent the future of electronic music. Alongside his work at Dispersion PR, he runs his own label and alias Manual Smiles, giving him hands-on insight into the full demo-to-release journey.

Dispersion PR

Founded in 2007 by Julian Shay and Dean Muhsin, Dispersion PR brings decades of combined industry experience, a passionate team, and a deep-rooted knowledge of electronic music culture. Their long-standing relationships with international DJs, media outlets, and radio networks allow them to create campaigns that are not only impactful but perfectly tailored to their clients’ goals.

With a portfolio spanning institutions like fabric, Cocoon, Defected, Get Physical, Ministry of Sound, !K7, BMG, Hottrax, Mute, Trick, and Solid Grooves, Dispersion PR has established itself as a trusted partner for artists, labels, and events seeking to amplify their voice in the global electronic music community.

ENNO LOMBAERT

Podcast Panel: Beyond the Press Release: The Future of Artist Storytelling

SUNITA DHALIWAL

Sunita Dhaliwal is the Co-Founder and Managing Director of The Everyday Agency, an award-winning company reshaping music and event marketing. With more than a decade of experience, she has led campaigns that have resulted in Grammy nominations, platinum records and global sell-out events. Sunita’s expertise combines cultural insight with data-driven strategy, allowing her to create marketing approaches that are both innovative and sustainable.

The Everyday Agency is based in the UK and works internationally with artists, festivals and brands. Its mission goes beyond ticket sales or streams: the agency focuses on building long-term legacies, developing brand identities and cultivating cultural relevance. With over 10 industry awards, The Everyday Agency is regarded as a leader in the space, consistently adapting to shifting trends and technologies.

A vocal advocate for wellness in nightlife, Sunita also embraces her role as a “Sober Raver,” championing healthier approaches to working in the music industry without losing the essence of club culture.

Hernan Cayetano is the Co-founder of Baum and Rebels, the brands behind multiple festivals and shows in Latin America such as BAUM Festival which has become one of the most important festivals in the continent. Since 2013 when they opened the Club BAUM in Bogota, Colombia, they have in the past several years played a key role in the growth and development of the cultural environment in the country as well as have expanded to other territories in the region. Hernan is also the co-manager of Funk Tribu and manager of artists such as Peterblue, Noise Mafia among others.

AUM is the leading electronic music brand in Colombia , since it’s beginnings in 2013 as a club, the brand has evolutionized into a big variety of events and festivals also in some countries such as Chile and Costa Rica.

HERNAN CAYETANO

Podcast Panel: After the Peak: What Comes Next for Hard Sounds?

GUGA TREVISANI

Few figures have shaped Brazil’s electronic music landscape as strongly as Guga Trevisani. As the driving force behind Entourage Live and Entourage Artists, his vision and entrepreneurial spirit have defined some of South America’s most influential festivals and artists. His company is responsible for producing Só Track Boa Festival and Time Warp Brazil, while also managing the careers of global talents like Mochakk and Vintage Culture.

Guga’s journey began over twenty years ago when he launched Kaballah, a party brand that grew into a cornerstone of Brazil’s psytrance scene and a key fixture in the national calendar. This project laid the foundation for what would become Entourage Live, a production powerhouse now synonymous with large-scale electronic music experiences across the country.

Alongside event production, Guga founded Entourage Artists, a leading booking agency whose roster features international names such as Vintage Culture, Mochakk, ANNA, Maz, Mila Journée, and Ashibah, among many others.

With his ability to identify trends and connect artists with audiences, Guga has built a complete ecosystem around electronic music, firmly establishing Brazil as a global hub for club culture and festivals.

Victor de la Serna is a dynamic and experienced leader within the international electronic music community, bringing over two decades of industry expertise. Starting as a DJ in London’s club scene, he expanded into roles as promoter, booker, A&R, journalist, and artist manager, shaping a versatile profile across the ecosystem. After establishing and directing DJ Mag Spain for four years and later launching DJ Mag Australia in Sydney, Victor has, since 2014, served as Music Director for the elrow Family, overseeing music strategy and talent curation for Florida 135, elrow, Monegros Desert Festival, and KER. Alongside this, he runs 974Management, representing artists such as Andrés Campo, Bastian Bux, Rendher, and Luxi Villar.

elrow Family is one of the world’s most influential brands in electronic music, combining festivals, clubs, and immersive event concepts across global stages. Known for its boundary-pushing productions and diverse lineups, elrow has become a benchmark for creativity and large-scale cultural experiences. Through its network of venues and festivals, from Barcelona’s Florida 135 to Monegros Desert Festival, elrow continues to innovate in music curation, staging, and audience engagement.

Podcast Panel: After the Peak: What Comes Next for Hard Sounds?

VICTOR

DE LA SERNA

Podcast Panel: After the Peak: What Comes Next for Hard Sounds?

STEVEN BRAINES

Steven Braines is the co-founder of the award winning HE.SHE.THEY. & global head of events for Defected & Glitterbox. He is also board member of the NTIA, formerly MMF & AFEM. Alongside managing a host of artists from Nadine shah, Maya Jane Coles, Tricky, SYREETA, Catz n Dogz, Tale of Us, Magda, Emily Nash and KDA to name a few from touring the world, collecting Grammys to topping the charts along the way. Trained in psychology his big passion is for advocating diversity & mental health in the music industry and beyond. Recognised on power lists from Billboard to IQ, Steven is no stranger to awards having recently been nominated for LGBTQIA+ leader of year in the National Diversity Awards and the winner of a Night Time Ambassador Award.

HE.SHE.THEY. Is an award winning international event series and record label but of diversity & inclusion for all races, all genders and all sexualities. Artists who have played range from Sara Landry, KI/KI, Indira Paganotto and Richie Hawtin through to Overmono, Kerri Chandler, Honey Dijon, Peaches and many more at take overs of Coachella, Glastonbury, Creamfields, Lost Village and Kappa Futur amongst other festivals. They brand also had a multi year residency at Amnesia, and takeovers at Pacha and UNVRS. Releases and remixes on the label come from the likes of Anja Schneider, Catz N Dogz, LSDXOXO, TSHA, Maya Jane Coles and Eris Drew.

Jorge Valdez has been active in the electronic music scene since 2018, beginning as a DJ and producer before co-founding the queer Barcelona collective YO·YO, where he organized underground events both locally and across Europe. His path as an artist, coupled with a strong commitment to community-driven projects, gradually led him to transition into the industry side of music. Today, he holds the position of Junior Booker at Brunch Electronik, bringing his creative background and organizational skills to one of the scene’s most recognizable platforms.

Brunch Electronik is a global reference in electronic music, born in Barcelona and now present in Lisbon, Madrid, Paris, São Paulo, Los Angeles, Lyon, Bordeaux, Berlin and beyond. Its concept combines quality music programming with local gastronomy, social responsibility and sustainability, all within a safe, inclusive, daytime environment. Throughout the year, Brunch adapts to open-air venues in different cities, creating nomadic experiences that remain true to its essence: dancing together by day, in community, and with values.

JORGE VALDEZ

Podcast Panel: After the Peak: What Comes Next for Hard Sounds?

Europe’s #1 Music, Tech & Web3 Festival returns to Barcelona.

On November 22, DEXT FORCE is back in Barcelona with a brand-new concept set to make every stone of Poble Espanyol vibrate: Electronics by night, innovation by day.

By day, the venue pulses like a creative engine: talks, workshops, and immersive experiences on investment, robotics, Web3, and the trends of tomorrow.

But when the sun goes down, La Terrrazza opens its doors one last time before the year ends. After its October closing, the legendary club will reopen exclusively for DEXT FORCE.

Four founders, one global mission. Javi and Jorge Palomino, brothers from Asturias, together with Dani Campoy and Marc Nieto, inseparable friends from Barcelona for over 17 years, have joined forces to create not just a festival, but a one-of-akind format in Europe—and the world.

Festival Stages

La Terrrazza, Main Stage

Claustro

Hard groove, euro dance, and techno shake ancient stone walls thanks to Nita

and visceral rave.

Monasterio

Tickets at dextforcefestival.com

nacho scoppa

“When the dance floor vibrates, we all speak the same language”

Born in Rosario, Nacho grew up between weekend raves, late-night study sessions, and the inspiration of names like Marco Carola. Today, his tracks travel the world, released on labels such as Elrow, Kaluki, and Deeperfect, and supported by DJs of the caliber of Jamie Jones and Loco Dice. With one foot on the dance floor and the other in the studio, he remains obsessed with being authentic in a genre as saturated as tech house. In this conversation, he reflects on how his hometown shaped him, what it means to see his idols play his music, and where he envisions his career heading in the coming years.

You come from Rosario, a city with a very particular music scene. Which local figures influenced you at the beginning, and how did they shape your current sound?

I feel lucky to have been born in such an inspiring city as Rosario. It’s a birthplace of incredible talent worldwide, in different fields like the arts, sports, and more. It’s one of the most important cities in Argentina because of its history and, without a doubt, it has one of the strongest music scenes in the country. From a very young age I had the chance to go out as a raver to electronic music clubs that opened every weekend, where both national and international artists came to play. I also got to hear Marco Carola many times when I was really young—he was and still is my biggest influence. I remember waking up every Sunday after a night out and spending the whole day making music, full of inspiration from the weekend. For me, one of the city’s great artists has always been Franco Cinelli. His sound is a little different from what represents me, but his long trajectory and inspiring career made him a key figure.

You started producing very young. Do you remember the first track you finished and what you learned from that process?

Yes, of course. The first EP I made was released during the first days of the pandemic. I remember it got really good feedback and support, including from Stefano Noferini. But the only videos I had were from livestreams, so I couldn’t actually see people’s reactions—it felt a bit weird. Even so, it was a huge motivation at that time to see an artist choosing one of my tracks for his set. From that moment on, I focused more than ever on making music every single day, always learning new things. I always say that every time you start a new project, you learn something— up until this very day.

Having played both in Latin America and Europe, how does your way of DJing change depending on the crowd and the energy of each place? What differences do you see between audiences across continents and countries?

Well, obviously every country is unique, with different customs and cultures. Music and nightlife are experienced in completely different ways depending on the place— that’s what makes being a DJ so fun. I feel like you’re constantly challenged to adapt to the culture of another country or continent. Personally, I always like to play with local classics, re-edit them so they have my sound and my essence—it’s a really strong way of connecting with the crowd. For example, if I’m partying in Argentina and a foreign DJ drops an edit of a rock band from here, it grabs my attention instantly and makes me connect in a different way. The grooves also play a big role: in Latin America people might lean more toward percussion and Latin elements, while in Europe crowds might prefer something a little more serious. So I try to adapt to each place, but always keeping my essence and style—that’s the only way to transmit what I feel and, in turn, connect with the audience.

Tech house is a genre with an overwhelming number of producers. What do you think makes your music stand out or carry your personal stamp?

Whatever you do, I think the most important thing is to be real, always. Artistically speaking, it’s crucial to be yourself fully in order to transmit something—through music, in my case. It’s amazing how each of my tracks takes me back to a particular moment in my life. I just try to transmit my energy, my experiences, and my emotions in each track. If some of that connects with people and makes them dance, enjoy, or escape for a moment, I already feel grateful. For me, the key is staying authentic, enjoying the process, and sharing that vibe with whoever listens to my music. At the end of the day, I believe your personal stamp comes from being yourself.

Your tracks have been supported by huge names like Marco Carola, Loco Dice, and Jamie Jones. What was the moment when you heard one of them play your music and thought: “Okay, something’s happening here”?

Yes, honestly seeing my biggest idols play my music is priceless. These were things I dreamed of as a kid, and thanks to all the hard work and endless hours in the studio, they started coming true. We can all imagine how much music the biggest artists in the world receive, so for them to choose one of your tracks to play at the best clubs or festivals is crazy. It’s always a massive motivation and also a kind of validation—as if they’re saying, “you’re on the right track.”

You’ve released on labels like Elrow, Kaluki, and Deeperfect. How do you choose where to release your music? What weighs more for you: the prestige of the label or the connection with the team behind it?

For me, beyond the prestige of the label, what really matters is the connection and trust with the team behind it. Of course, releasing on well-known labels is a dream— it opens doors, gives you exposure, and helps you grow as an artist. But if there isn’t a close relationship and mutual understanding, I feel like the essence gets lost. In the end, what I’m looking for is to work with people who share the same passion and believe in my music as much as I do. When that connection is there, everything flows much better and the results show. To me, labels are like a musical family—a place where your work isn’t just “another track,” but something they truly value and push forward.

What’s your creative process like in the studio? Do you usually start with a groove, a sample, or a melodic idea?

It’s always different. Usually I start with the kick and bass—I feel like the low end is a fundamental pillar in electronic music and a great starting point to build the rest. But other times I start with the drums, focusing a lot on percussion, and then adapt the bassline so it fits in the best way and makes it all sound like one single element.

Which new artists or peers from your generation would you recommend keeping an eye on because they’re bringing something different?

Tommy Benassi and Esteban Calvet are two great friends of mine who are doing incredible work. They’re getting support from huge artists and they’ve got a sound that’s both unique and really good.

Looking ahead, what excites you more: consolidating your sound as a producer or continuing to explore and surprise crowds as a DJ?

Both are equally important to achieving my goals. One can’t exist without the other, at least from my point of view and being honest with myself. I feel like my work starts in the studio making music and ends on the dancefloor, when I get to test those tracks live—it’s a constant loop. My biggest goal as an artist is to transcend. I want to build an endless discography and be 100% proud of it. I’d love for the Nacho of 2035 to still be playing the Nacho of 2025, even 10 years later. I work every single day in the studio to keep getting better and more satisfied with my sound. At the same time, I want to keep touring the world’s DJ booths. There’s nothing more beautiful than connecting with audiences from different countries and continents through music.

In November, you’ll be playing alongside Marco Carola for the first time in Rosario. What does it mean to share the booth with him — and in your own city?

Sharing the booth with Marco Carola is something I had pending; it’s a very special date for me because of the context — doing it in my own city, with my people.

Rosario has enormous meaning in my story. This is where I started, where I dreamed of moments like this. That’s why being able to experience it at home, surrounded by my friends, my family, and so many people who have supported me since my very first steps, makes it even more exciting.

It’s recognition of the journey, of all the hours of work, of the effort and passion one puts into what they love. I feel it’s not only a personal achievement but also a reflection of what the Rosario scene represents.

I think those who know me and will be there understand what this moment means — it’s a mix of pride, gratitude, and emotion. Sharing the booth with someone like Marco, in the place where it all began, is something I’ll remember for the rest of my life.

One of the most important supporters in your career has been Franky Rizardo. How did that connection begin, and what impact has it had on your path?

The connection with Franky Rizardo happened very naturally, and that’s what makes it so special. It all started through music a few years ago when I sent him promos, never imagining that would be the beginning of such an important relationship in my career.

In 2023, I released my Wanna Dance EP on his label LTF, and it was a turning point. The impact exceeded all my expectations, especially since I didn’t know the Dutch audience — which today, without a doubt, is one of the most supportive outside Argentina. Much of that has to do with Franky and the trust he gave me from the start.

We’ve built a very genuine bond, full of respect and admiration, and that makes me proud. We’ve shared great moments in the booth, and knowing that we have upcoming dates together motivates me even more. If I had to dream one step further, it would be to switch roles one day and have him play at my own party, Coppados.

Speaking of Coppados, you recently founded your label under the same name. What led you to take that step, and what’s your goal with this project?

I think one thing that has always defined me is not staying still. I’m one of those who believe there’s always a step beyond, and from that drive, Coppados was born. It was a natural need to expand — to create my own space where I could channel everything that inspires me and, at the same time, share it with others.

Coppados carries a strong emotional weight. For years I’ve been receiving music and messages from artists all over the world, and I felt I couldn’t just keep all that to myself. I wanted to build a platform that would give visibility, especially to those talents who have been with me for a while and have great potential.

Moreover, the label is much more than a musical project — it’s a community. It’s made up of an incredible team, full of energy, ideas, and passion, all rowing in the same direction. Everyone brings something different, and that’s what gives Coppados such an authentic identity.

Ultimately, my goal with Coppados is to create a space where music, collaboration, and personal growth go hand in hand — a meeting point for talent, creativity, and the desire to build something bigger than oneself.

Where does the name Coppados come from?

Coppados comes from my last name, Scoppa, and the Argentine word “copado”, which is like saying something is cool, awesome, or fun. It’s my artistic identity with Argentine roots — a name that conveys enthusiasm, energy, and authenticity. It’s not just a label or a brand; it’s a state of mind.

What’s next in your studio work? What are you currently working on?

This year was very special — full of travel, music, and growth. Every experience along the way served as inspiration and ended up reflected in the studio. I have a lot of finished music that doesn’t yet have a release date, and I’m also working on collaborations with artists and friends I admire deeply. I’m really excited about what’s coming, and I’m sure next year will be the time to share much of that material.

At the same time, I’m in a stage of sonic exploration: creating my own sounds from scratch, developing original vocals with singers, and experimenting with new textures. That process is leading me to a more personal and mature version of my music — something that’s already noticeable in my sets and that you’ll soon be able to hear.

Having such an international journey at a young age, which countries or clubs have left a special mark on you?

I’m very fortunate to be able to travel the world thanks to music. The best part of all this is seeing how music connects energies, people, and places — it doesn’t matter where you come from; when the dance floor vibrates, we all speak the same language.

ADE is one of the most important moments of the year for electronic music. What does it mean to be part of Mixmag Italy’s special edition at this very moment?

It’s the kind of recognition that grounds you. In this industry, where everything moves so fast, sometimes you forget to pause and look at where you’re standing.

Moments like this make you value the journey, gain perspective, and recognize everything that’s been built so far. But they also push you to keep growing, to keep giving your best, and to go all in with more strength and clarity.

With so many dates around the world, how do you maintain balance between your personal and artistic life?

Maintaining balance between my personal and artistic life is a constant challenge. Touring the world is exhausting, but I always find moments to connect with my family and friends, even if it’s through video calls or brief meetups.

Sports are a key part of keeping myself centered and clear-headed. No matter how intense the tour gets, I always take time to train and disconnect, because it helps me balance my energy, relax, and return to the studio or the booth with focus.

I also value rest and the small things that make me feel present — those are the moments that allow me to keep enjoying music and everything that comes with it, without losing my personal grounding.

What other hobbies do you have outside of music?

Honestly, music takes up almost all my day, but cooking is another one of my great passions. I love Italian food — it’s definitely my specialty at home — but I also enjoy experimenting with new flavors and combinations.

Whenever I cook, I do it with the same passion as when I produce a track: every dish is a creation, and if you put love and attention into it, the result will always be unique. Cooking inspires me as much as music does — it allows me to explore, try new things, and create experiences that are felt and enjoyed, just like a great set.

What goals have you set for 2025, both personally and professionally?

For 2025, I’ve set several goals that combine both personal and professional growth. On a personal level, I want to maintain real balance — spend quality time with my family, my partner, and my friends, and enjoy the moments that truly matter while continuing to grow.

Professionally, my goals are clear: to keep making good music, expand my career into new countries and cities, and continue working with respected labels. I also want to be part of key events like ADE and create new connections that help elevate my artistic path.

It’s a year to consolidate everything I’ve built so far, but also to explore and unlock new opportunities — always with the passion and energy that define me.

alex farell no age limit

At just 18, Alex Farell has already lived through milestones most DJs dream of chasing for decades. From producing tracks on a laptop at twelve years old to closing Parklife Festival with Teletech, his rise is both surreal and symbolic of a new generation rewriting the rules of hard techno. For him, music has never been a hobby or a plan B. It has always been the only way forward.

This is the story of a kid who sacrificed school revision for studio time, who sent Soundcloud messages to his heroes and now shares studios and stages with them, who has become both a symbol and a role model in a scene where age truly does not matter.

EARLY OBSESSION AND ORIGINS

“Ever since I was born, I’ve always loved music. When I was around 7 or 8, I remember I’d save up my pocket money to buy new music on iTunes so I could listen on my iPod. I think I mainly caught the music bug from my dad; he loves music too, and he has always had it playing in the house.”

“He was also a bit of a raver back in the day. When I first discovered that it was possible to produce music on just a laptop, I was excited to get started and quickly became completely lost in Ableton. The idea of being able to make my own techno music was so crazy to me, I just completely fell in love with it.”

“It’s funny listening back to old tracks, it feels very nostalgic to be honest, and I enjoy going back now and then. Back then, there was no pressure, and I was making music purely for myself, which is pretty difficult to do now in this scene.”

By 14, he was no longer locked away in his room but playing clubs, legally chaperoned, introducing the energy of hard techno to packed rooms while still technically a kid in school.

“It was really cool to be honest, I remember doing my first gig in the WAV in Liverpool. My dad came with me and stood behind me while I played. Even though I was opening and only around 50 people were there, it was probably the biggest buzz I’d ever felt in my life. From that moment, I knew that I had to work as hard as I could to make this my full-time job.”

The real breakthrough came with 3AM in Berlin, a track that spread like wildfire across the hard techno scene.

“I remember I was on holiday with my family when DYEN replied to my Soundcloud message saying, ‘amazing track bro, will play this tonight.’ When I woke up, I went straight to his Instagram story and saw that he opened his set with my track. The roar from the crowd was absolutely insane. This was the point that maybe I was onto something.”

Breakthrough tracks and recognition

FROM THAT MOMENT, HIS CONFIDENCE SHIFTED.

“Once 3AM in Berlin was released, I felt so motivated to take my sound to the next level. It made me realise that really anything is possible. From working in my bedroom to having my tracks played in front of thousands, it was a crazy feeling.”

That same hunger powered the Jungle Boy EP, a record written in libraries, between classes, and in the stolen hours of school life.

“I think the fact that I wasn’t meant to be producing music at the time gave me a lot of motivation. At this point, I was working really hard because I could feel that my tracks were getting really strong and all the big DJs were playing them.”

“I think when I was in school, I was so motivated to make DJing a full-time job that I pretty much sacrificed my education for it. I would skip revision lessons just to finish off my tracks. Which I have no regrets about either, as they are the tracks that blew me up in 2023.”

THE SCENE AND HIS PLACE IN IT

By now, Alex is no longer the kid sending Soundcloud DMs. He is in the studio with his heroes and sharing stages with the DJs he once watched online.

“It feels very surreal, luckily all of the DJs I know are really nice people and we get on really well. I never really get star-struck, but it does feel surreal looking back when I’m in the studio with big artists like Sara Landry. I remember being in class in school watching her live streams, hoping she would play my track, and now to be in the studio making bangers with her is surreal.” The rise of hard techno, especially in Liverpool and Manchester, has been rapid, and Alex is conscious of his role in it.

“I want to see myself as a role model for all young DJs who have a passion for music. It’s powerful to see a young lad like me doing the shows I do. It proves that in the techno scene, age does not matter. I really caught the hard techno wave at the right time. The scene is so fast-paced now that it feels like trends come and go every few months. From the 2 years I’ve been touring, I’ve seen

the style of tracks that everybody plays completely shift into a lot harder style.”

“I think nowadays hard dance or hard techno is such a broad term that it incorporates all kinds of music. I think my generation is the first to break the rule book in terms of production. Signing to labels is becoming a thing of the past, and lots of people are now just self-releasing, and it is working really well for most artists.”

LIVE SHOWS AND HIGHLIGHTS

Boiler Room at 16. Closing Parklife for Teletech. And still, he points to a Liverpool warehouse as his defining moment.

“The moment that I feel really put me on the map was my Blackstone warehouse show last year supporting Azyr. I played for two and a half hours, and I remember I played a lot harder than I usually do. The feedback was so amazing that I’ve been fortunate enough to host my own invite show this October. I want to be able to represent Liverpool for the hard dance genre, as this city is thriving with talent.”

Even with milestones stacking up, he still carries the label of being “the kid” in green rooms.

“I’m always kind of known as the kid in the green rooms, as everyone knows me as being really young. However, as I’ve toured for almost 2 years now, I’ve become good friends with most DJs in the scene, so I’d say I’m a bit more of a peer now to everyone.”

Preparation, for him, is all about instinct.

“I’ve always been very confident behind the decks ever since I was very young. I never really get nervous for big gigs, I just feel really excited. I don’t plan any of my sets; I like just to wing it, as it adds a bit more of a challenge on my end to read the room.”

THE FUTURE AND PHILOSOPHY

For Alex, there has never been a plan B. Music is the path, the passion, the therapy.

“I’m very blessed and very thankful to be able to do something that I love as a job. I truly believe that if you put your mind to something and work really hard at it, good things will come over time. As long as you’re in it for the right reasons.”

“I don’t really feel any pressure that I don’t have a plan B. I’ve been able to make a good amount of money from producing music since I was 14 through various means, including ghost producing, mixing and mastering, and of course releasing my own tracks. If I stopped touring today, I’d be pretty comfortable using my production skills to help others out with their music.”

And for the next generation hiding away in their bedrooms, afraid their music is not good enough yet, his message is clear.

“The most important thing I can teach the younger generation is that hard work really does pay off. Producing music is a tough skill to learn, but once you learn and train your ears, the possibilities are endless. I think music production can be used as a form of therapy to release your emotions. When you’re in full flow state, that’s when the best work comes out.”

“I think I would just say to my 12-yearold self, keep working hard. All the work that you will put in will be worth it in the future because you will get to live your dream.”

Alex Farell’s rise is the kind of story that captures the imagination. From teaching himself to produce at twelve to commanding festival stages before turning twenty, his path is fueled by discipline, hunger, and a refusal to treat music as anything less than a life’s work. What began as a secret obsession in his bedroom has become a full-time career built on determination and instinct.

He has shown that age does not matter when the music connects, and that breaking the old rulebook is not a risk but a necessity. His sets carry the intensity of someone who still has everything to prove, yet his confidence behind the decks shows he already belongs.

More than achievements or co-signs, what defines him is belief: belief in hard work, in honesty, and in music as therapy. That conviction has taken him from Liverpool classrooms to the heart of Europe’s hardest dancefloors, and it is only the beginning. Alex Farell is not just arriving on the scene; he is reshaping it in real time.

ANTHONY GODFATHER

Quiet In The Crowd

ADE is always a thermometer. It’s where trends are measured, new scenes are born, and artists prove whether they have more to offer than just a couple of seasonal bangers. This year, among the noise of thousands of names, one album is standing out: Quiet in the Crowd by Anthony Godfather. And it’s no coincidence.

After more than fifteen years in the trenches, the producer and DJ is at a point where he doesn’t have to prove anything. His legacy is already felt on the dancefloor: pioneer of Latin Tech, founder of CACAO, tireless agitator of a culture that blends roots and club.

But with Quiet in the Crowd he’s done something different. He’s lowered his guard and turned vulnerability into an aesthetic. An album that doesn’t seek to fit in, but to create a space where identity and creative freedom intersect.

“This album was born out of the need to exist without asking for permission. For a long time, I’ve felt like a stranger among applause. I’m an artist who mixes reggaetón with electronic music in a world that often doesn’t want to hear something different, yet they do. Quiet in the Crowd is an affirmation of identity, a way of saying: ‘I’m not here to fit in, I’m here to sound different.’”

Far from the formula of an album designed only to blow up dancefloors, Anthony bet on a long-format work of 25 tracks, where collaborations are not measured by name size but by real connection.

“This is not an album that seeks to belong, it’s an album that says ‘this is who I am,’ if you don’t get it, it’s fine, it just wasn’t meant for you.”

That honesty is what makes Quiet in the Crowd more than just a release. There’s a cinematic pulse that seeps through the club’s impact, a near-editorial visual care that both exposes and satirizes the codes of the artist’s world.

“What you call the most cinematic part actually has to do with all the visual work that comes with it. There’s a very elegant, almost fashion-editorial aesthetic that we used to create a kind of satire of the world surrounding the artist. The booth girls with exaggerated lips, the nails that look like shovels for what we all know… These things are there, they’re obvious, but almost nobody dares to name them. I’ve tried to show them in a finer, subtler way, using that more editorial language that I also love.”

In that balance between the rawness of the dancefloor and the critical eye of the author lies the real strength of the album. Anthony Godfather has shown that even amid the noise, it’s possible to dance with introspection.

CACAO: MANIFESTO IN MOTION

What started as a party with friends is now a global movement. CACAO is no longer just a night in Madrid or Ibiza, it’s a sonic manifesto that has crossed borders into Buenos Aires and beyond.

Anthony Godfather designed it as a space of freedom, provocation, and identity, and over the years it has become a refuge for Latin Tech, a genre that found in CACAO its place to grow without asking permission.

“CACAO started as a party to have fun with friends and show the sound that moved me, but over time it has become much bigger. Today, for me, it’s a manifesto, a place where I can show what Latin Tech means without filters. As an artist, CACAO is freedom: there I can invite people who vibrate with the same thing, who bring freshness to the genre, and create an atmosphere where everyone feels part of it.”

More than an event, CACAO is a statement. Its DNA doesn’t depend on giant lights or million-dollar productions. It’s about authenticity, raw and precise aesthetics, atmosphere.

“For me, CACAO is above all a safe space for Latin Tech artists, a place where they can express themselves without fear and show who they really are. Visually, we keep it simple: low light, almost all pink, mostly directed by our signature neon above the booth, which gives the DJ that touch of ‘divinity.’ We want everything in the room to make the dancefloor feel like a soul dance, a place where the crowd can let go and feel free. We add plenty of strobe light and a booth always full of people, transmitting warmth and closeness. That mix of music, energy, and aesthetics is what makes every CACAO night special.”

That’s the essence of CACAO: a ritual more than a party. An experience that turns the dancefloor into a space of community and cultural resistance.

ON THE ROAD: DANCEFLOORS THAT SPEAK DIFFERENTLY

Anthony Godfather doesn’t play the same everywhere. His Latin Tech is not a canned product, it’s a living language that shifts depending on the city, the culture, and the energy vibrating on each dance floor. From Ibiza to Madrid, from Amsterdam to Buenos Aires, every floor has its own pulse and CACAO has learned to breathe it in.

“Each place has its own energy and you can feel it as soon as you step on the floor. At Tantra Ibiza people are there to surrender completely, they want to let go, while at Fabrik Madrid there’s more intensity, a crowd deeply immersed in the music and every transition. Thuishaven in Amsterdam has that total freedom, a more underground vibe, and Buenos Aires… the energy there is brutal! People dance like there’s no tomorrow. That’s why my sets evolve depending on the city: I don’t play the same everywhere. I adapt to the energy, the moment, and the audience, mixing Latin Tech with other grooves that fit the environment. In the end, what matters is that the floor feels alive and that everyone can connect with the music genuinely.”

That instinct for adaptation is what makes Anthony more of a cultural translator than just a DJ. He knows how to read rooms and translate them through his sound. And although he has already conquered key destinations, he still dreams of taking Latin Tech to places where it’s never been heard.

“I’d love to take Latin Tech to cities like Tokyo or New York, where I know music sounds different and people are curious about new sounds. I’ve already had similar moments, like the first time I played in Munich or at Thuishaven, where the crowd didn’t know my sound but immediately connected with the energy on the floor. That’s the most beautiful thing: seeing how music breaks barriers and unites people regardless of where they come from.”

AFTER THE SILENCE: WHAT’S NEXT

Anthony Godfather doesn’t know how to stay still. His album Quiet in the Crowd was a statement, but far from being a pause, it seems to have opened more creative paths.

“After Quiet in the Crowd I don’t plan to stop; I’m already exploring new sounds, like boricua house that I’m including in many of my sets. It’s all still connected to the album’s story: showing who I am, but from new perspectives and with the desire to surprise.”

That drive to break molds is what keeps him at the forefront of Latin Tech. He recognizes himself as a pioneer, yes, but he’s not willing to be pigeonholed. For him, evolution is inevitable, almost a vital need.

“I’ve always liked not sticking to just one sound. Now I’m exploring how to fuse Latin Tech with boricua house. A dream would be to work with artists who inspire me a lot, like The Martinez Brothers, Gordo, or Cloonee. My musical language keeps evolving, aiming to surprise and show who I am without filters.”

And if we talk about CACAO, the project that was born as a party among friends and now moves as a global manifesto, Anthony is clear: they’re just beginning to show their true potential.

“We already have a label. With CACAO Records we’re supporting artists of the genre and already have residencies in Madrid, Seville, Mallorca, and Málaga. We’ve taken the concept to Italy and now we’re heading to the UK, the Netherlands, and Germany. The truth is, I’m living a dream.”

HORIZONS

Despite all he’s conquered, Anthony Godfather talks about the future as if he were just starting out. Latin Tech is his flag, but what drives him is the feeling that there’s always a new stage to conquer, a collaboration to take him to another level, a crowd that hasn’t yet felt that instant connection with his sound.

“I feel like this is just beginning. I still have a whole world to conquer with my sound, and playing with The Martinez Brothers would be a dream come true. And if we talk about stages, I’ve always dreamed of Circoloco… it’s my favorite party and a place where I know the music takes on another dimension.”

It’s not about a checklist of achievements, but about pushing a vision forward. Quiet in the Crowd opened a more personal chapter, CACAO consolidated as a movement, and now what’s next is expansion, collaboration, and a future vibrating with the same intense pulse that started it all: the freedom to sound different.

What doesn’t always appear on the surface of the interview is Anthony Godfather’s true reach right now. Quiet in the Crowd is not just a studio album, it’s a statement that places him in a different space within electronic music: an artist who combines vulnerability with dancefloor impact.

It’s also a reminder that you can be a club weapon while also building a cinematic narrative that strips down the artist behind the alias.

At the same time, CACAO has stopped being a party to become an ecosystem. We’re no longer talking only about a series of roaming nights, but about a platform that integrates a label, fixed residencies in several Spanish cities, and expansions toward Italy and soon Germany, the UK, and the Netherlands.

In every edition, CACAO confirms that Latin Tech is not a trend, it’s a culture with its own visual, sonic, and emotional codes.

What also weighs heavily is Anthony’s ability to move cultural borders.

Bringing a genre with Latin roots to Ibiza, Madrid, Amsterdam, or Buenos Aires means adapting to each context without losing identity, something very few have achieved. His dream collaborations, like with The Martinez Brothers, and his goals of stages like Circoloco, are not fantasies, they are logical steps in a path already opening doors beyond the traditional territories of techno and house.

In this sense, Anthony Godfather is not just writing his own story, he’s setting the roadmap for a new generation of artists who understand the dancefloor as a space of community, not labels.

Quiet in the Crowd and CACAO are pieces of the same puzzle: identity, risk, and the certainty that being different is precisely the engine that moves everything.

The conclusion is clear. Anthony doesn’t want to fit in, he wants to transcend. And with every track, every showcase, and every vision he brings to life, he proves that Latin Tech is not an appendix of global electronic music, it’s a new language, expanding.

What’s coming is not an uncertain future, but an open horizon that he himself is designing beat by beat.

LEVS

Two Voices, One Pulse

There is something uncanny about watching LEVS behind the decks: two bodies, two minds, yet only one pulse. Erika and Laura, Colombian-born twins now carving their space in Europe’s techno underground, do not just play music; they collapse difference into unity. Their sets are less about tracklists and more about shared instinct, about the unspoken glances that turn a booth into a nerve center. In a world obsessed with ego and individuality, they dare to dissolve into one.

Do not mistake their connection for gimmickry. The twin factor might be the first thing people notice, but the reason crowds return is the sound: high-energy, bold techno that feels both forceful and hypnotic. They have carried it from the sweat-soaked floors of Fabrik Madrid to the raw electricity of Radion Amsterdam, leaving behind a trail of nights where tension flips into euphoria and precision collapses into pure instinct. Their music is crafted for those moments where the booth and the dance floor blur into the same frequency.

What makes LEVS fascinating is not just their synchronicity, but the friction beneath it. As sisters, as producers, as curators of their own label Conscious Mind, Erika and Laura constantly walk the line between individuality and merger, instinct and architecture, vulnerability and control. It is that tension, the dance between “me” and “we,” that has given rise to one of the most distinctive voices in today’s crowded techno landscape.

TWO VOICES, ONE IDENTITY

For Erika and Laura, the strength of LEVS lies in both difference and unity. They are careful not to blur their individuality outside the booth, because that contrast is what gives their music its emotional weight.

“We are very intentional about protecting our individuality, because we believe it is the foundation of everything we create,” they explain.

Each sister brings a distinct palette, yet once they step into the booth, the lines shift.

“We do not lose our individuality, but we merge into one, allowing ourselves to dissolve into the project, to become ‘we.’”

There is a reason why watching LEVS on stage feels so magnetic. Beyond track selection, an invisible current flows between them, a vocabulary of glances, gestures, and shifts in energy that never needs to be spoken. They resist calling it supernatural, but they acknowledge its power.

“It is more about the deep level of intuition that comes from growing up side by side, sharing experiences, and knowing each other so well,” they say.

from the club to the studio

On stage, that silent bond becomes amplified, altering the flow of the night in ways only they can sense.

Every duo has to negotiate the line between instinct and structure, and LEVS has found its rhythm in the tension.

“It is probably something like 70 percent instinct and 30 percent planning,” they admit. A playlist is always built in advance, a foundation that anchors them, but once they step into the booth, the room becomes the map.

“The connection with the crowd is what shapes the direction of the set.”

One leans closer to the architect, the other to the risk-taker, but the set only clicks when both roles fuse into one flow.

LEVS’s productions carry the same raw electricity as their sets: bold, intense, yet layered with atmosphere. The seed of that energy almost always comes from the club.

“Clubs definitely inspire us. There is something about the energy of the night, the people you meet, and the atmosphere that stays with you long after,” they reflect. One moment that crystallized this was when we opened for Outworld. Nerves were heavy at first, but instead of freezing, that tension became the ignition.

“Once we stepped into it, the nerves transformed into pure connection. It felt like we were not just performing, we became one with the ravers, part of the same pulse.”

That night still reverberates in their studio, shaping the way they approach their music.

Working together as sisters could easily become combustible, yet LEVS has found a way to transform friction into forward motion.

“Of course, we see things differently sometimes, but instead of turning that into conflict, we have learned to approach it with calm and respect,” they explain.

Those moments are not about one winning over the other; they are about unlocking new paths.

“At the end of the day, we understand that we are two different people, and those differences can help us spark new ideas.”

What might derail other duos becomes a creative resource, a built-in catalyst that keeps the project evolving.

The global electronic landscape is overflowing with duos, collectives, and solo DJs. Being twins could easily be reduced to a gimmick, but LEVS have worked hard to ensure the focus remains on their artistry.

“Being twins is naturally the first thing people notice, but for us it has never been the focus. The music always comes first,” they say.

Their twin connection is a tool, not a brand. What sets them apart is not the bloodline but the vision: a determination to craft atmospheres that carry emotion, texture, and journey.

“We want people to connect with the emotion and the journey in the music.”

ON VULNERABILITY AND AUTHENTICITY

The DJ world demands an image of perfection, impeccable sets, immaculate branding, and curated posts that leave no room for flaws. Yet the paradox is apparent: audiences often connect most deeply with honesty, with the cracks in the façade. LEVS acknowledges the weight of that pressure.

“The pressure to be not only a DJ but also an influencer often creates an unrealistic image of perfection, flawless mixes, flawless branding, flawless posts,” they admit.

For them, perfection was never the point of electronic music. Vulnerability is present, but it is rarely literal. Instead, they channel it through the music itself, embedding honesty in the atmosphere rather than social media captions.

“It does not mean it is not there. We just channel it differently.”

The sound of LEVS is immediately recognizable: high-energy techno that hits with force yet wraps itself in hypnotic textures and groove. The sisters never sat down to design it with intention.

“It happened naturally. The sound you hear now is really the result of our ongoing evolution as DJs and producers. Looking ahead, we are definitely curious to push boundaries and explore new sounds. It allows us not to stay locked into one category and gives us the freedom to grow, experiment, and discover more about ourselves and our music.”

The launch of their label, Conscious Mind, was more than a business move; it was a declaration of independence. Within months of producing, they decided to take complete control of their music.

“One of our main motivations was to have full control over our releases and manage them directly, without depending on external decisions. Creating our own label gave us the freedom to shape our sound, experiment without limits, and build a community around our vision. For us, the label represents a realm of limitless exploration, a place where unconventional ideas can find their voice and where connections are nurtured that reach far beyond the music itself.”

Erika and Laura are not chasing gimmicks, they are not selling perfection, and they are not trying to outshine each other. They are thoughtful, humble, and patient, protecting their individuality while choosing to merge into something greater when the music calls for it. Conflict becomes fuel, nerves become connection, and vulnerability becomes atmosphere.

LEVS are less about the spectacle of being twins and more about the integrity of being artists, curators, and human beings who understand that imperfection is where the pulse truly lies. That is why their story resonates: two voices that never lose themselves, yet choose to become one when the night demands it.

TERMINAL V Mixmag ADE Special - Croatia Review

You could feel the energy of Terminal V’s return to Croatia before you even saw it. There was genuine excitement in the air as people from all over Europe descended on the magical Garden Resort, fully aware of the severe techno onslaught that was to come in the following days. Part of that is because last year’s debut was so impressive, and part of it was because the team once again hit new levels with their programming and matched the scale and ambition of their now legendary events back in Scotland.

But this one is different. This one is in blazing sun, under a canopy of stars, on a lovely beach in a natural sweeping bay backed by pine trees. Scotland’s hardest-hitting techno export has really found its second home on Croatia’s sun-soaked coast, and the 2025 edition proved it’s not just a one-off experiment. This was the year it truly came alive, doubling in size, dialling up the edge, and carving its name firmly into Europe’s top table.

Terminal V was born in the cavernous warehouses of Edinburgh, forged in sweat, steel, and an unapologetic love for techno at its most uncompromising. Croatia, by contrast, is a playground of crystalline waters and golden sunsets. Think industrial firepower dressed in Adriatic light and you will be in mind of the spirit of these relentless five days and nights as Terminal V brought the storm to paradise.

At Terminal V Croatia, each stage is its own trip. The Beach Stage is the jewel in the crown. You’re raving ankle-deep in the Adriatic as crystalline sound design ricochets off the water. When the sun dropped and the lights kicked in, it was like stepping into a fever dream. Then the Olive Grove is an oasis for real heads that’s nestled among ancient trees. It’s intimate, stripped back, perfect for leftfield selectors and more considered sounds and slight breathers between the chaos. For pure scale and spectacle, head to the Main Stage, where industrial rigging is transplanted to paradise to deliver the kind of chest-rattling impact you’d expect in a Scottish warehouse, but with Mediterranean stars overhead.

Barbarella’s Discotheque is well known around the world for its peerless sound system and open-air magic. It very much lives up to its own myth and legend, as afterparties here didn’t just extend the night, they often defined it. Highlights include Daria Kolosova’s 5 am set and Héctor Oaks’s closing as dawn broke with a vibe that can only be described as holy communion.

And then, of course, there’s the boat parties. DJs tearing through sets as ravers lost themselves mid-Adriatic, speedboats delivering surprise guests, and the sea air cutting through the sweat. It’s the stuff you can’t fake, the kind of memory that makes your Monday commute feel like a glitch in the simulation.

Musically, highlights come thick and fast on all fronts. The line-up was ruthless with big-room juggernauts and underground insurgents sharing equal footing. We kicked off Thursday with a boat party featuring OGUZ, DBBD, and Nik Kasltel in fine form and then got into it back on dry land.

The sound of Kobosil’s punishing kicks cutting through the night air, the spectacle of Mall Grab slamming through breaks as the sky blushed pink, the sweaty communion with tons of new mates on the beach stage - all this is the stuff that comes back to you months, years later and brings a smile to your face because you know you were there to experience something special.

At night, I Hate Models turned chaos into theatre, channelling breakneck BPMs into something oddly transcendent. The day after, Dax J dropped bombs with clinical precision at Olive Grove, and Ben Sims brought his no frills, timeless sounds to keep the momentum flowing. Later, Barbarella’s open-air floor was heaving under the weight of attacks from OGUZ + and BLK, who offered a masterclass in unrelenting techno at The Yard.

By day, things took a different shade on Saturday. X Club. toyed with tempo and texture, serving up hyperactive cuts that bounced between EBM filth and rave euphoria out at sea. On the Beach Stage, the thrilling chaos of BIIANCO was a blizzard of sound and texture from across hard dance, trance, and plenty in between that all blurred genres into something utterly functional.

Terminal V Croatia 2025 is not just a Scottish export transplanted into a new setting; it truly has a global feel, as if it’s always been here and always belonged. Australians made up a massive chunk of the crowd and brought a hedonistic edge that rarely faltered. At the same time, Londoners, Berliners, Parisians, Tokyoites, and more all converged with locals who’ve seen Croatia become Europe’s summer festival capital over the last 15 years. The energy was international yet deeply communal from start to finish.

Stage partnerships with collectives like Berlin’s BCCO, Serbia’s Music Reactions, and Spain’s Abstract ensured the programming never felt insular. Instead, it was a cross-continental dialogue in which techno’s many dialects come together on Adriatic dancefloors for five days of full-spectrum sonic immersion.

The difference between Terminal V Croatia and its Scottish motherland comes down to intensity. Edinburgh is a sledgehammer: dark, raw, industrial. Croatia is more deceptive. The sun, the sea, the smiles lull you into thinking it’s going to be more laidback, and by day it somewhat is, but once night falls, once the BPMs hit full throttle, it’s every bit as ferocious. The softness of the setting only sharpens the contrast. When you’re five hours deep into a Kobosil set and the horizon starts to glow, it’s a new kind of euphoria.

Founders Derek Martin and Simon McGrath have made it clear that this isn’t a fling. Tisno is now part of Terminal V’s DNA.

And judging by the 2025 edition, with attendance doubled, production amped up, and local support stronger than ever, they’re not just talking big, they’re delivering big, too. With that in mind, Terminal V Croatia is also proof that techno’s most uncompromising spirit can thrive in paradise without losing its teeth. Proof that community and curation can trump hype and headliners. By the time the last beat faded and the Adriatic swallowed the sun once more, one thing was clear: Terminal V Croatia is now leading from the front.

Heres our upcoming shows, venues and dates!

Event: Terminal V Halloween

Date: 1st November 2025

Venue: Royal Highland Centre, Edinburgh

Event: Terminal V London

Date: 14th November 2025

Venue: Drumsheds, London

Event: Terminal V Festival

Date: 18th + 19th April 2026

Venue: Royal Highland Centre, Edinburgh

Event: Terminal V Croatia

Date: 16th - 21st July 2026

Venue: The Garden Resort, Tisno Croatia

Theory X

From Istanbul to the World

Istanbul has always been a city of contrasts, where East meets West, where tradition meets modernity, where chaos and creativity live side by side. Out of this unique energy came Theory X.

In only a few years, Theory X grew from a record label into one of the most influential music movements in the MENA region. Today, it is a complete ecosystem with more than fifty artists, international showcases from Bodrum to Tulum and from Liverpool to Amsterdam, and a community that refuses to be defined by limits. Wherever Theory X goes, it carries the pulse of Istanbul, the light of the Mediterranean, and the original sound of MENA.

MORE THAN MUSIC

The strength of Theory X is not just in the tracks it releases. The real difference is in how it builds culture. Every showcase is designed as an experience. Every artist is developed as a story. Every collaboration shows respect for local roots while opening to the global stage. Whether it is a ware house in Istanbul or a significant festival in Amsterdam, Theory X creates a feeling of authenticity and connection.

Theory X is not only releasing music, it is building careers. Names like Batıkan Tanrıkulu, Lunar Plane, Drumstone, and Gulec are now reaching global audiences thanks to the platform and strategy that Theory X provides. These artists are the new wave of international talent rising from MENA.

THE VISION OF SEZER UYSAL

At the center of Theory X stands Sezer Uysal. With more than five hundred productions, he is not only a successful producer but also a mentor and strategist. He understands both the struggles of the underground scene and the thrill of performing on global stages. His leadership has turned Theory X from a regional project into an international force.

MENA READY TO LEAD

Theory X is more than a label or a collective. It is the symbol of a region stepping forward with confidence. For many years, the MENA region was seen as a follower of trends. Today, it is clear that the region is ready to lead.

Theory X shows the world that MENA is not only part of the global music industry. It is shaping the future of it.

THE MOVEMENT AND THE MACHINE

Ask anyone plugged into the MENA scene right now, and Theory X is bound to come up. It started in Istanbul but quickly turned into a bridge between underground heat and international stages. The label is not just about dropping a track; it is about lifting a whole region.

“The label’s success has been a key bridge between local talent and global recognition. We’ve signed artists like Batıkan Tanrıkulu,

Drumstone, Lunar Plane, and Gulec, whose tracks have been played by some of the biggest names in the scene. We’ve helped them build their careers and gain international attention. The MENA dance music scene has truly captured global listeners, and so many incredible artists have quickly become crowd-favorite DJs.”

Running a label with more than fifty artists is no walk in the park. Release schedules, budgets, promotions, endless logistics, it is the unsexy part that can kill the soul of a project if you are not careful. Theory X’s answer has been structured.

“This makes everything much more efficient and allows us to keep the right balance between creative and operational work. Thanks to the harmony within our team, we can manage budgets, release schedules, and promotions effectively, while keeping the spirit of the project intact.”

In 2025, labels are not just distributors anymore. They are identity platforms, cultural hubs, and classrooms.

“Right now, we’re working intensively on both the label and event sides. Our 2026 event calendar is already fully booked, and our release schedule is locked in as well. Personally, I’ve always mentored many artists, and I still try to do so whenever I can. We’re also considering stepping into education in a more structured way. With the right planning, I believe Theory X can grow beyond being just a label and event organizer into a platform that shares knowledge, provides mentorship, and inspires the next generation of producers and DJs.”

TAKING IT GLOBAL

Exporting a brand comes with its own grind. Theory X showcases have stretched from Istanbul to Tulum, Liverpool, and now ADE, and every city is a different beast.

“The first thing we always do is try to understand the culture and nightlife values of each city we visit. The color palettes we use in Tulum are completely different from those in Liverpool, as the nightlife cultures are worlds apart. Our bookings, visuals, stage design, and even the energy of our sets are adapted to match the local scene, while staying true to our sound.”

And while the packed showcases and glowing press make it look effortless, Uysal is quick to stress that the backstage is just as decisive as the music.

“Honestly, there isn’t one dramatic story that defines it, but what I’ve learned is that the backstage side of running a label is just as decisive as the music itself. Negotiations, solving last-minute technical issues, or coordinating release schedules across different time zones. These are the things that truly shape a label’s path. People often see the tracks on streaming platforms or the energy of a packed dancefloor, but every success is built on the dedication of those working quietly behind the scenes.”

THE ROLLOUT AHEAD IS ALREADY MAPPED.

“On the events side, we already have four showcase locations confirmed for next year in Berlin, Lisbon, Mallorca, and London. Since Theory X went global in January 2025, we’ve been building on much stronger foundations. This year, we curated the summer program for The Edition Hotel in Bodrum, which was a beautiful experience. We’ll likely continue that collaboration next summer as well. On the label side, things are accelerating too. Everywhere we go, we meet with our artists to discuss new EPs, demos, and projects. First up, we’re putting out a sampler for ADE, then we’ve got two more EPs from Haffenfold and David Granah before rounding out the year with the remixes of my album ‘Regeneration’, which dropped earlier this year. And perhaps most excitingly, we’re preparing for a major collaboration with a global brand, our first international brand partnership. It’s a big step for us, and once everything is confirmed, we’ll definitely share the news.”

THE ARTIST BEHIND THE LABEL

Sezer Uysal is one of those names you hear whispered with respect in both backrooms and boardrooms. Nearly twenty years in the trenches, more than five hundred releases, and a career built not on shortcuts but on patience and persistence.

“Honestly, I wouldn’t change anything about my career. Every step, every mistake, and every achievement has shaped who I am today and taught me something invaluable.

If someone had offered me shortcuts or handed me the one secret to success, the journey would never have carried the same meaning or depth. Growth as an artist doesn’t come from easy answers; it comes through trial and error, through experimenting, stumbling, and discovering things for yourself. Those challenges are what build resilience, perspective, and authenticity. Looking back, it’s the process itself, the highs, the lows, and everything in between, that has made the path worthwhile and allowed me to grow, not only as an artist, but as a person too.”

That philosophy permeates how he mentors the next generation. For Uysal, it is not just about teaching arrangement or EQ; it is about reminding young artists that the spotlight has shadows, too.

“The first thing I tell them is that being a DJ or producer is not as flawless as it looks from the outside. Sure, being on stage, traveling, and playing in packed clubs seems amazing, but there’s a side to it that people rarely talk about: post-performance depression. On stage, you feel like a king, but when the lights go down, the applause fades, and the adrenaline drops, there’s often an emptiness that follows. If you don’t know how to manage that, it can be very challenging. That’s why I emphasize not just technical mastery, but also building a solid life outside the stage. Strong friendships, meaningful relationships, people who ground you, these are just as essential as knowing how to structure a breakdown or a drop. And when it comes to rules, learn the basics well, but then break them fearlessly. True creativity starts when you push past the boundaries.”

Touring has given him lessons no tutorial could teach. More than forty-five countries, endless hours in airports and clubs, and the challenge of staying sharp on the road while running a label.

“My best advice is to maintain balance in everything you do. Overloading your tour schedule can lead to burnout. Allow downtime between gigs to recharge, explore new places, and stay inspired. Building relationships is also crucial; connect with local promoters, artists, and fans. Attend industry events and engage on social media; these connections often lead to future gigs, collaborations, and support. The pressures of touring can take a toll, so develop a routine that includes mental health practices, whether that’s meditation, journaling, or therapy. Prioritize your well-being to maintain high creativity and performance quality. Use tools and apps for scheduling, budgeting, and tracking contacts to stay organized and avoid last-minute chaos. And finally, surround yourself with a team that truly supports you; it makes all the difference.”

Some stages teach more than others. Ibiza gave him the electricity of a global hub. Asia inspired him so strongly that it followed him home into the studio.

“The Ibiza crowd never disappoints. The energy there is always on another level. For example, we recently had a label showcase there, and the atmosphere was so inspiring that when I got home, I went straight from the airport into the studio. I had so many ideas buzzing in my head from that night and didn’t want to waste a single moment before turning them into music. But if I’m honest, I always feel like a rock star when I’m in Asia.

The connection with the crowds there is something special. Tokyo, in particular, holds a unique place in my heart. The reaction from the audience is just unbelievable. They never stop moving, dancing non-stop, jumping with every single kick, feeding you so much energy you almost feel like you could play forever. That intensity inspired me to create a track called Ikigai, which was directly born from that unforgettable Tokyo experience.”

LOOKING AHEAD

What comes next is not a single path but a mix of roles woven together: producer, mentor, label builder.

“It’s hard to predict, because life always brings surprises. What I do know is that I don’t aim to be on an endless tour schedule, playing 20–25 gigs every month. For me, it’s about choosing the right places, the right moments, and making each performance meaningful. At the same time, growing Theory X is at the center of my vision. I want it to be a platform that supports talent from our region and connects them to the world. Mentorship will also remain important to me, as I share knowledge, guide younger producers, and help them build strong careers of their own. For me, performing, mentoring, and running a label are not separate roles; they’re interconnected paths that complement one another and together define my future.”

At the end of the day, what struck me most is that Theory X isn’t just a label, it’s a crew that actually cares. Sezer has this way of making you feel like every decision, every release, every late-night session has weight. He’s not trying to chase trends or squeeze out quick wins; he’s building something that lasts.

When he talks about mentoring kids or making sure his team feels supported, it doesn’t sound like PR. It sounds like someone who’s lived the grind, felt the burnout, and still believes music is worth every bit of it. That’s why Theory X feels different.

Istanbul might be the home base, but the way they’re moving right now, you get the sense that in a few years, we’ll be talking about them as one of the labels that changed the game. And honestly, I believe it.

AUTHOR:

Trancemaster Krause

Never Give Up

Few artists embody the pulse of 2025 quite like Trancemaster Krause. At a time when trance is reemerging across festival main stages and underground corners alike, Tancy has become one of its most recognizable voices. His sets bridge nostalgia with a new energy, his productions carry both melancholy and euphoria, and his story reflects an artist who carved his own path without classical training, without shortcuts, and without compromise.

Behind the lights and the hype lies a more profound truth: Trancy is an artist who has chosen sobriety in an industry fueled by excess, who admits to loneliness on the road, and who uses his music to remind others, and himself, never to give up. His new EP on Polyamor takes that philosophy and turns it into sound, pushing trance into the future while anchoring it in raw honesty.

THE TRANCE RENAISSANCE

Trance has reclaimed its space in 2025, simultaneously dominating lineups and flourishing in niche communities. Trancy sees the revival as a natural reaction to the scene’s emotional hunger.

“To me, the revival of trance definitely shows that people are craving something different in the scene, more uplifting, happier music. The new trance wave is exactly what they want right now; it speaks to the emotions people want to feel. For me personally, it’s incredible to see how years of hard work have evolved into this hype. Playing big stages and seeing people smile and dance has always been my dream, and right now it feels like it has come true.”

Still, the heartbeat of the Renaissance beats as much online as it does in the club.

“It’s quite simple, we’re living in 2025, trends spread faster than ever, hypes come and go. The more reach you get online, the more people will connect with what you put out there. Without social media, there wouldn’t be a trance hype in the way we are experiencing right now, because unfortunately, it’s not only about the music anymore.”

Sober life and mental health

Choosing sobriety in a nightlife culture built on temptation is no small feat. Trancy is candid about the challenge.

“Honestly, that’s the hardest part. With all the pressure, there’s always this little voice in my head telling me to grab a beer or something to relax. But I’ve learned to quiet that voice, because it only makes me feel worse the next day. I believe everyone should be free to do what feels right, as long as boundaries are respected.”

“Unfortunately, where there’s excessive consumption, there will also be people overstepping these boundaries without reflecting on it. That’s why I’m grateful for my team, they’re always aware of situations that might trigger me and help me avoid temptation.”

Maintaining balance means building rituals, small anchors that keep him grounded.

“Before my shows, I like to go to the sauna whenever it‘s possible, no phone, just me, my thoughts, and the heat to calm me down. I also try to eat the same meals before shows; having my favorite food as a small ritual always brings me comfort. During the week, I don’t follow strict rituals, more like habits I’ve implemented: getting up right when my alarm rings, going to the gym, meeting people who make me feel good, and accepting that I’m not always at 100% capacity, but still want to spend time with me.”

PRODUCING WITHOUT A CLASSICAL BACKGROUND

Krause’s story is a reminder that you don’t need formal training to create music that connects. His approach has always been about trial, error, and persistence.

“It took a lot of time and incredible people around me to get me where I am, to learn the skills I now have. Trying stuff out as much as you can is everything. You need to fail to succeed. Sometimes projects don’t work out, and you feel like you can’t do it, but you have to keep going to make progress.”

To young bedroom producers, his advice is straightforward.

“Try, try, try. You will fail, but every failure is progress. Every session teaches you something new about the music you’re creating. Never give up, that’s also the message behind the EP.”

NEVER GIVE UP

His new EP, Never Give Up (Polyamor, October 31, 2025), is both a personal statement and a reflection of trance’s current energy.

“The EP comes straight from my heart. I wanted to combine two worlds: the new school of trance and rave music with my own melancholic touch. It’s the best way I can present myself and show what’s in my soul. The three tracks tell my journey of making music, with all the highs and lows and the melancholy of it all. The name of the EP itself is a message, letting everyone know they should never stop doing what they love. Big shoutout to Polyamor for supporting me and helping me make the most of it!”

A key part of the release is the collaboration with Bibiane Z.

“I met Bibi through a friend, who I had worked with before on music. Her voice immediately blew me away. From the very first note, I knew I wanted to collaborate with her. Having her on the EP is a blessing; her energy and voice gave the track exactly the emotional depth it needed.”

TOURING VS. NORMAL LIFE

Touring looks glamorous from the outside, but Trancy reveals the solitude beneath it.

“The hardest part of touring is being alone most of the time. People celebrate with you at the parties, but before and after, you’re mostly by yourself, in hotel rooms, on planes, on trains. You meet a lot of people, but rarely get the chance to build deeper connections. That can feel very superficial and sometimes difficult. From the outside, people only see those two hours on stage, but not the 24 hours of traveling with almost no sleep. I’m fortunate to have Laurenz, my videographer and one of my best friends, with me as much as possible. He helps me not to feel alone and to process everything right after it happens.”

GUIDANCE FOR NEWCOMERS

Experience has taught Krause that the industry can be both rewarding and ruthless. His message to the next generation is simple: resilience and self-belief.

“It‘s like the title of my EP says: never give up. Even when it’s hard. Keep your drive, have fun, and stay true to yourself. Nobody should tell you what you can or cannot do; express yourself freely, without holding back. When it comes to labels, keep sending your music to people you think might like it. Even if they don’t reply right away, they’re probably

listening. For every ‘yes’ you’ll get ten ‘no’s, but that’s part of the game, and competition is high. If labels don’t respond, release your music independently, use the platforms we have, and make yourself visible.”

The hardest lesson came from waiting for validation.

“My biggest mistake was waiting for others to validate me, to tell me ‘yes’ or ‘no,’ or if I was good enough. Don’t wait for anyone to tell you you’re ready. And be careful with people who try to ride your wave only because things are moving fast for you, they’ll leave once they can’t get what they want from you anymore.”

LOOKING AHEAD

Trancy’s vision is not only about his own career but also about supporting others.

“There are a lot of exciting tracks coming up with amazing artists, I’m lucky also to call friends. I’m also thinking about starting my own label, to support other artists the way I wished someone had supported me when I started ”

As for the future of trance, he keeps his hopes wide open.

“I think the hype will still be there, just in a different form. It could go in any direction. I’m not here to predict the future, but I hope for the best. For myself, I just want to keep becoming a better version of who I am and continue putting the same passion into my work as I do today <3”

What makes Trancy stand out in the current trance wave isn’t just the fact that he’s playing big stages or releasing on respected labels. It’s the vulnerability behind the music. He admits to the loneliness of touring, the temptations of nightlife, and the failures that shaped his craft. That honesty bleeds into Never Give Up, a record that feels less like a statement to the industry and more like a reminder to himself and his listeners that persistence is the only way forward.

He is part of a generation proving that trance doesn’t need to live in the past. By combining rave energy with melancholic depth and embracing both social media and sweaty dance floors, he is reshaping what the genre can mean in 2025. There’s no façade with Trancy, only work, resilience, and a deep belief that music should reflect both euphoria and struggle.

If the trance renaissance is about rediscovering emotion on the dancefloor, then Trancy is one of its clearest voices. Not because he is chasing a trend, but because he is living its truth.

IMANU Building Worlds Out of Sound

The European club circuit has long been dominated by house and techno, but IMANU has carved a lane where rules dissolve and genres bend into each other. His sets and productions feel like living organisms: heavy yet fragile, distorted yet melodic, un predictable yet carefully sculpted. In 2025, that identity crystallized in De Verte, a project that reads less like a collection of tracks and more like a manifesto.

At just 26, IMANU has already moved from bedroom experiments to global stages, from restless teenage producer to curator of communities and lineups that challenge expectations. His path is not about fitting into Europe’s establishment but about creating a new center for bass-driven, multi-genre sound. Along the way, he has built a reputation for discipline, risk-taking, and a refusal to compromise.

This is the story of how De Verte became his statement, why he sees contrast as beauty, and how he wants to leave behind not just records, but communities that live and breathe beyond the club.

DE VERTE & CREATIVE IDENTITY

The title of his new project carries weight.

“De Verte is a Dutch phrase meaning the depth or the distance. I chose it to show how varied dance music can be, but also to embrace my Dutch identity rather than defaulting to English. I’ve always admired how German and French artists use their own language. Dutch can be pretty too. I wanted something familiar, something that could belong in many languages.”

For IMANU, De Verte is not just about sound. It is about building a space that stretches beyond the booth.

“I’ve always dabbled in other forms of art like fashion and tattoos. It felt natural to extend that into shows and curation. Now I get to book diverse, open-minded lineups that draw a diverse, open-minded crowd. I see it as a duty for anyone who has the chance to shape a community. It wasn’t a split-second decision. It grew out of logic.”

ATMOSPHERE & ARCHITECTURE

His music carries an architectural quality: the brutal weight of concrete colliding with fleeting moments of beauty.

“I care about the balance between heaviness, harmony, percussion, and rhythm. I no longer see my music as tracks for DJing. They can be played in sets, but I arrange them like songs. That’s more important to me than how easy they are to mix. I care more about the art as a standalone thing.”

“I often look to architecture and fashion. Brutalism, for example. A massive block of concrete next to red brick and green space suddenly isn’t boring. It becomes a moment. Music can work the same way. Chaos and distortion followed by harmony and vocals. The contrast between them can be more beautiful than just one or the other.”

Each release, for him, is not a chapter in a catalog but a small world.

“Every EP is its own little universe. People who come to them become part of a tribe. It’s curated to feel like a specific world, a vibe, an idea.”

Listening to IMANU feels like walking through a city that overwhelms you one moment and disarms you the next. His tracks do not just move from drop to breakdown; they rise like slabs of concrete, then collapse into light. It is the language of architecture translated into sound.

He admits he no longer thinks of his music as tools for DJs, but as pieces meant to stand on their own. “I arrange them like songs. That’s more important to me than how easy they are to mix.” That choice is revealing. It places him closer to architects and designers than to pure technicians of the dancefloor. The aim is not functionality, but permanence.

The Brutalism reference makes perfect sense. A block of raw concrete thrown against red brick and green space becomes impossible to ignore. IMANU hears the same principle in distortion, where the meeting of harmony and percussion clashes with vocals. His work thrives in contrast, in the tension between noise and clarity.

I believe what sets him apart is that sense of environment. This is a scene obsessed with singles and algorithms, but IMANU insists on building worlds. And in doing so, he does not just design songs. He creates spaces where communities can gather, bound by the architecture of sound.

CURATING LINEUPS

Beyond records, IMANU is shaping nights. From ADE showcases to underground clubs, his role as curator is as intentional as his sound design.

“I have to balance a lot of people: venues, promoters, the crowd, and myself. I want to support artists who excite me and create a safe, diverse space on the dancefloor. For ADE,

I always want one vocal artist who might also sing live. Then I fill in the night around that, making sure the flow keeps building.”

Flow, he insists, is the hidden architecture of a night.

“I care about the order of the acts. The energy has to rise. That might mean a bigger name plays earlier than expected. If we can get people to come early and stay late, then we’ve done it right. We have to put ego aside for it.”

He books a broad spectrum, from international headliners to local names. The common thread is energy and openness.

“If you make good music, create good sets, and are a good person to work with, then I want to support you. The best nights are the ones where everyone feels good. Artists, crew, crowd.”

Sometimes risks turn into revelations.

“In New York, I booked Sammy Sosa. I didn’t know her that well, just scrolled through some mixes. She completely killed it. It went crazy. The same with Skala in London. She murdered it. There are so many DJs now blending styles in unique ways. That openness toward fusion is exciting.”

CULTURE, COMMUNITY & LEGACY

For IMANU, the rebellion was never against house or techno. It was against close-mindedness.

“I started as a house producer, then built a drum and bass project before IMANU. I hated how stubborn some drum and bass crowds were. Playing one non-DNB track could clear the floor. That pissed me off. My rebellion was against that. I was inspired by Noisia, who pushed for other music in their sets and got backlash, but also became more successful for it.”

COMMUNITY, NOT GENRE, DRIVES HIM NOW.

“Music events are social events. People go where their friends go. That’s why I care about lineups. If I can attract good people, more good people will follow. I want a community that listens to different genres but is connected by the same open energy.”

He experiments in both private and public settings, knowing that not every idea belongs in the same space.

“I put a lot of my experiments on Patreon: weird time signatures, ambient sketches. My core fans enjoy those. For public releases, I still want accessibility. A track like ‘Sutekh’ streams well because the vocal makes it easier to digest. There’s a time and place for everything. Not everything needs to be 17/6 in an Ethiopian scale. Sometimes it’s just A minor with a 4/4 kick.”

THAT PHILOSOPHY EXTENDS TO HIS LEGACY.

“If my lineups and music make other people want to do it too, that’s the biggest compliment. I hope that in ten years, there are more lineups like mine. Diverse artists, diverse crowds, safe spaces, and sick outfits.”

IMANU is not just releasing tracks. He is building spaces; on records, on stages, and in communities that refuse to settle into one box. His rebellion is not about tearing genres down but about opening them up.

“At the end of the day, I’m happy if people enjoy my non-traditional way of booking and creating. If it inspires them to try something similar, that means the world to me.”

The future he envisions is not about being remembered for one sound but for building worlds where sounds can collide and people can feel free. That is the legacy he is writing with De Verte: not just a project title, but a statement of depth, distance, and possibility.

T78’s

Uncompromising Vision

Elevation at 150 BPM

The bassline doesn’t wait. It hits like a pulse racing through a warehouse, relentless and euphoric, syncing with every heartbeat on the dancefloor. At the center of this storm stands T78, an artist who has turned tempo into identity, fusing Mainstage Techno, Hard Trance, and Hard Techno into a language that is entirely his own.

For more than a decade, he has worked the circuit, from underground clubs to global festivals, but in 2025 his story is less about fitting into a scene and more about bending the rules of all of them. What sets him apart isn’t just the power of his sound, but the precision with which can transform raw energy into music. His style has become shorthand for the intensity of modern dance culture: restless crowds searching for catharsis, bigger stages demanding darker energy, and a generation of ravers that are looking for rawness and intensity.

ROOTS AND REVELATION

Every artist has that first spark, the moment when music stops being background noise and becomes destiny. For T78, it happened in 1989 with a cassette tape that sounded nothing like the radio hits his friends were chasing.

“I define myself as a great fan of electronic dance music, especially trance, and techno. The last three decades and even more have helped define what my musical taste is and what I am as a DJ and producer. Besides having listened to a lot of Italo-Disco as a kid, the first time I listened to something futuristic was when I received a tape from the Boccaccio club in Belgium. A friend of mine brought it back and told me it was music beyond the mind. That was New Beat, and it changed my life forever.

Years later, after six relentless years as a resident DJ, he found the sound that would crystallize his identity.

“After having been a resident DJ for about 6 years and having listened and played various musical genres, I clearly remember that in the studio my reference sound was the one that had further changed my life and that was the Hard Trance of the Italian BXR label in the late 90s. It was exactly the right compromise between the hardness of techno and the euphoria of trance.”

Those early encounters didn’t just shape his taste; they carved out the blueprint of what would become the T78 signature: intensity with purpose, speed with emotion.

In 2025, T78’s music lives in the 140 to 160 BPM zone, a space once dismissed as too niche or too extreme. For him, the acceleration wasn’t a gimmick; it was a response to what the new generation was asking for after the pandemic.

“After two years of stoppage due to the pandemic, the new audience seemed more receptive towards styles that for too long had remained confined to small niches such as Hard Trance and Hard Techno. Finally, we can now experience how it was done right in the 90s, and I find it amazing. It feels like a second youth for me.”

That energy has propelled him to stages where popular demand and underground credibility collide. He doesn’t see them as opposites, but as parts of the same ecosystem.

“My discography can simply explain all this since I have been supported by many names in the underground and vice versa by many names in the mainstream. So when someone comes to listen to me, they can expect both things. It can be more underground or more mainstream depending on the situation.”

As for what defines a “T78 track” today, the answer is less about genre and more about signature.

“The outcome of a T78 track is still unpredictable. I can release dark, acid Techno or fast, euphoric Hard Trance. The only thing that makes it recognizable is my touch, my signature, which can be heard in all my productions regardless of the musical genre. Anyone who follows my music and has followed my artistic evolution knows exactly what I’m talking about.”

EXTENDED SETS

Three hours at 150 BPM is no small feat, yet for T78, it’s where the music truly breathes. Short slots might showcase intensity, but it’s the marathon sets that reveal his philosophy.

“Lately, sets that are at least three hours long are the ones I like the most because I can really chart a course and take a musical journey that would be much more reductive with less time. The peculiarity and uniqueness of my sets is precisely the intensity. I seldom put tracks that are fillers. Normally, when I do long sets, they are either all night long or after a DJ who has warmed up the floor with a less incisive sound, so I can start from my more techno side and take the evening to higher levels.”

Keeping energy high at that pace requires strategy as much as stamina. For T78, the solution lies in the bond between the studio and the booth.

“I don’t have many problems keeping the energy level high on the dancefloor because I always structure my sets in a way that they give their best from start to finish without giving up. Even the music I produce is a reflection of what I will then do in the performance. You have to consider that 90% of what I propose in my sets is exclusively music produced by me, so since I’m in the studio, I already imagine the crowd reaction during the creative process. That makes things easier because I know every second of the music I play.”

And then there are the moments when everything aligns, when DJ and crowd lock into the same pulse and the night tips into something unforgettable.

“It’s when I make a sequence of 15 or 20 minutes of my classics that everyone wants to hear. Those tracks connect the new audience with the ones who have known me longer and unite everyone in the ritual of dance.”

Outside the booth, T78 is still devouring music. Inspiration doesn’t come from silence; it comes from digging.

“Inspirations come from everywhere but almost always from other music that I listen to. I’m an assiduous devourer of music, from when I’m in the car to when I’m in airports and in my headphones. Every moment of my day is marked by music.”

His approach to production has evolved over the years, shaped as much by life as by technological advancements. The early days were slow, confined to hours in the studio. Now, with a relentless touring schedule and three children, he has learned to carve creativity out of chaos.

“Once I dedicated only the time I was sitting in the studio to production, but now life goes much faster. I’m always on tour, I have three children, a very intense life that doesn’t leave me much pause, so I try to optimize everything even when I’m on the road. Every moment is good for producing music. Luckily, I never run out of ideas, and then I finalize them in the studio with complete tranquility.”

That urgency has also crystallized his fusion of Mainstage Techno, Hard Techno, and Hard Trance into a personal language rather than a hybrid of trends.

“I grew up loving all of those sounds. For me, they’re not separate worlds; they’re different shades of the same energy. When I put them together, it feels natural. And it shows in the crowd, because people from different scenes come together because of that mix.”

FUTURE & OUTLOOK

T78 is not shy about the pace he keeps. While others carefully plot their release calendars, he thrives on constant creation.

“Maybe you should ask me when I’m going to take a break from producing, because I’m constantly coming out with something. Every month, there’s a remix, a collaboration, or an EP. I’ll give you some examples. Recently, I did a remix for Nostrum of the track ‘Blow Back,’ one of the most iconic Hard Trance tracks of the 90s. There’s also a collaboration with Charles B and Sunlike Brothers, a Hypertechno track called ‘Pater Noster,’ and soon a Hard Trance project with Johannes Schuster called ‘Body Control,’ coming out on Hilomatik, the label of Hi-Lo. On my own label, the long-awaited sequel of ‘Bombacid’ is dropping, called ‘Acid Train,’ with Roberto Molinaro and Motvs on T78’s own label Autektone records... And as Activator, my harder alter ego, I’ve done a track called ‘Rave Shit’ with Hardstyle legend DJ Zany on Verknipt Records.”

This non-stop output is part of a bigger vision, one that sees Hard Techno and Hard Trance evolving together but also diverging into distinct lanes.

“For now, the two genres can coexist peacefully in the same scene, but I think that in the future, Hard Techno, which acts as a container for a series of hard dance genres, will create its own scene. It will probably slowly stop playing important roles on the mainstages of festivals around the world. That’s what I hope Hard Trance will do, because I consider it perfect music for huge space arenas and much more acceptable for a larger and general audience.”

Even as the sound grows, he is reluctant to call himself a leader.

“Honestly, I’m just doing my thing. But I see more DJs pushing into this tempo and sound now, and if I helped open that door, that’s cool. The scene needed it.”

Asked to define the next chapter in one word, he doesn’t hesitate: “Elevation.”

TOURING & LIVE EXPERIENCE

If the studio is where T78 shapes the weapons, the stage is where he tests them in real combat. Touring has become central to his identity, and in recent years, the marathon set has become his signature. While many DJs cycle through one-hour festival slots, he thrives when the clock stretches past three.

“That’s where I can really tell a story. Anything shorter feels unfinished. Every crowd is different. Some want aggression from the start, some need time to warm up. My job is to find that balance without losing momentum.”

Behind the intensity lies discipline. High-BPM sets demand not only creativity but physical endurance, and T78 treats the work like an athlete.

“People think DJing is just pressing play. But to perform like this, you need to take care of yourself. If I burn out, the music burns out too.”

The stage has taken him from European warehouses to sprawling South American festivals and intimate Asian clubs, each stop shaping his approach. One particularly legendary set unfolded at Groove in Buenos Aires, where he played for seven hours straight. Fans still talk about how the night bled into morning, nobody leaving until the lights came on.

“Festivals are amazing because of the scale, but clubs, that’s where you feel every beat with the crowd right next to you.”

For T78, touring is not just about visibility. It is his laboratory. Every night becomes research: what works, what pushes people past their limits, what brings them back from the edge. The bond with his fans, who often follow him across borders, is proof of the community built through hours of relentless BPM.

“When I see the same faces in different countries, it blows my mind. That connection is the reason why I keep doing this.”

Looking Ahead (2026 and Beyond)

For T78, the future is not a distant horizon. It is already pulsing in the next kick, the next idea, the next set. As 2026 approaches, his philosophy of high-BPM intensity has gone from outsider experiment to a central force in techno culture. The question is no longer whether his vision will endure, but how far he is willing to push it.

“I don’t think of my career in terms of years, I think of it in terms of sound. Right now that sound is evolving. I want to surprise people, not just go harder, but go deeper.”

That evolution encompasses cinematic atmospheres, experimental rhythms, and collaborations that transcend the traditional boundaries of techno and trance. He hints at future partnerships that could redefine expectations.

“There are voices and sounds out there that haven’t touched this tempo yet. Imagine what happens when they do.”

On stage, he imagines formats that go beyond music. Extended sets will always be his core, but he envisions projects that merge visuals, design, and narrative into something closer to a cinematic experience.

“A set can be more than music; it can be an environment, a world you step into for a few hours. It’s not about playing fast for the sake of it. It’s about telling a story at that speed. If you forget the story, the scene collapses. I was lucky to have people believe in me. Now it’s my turn to pass that on.”

Grounded by family, friends, and the simple rituals that keep him centered, T78 looks ahead with both ambition and humility. His vision is clear: push techno into uncharted territory, not just through speed but through creativity, community, and evolution.

“The future of this sound is not about me. It’s about all of us, the producers, the DJs, the fans, who believe in energy without compromise. As long as that exists, the music will keep growing. I just want to be part of that growth.”

A CLOSING STATEMENT

The lights fade, the last kick dissolves into silence, and the crowd is left suspended in that liminal space where exhaustion and euphoria blur. This is the essence of a T78 set. It is not just speed, not just spectacle, but transformation. Hours of relentless BPMs become a ritual, a shared journey that strips away the superficial until only connection remains.

For the fans, it feels like survival and celebration at once. For T78, it is the culmination of discipline, vision, and belief in a sound many once doubted. His story is one of persistence, of refusing to slow down until the world caught up to his pace.

“At the end of the night, I just want people to leave feeling something they didn’t expect, stronger, freer, more alive.” That ethos is what anchors him as trends rise and fade, as the tempo keeps climbing, as the scene reinvents itself again and again.

Inside Zuma Dionys’ World Roots, Rhythm, And

Rituals

Zuma Dionys is not just another name on the downtempo circuit. His sound sits at the crossroads of ritual and rave, pulling in the textures of deserts, forests, and oceans, and turning them into hypnotic rhythms that belong as much to a sunrise on a beach as to a peak-time dancefloor in Berlin. What began as intuitive experiments with ethnic instruments and electronic grooves has evolved into a global language, one that connects tradition with modernity and intimacy with vastness.

From Scorpios in Mykonos to Savaya in Bali and Envision Festival in Costa Rica, his sets have become more than performances, they feel like shared ceremonies, where bodies move and spirits align. At the heart of it all is a philosophy of connection: through music, through his ZUMA DOMA label, and through a mission to create spaces that transcend borders.

With a Latin American tour on the horizon and new releases ready to push his sound even further, Zuma Dionys is stepping into his most defining chapter yet. His vision is clear: to guide organic and downtempo house from the niche corners of the scene into its rightful place on the global stage, while keeping the soul intact.

The Zuma Dionys project was never about chasing trends. It was born out of a need to reconcile two worlds: the timeless pull of tradition and the forward drive of modern electronic culture. He remembers those first experiments as almost instinctive, layering ancient rhythms and acoustic textures over electronic beats until something clicked. That’s when he realized this wasn’t just a sound, it was a path. AUTHOR:

“Zuma Dionys was born from a vision to unite two worlds, tradition and modernity. On one hand, I’ve always been influenced by ethnic music: voices, ancient rhythms, and acoustic instruments I encountered across cultures during my travels. On the other, the electronic scene gave me a language to transform those impressions into a universal sound. My first experiments were almost intuitive: layering organic sounds over electronic grooves until I realized that this blend was my path. Music stopped being just a genre, it became a space where past and future converge, where intimacy grows into vastness. I can say the project truly began the moment I understood that my sound had to be an honest reflection of the experiences I had been collecting for years, and a bridge connecting people across cultures and beyond borders.”

Travel has always been central to how he collects those experiences. For him, geography isn’t just backdrop, it’s a living archive that seeps into the sound. Deserts, beaches, and forests aren’t metaphors, they’re sonic building blocks, each one leaving its mark on his compositions.

“For me, traveling is not just about geography, but about experiences that transform into sound. Deserts teach silence and vastness, giving birth to deep, meditative textures. Beaches and the ocean carry the rhythm of breath and a sense of flow, which come through in soft percussion and smooth transitions. Forests bring a feeling of organic connection to the roots, from there comes my love for ethnic instruments and live sounds.”

“My tracks become a kind of diary of these places: each composition holds the imprint of the cultures and people. I think that’s why my music resonates universally, it gathers fragments of the world and turns them into a single language, understood on dancefloors anywhere on the planet.”

Every artist has those nights where things shift, where the music stops being local and suddenly belongs to the world. For Zuma Dionys, those moments came when his tracks began moving beyond his own scene, finding listeners in corners of the globe he had never stepped into. Touring followed, and with it came the realization that his sound had graduated from intimate beginnings to something that could hold down festival stages.

“My journey has been shaped by a series of turning points. The first came when my tracks began to be played beyond my local scene, that’s when I realized music could live its own life and find listeners in places I had never been. Gradually, this led me to touring, from Europe to Latin America, Asia, Africa, and the Middle East. The Envision Festival in Costa Rica, along with performances at Scorpios in Mykonos and Savaya in Bali, solidified this transition: it was there that I understood my sets had evolved from the underground into part of the global stage.”

He often talks about his releases as chapters in a book, and listening through his catalog it’s easy to hear why. Each track carries the imprint of a place, a mood, a revelation, like diary entries that capture the essence of fleeting moments.

“Looking back, certain tracks became moments where new horizons opened up for me, each of them reflecting the explorations that shaped my sound. ‘To Ne Vecher’ is about transitions and change, a bright nostalgia that at the same time calls to move forward. ‘Gazel’ was born under the influence of Indian motifs, carrying a meditative rhythm and a mystical energy, where an ancient spirit meets contemporary electronic sound. ‘As Time Goes By’ reflects my fascination with the passage of time itself, it’s both introspective and expansive, a meditation on how moments slip away yet remain present in memory through sound. My remix of Sting’s ‘Desert Rose’ became a dialogue across time. In my youth, that song was a symbol of dreams, and today I emphasized its Eastern undertones and added my own sound, turning it into a bridge between generations and cultures. And the remix of Omerar Nanda’s ‘Hebele Hubulu’ is a chapter about the power of community, it carries the energy of kindred spirits gathered around a fire, where music becomes a shared spark. All these tracks are different, yet they are united by one thing, they tell my story, where personal experiences transform into a universal language understood anywhere in the world. For me, each of these tracks is more than music. They are chapters of a story still being written, and the most important pages are yet to come.”

For an artist like Zuma, who has taken organic and downtempo sounds from underground corners to global stages, the question of authenticity versus reach is always hanging in the air. How do you stay true to your vision while finding yourself on Beatport charts and Spotify playlists? His answer is almost disarmingly simple.

“For me, balance always begins with authenticity. If music comes from the heart and reflects my inner path, it finds its listener, whether it’s a small community in Berlin or a global audience on Spotify. I never think about genre boundaries or whether a track is ‘fit for the charts.’ I think about the emotion it carries. Sometimes it’s deep downtempo, resonating with a more intimate audience. Other times, it’s a more energetic track that finds its place on big festival stages. But in both cases, it remains part of my story and my vision. I believe it is honesty in music that opens doors to different audiences. When you create not for trends but from within, people feel it, and that’s when your sound can be both niche and global at the same time.”

That sense of freedom is exactly why he built his own label, ZUMA DOMA. It’s not just an outlet for his own projects, but a home for artists looking to experiment, blend cultures, and push boundaries without worrying about gatekeepers.

“For me, ZUMA DOMA is not just a label, but a creative space where music can be born freely, without boundaries. At its core lies a philosophy of connection: between cultures,

artists, and emotions. I founded it not only to release my own work, but also to give space to artists who share the same spirit and are searching for new forms of expression. On big labels, the boundaries and requirements can sometimes feel too rigid; here, I can allow myself and others to experiment, blending ethnic sounds with electronics, creating unexpected remixes, working with live instruments and voices. ZUMA DOMA is a home where music can exist beyond trends and genre constraints. For me, it’s important that the label is not just about releases, but about a community that grows together and inspires each other.”

Zuma´s sets are often described less as DJ performances and more as collective rituals. He doesn’t see himself standing above a crowd, but inside it, moving with the same current.

“I don’t see a set as a performance for the crowd, but as a shared experience with them. It’s a dialogue, where the audience inspires me just as much as I inspire them. On the dancefloor, an energy arises that feels almost like a ritual: people let go of everything unnecessary and become part of something greater. In that moment, music stops being just sound, it becomes a guide, connecting us with each other and with the space around us. That’s why every set I play is unique. I never repeat it exactly, because the energy of the room creates something new each time. For me, the most important thing is to be fully present and to let the music lead us to where we’re meant to go, right here, right now.”

That balance between spirit and body is at the heart of his mission. His tracks don’t just work in headphones or on desert stages because they refuse to choose between emotional weight and physical drive.

“I’ve always believed that music is a bridge between the soul and the body. On one hand, I put into it the emotions, stories, and meanings that are born within me. That’s the spiritual side, the part that allows a listener to feel depth and live through something personal. On the other hand, the dance floor demands energy, movement, and physical involvement. For me, the key is not to separate these sides, but to bring them together. A track can be rhythmic and dynamic, yet still carry an emotion or a light that someone feels on a more subtle level. I believe that’s where the magic is born: music becomes a universal language, giving the body freedom to move and the soul a space to feel.”

Right now, Zuma Dionys is standing at a threshold. His upcoming Latin American tour feels like both a new frontier and a homecoming, bringing his music to audiences that thrive on emotion and connection.

“I feel that a new chapter is opening for me now. Everything I’ve done so far, the releases, the tours, the creation of the

label, has been the foundation. And now that foundation feels strong enough to move further from international presence to a global movement. The upcoming Latin America tour is symbolic for me: these are regions where people feel music deeply with their hearts, and I want to share my story with them. At the same time, I’m preparing new releases that reflect my next musical turn is bolder and more open to experimentation. My goal for 2025 and 2026 is to step onto new stages and to grow ZUMA DOMA into a platform that brings together artists from all over the world. I want not only to perform, but to shape a movement around this sound.”

That vision expands beyond his own career. Organic and downtempo sounds are no longer just a niche alternative, they are climbing into the heart of global club culture, carried by a new demand for music that feels rooted, emotional, and timeless. Zuma Dionys sees his role in that shift not just as a performer, but as a guide.

“I see organic and downtempo house moving beyond being a niche alternative and becoming a full part of global club culture. More and more festivals and top venues are embracing this sound in their programs because it speaks to the spirit of the time: people are looking not just for rhythm, but for music with depth, with roots, with emotion. At the same time, I believe the future of the scene lies in even greater diversity and cultural fusion. More artists will integrate traditional instruments, vocals, and ritual elements into the electronic context, creating a new sound of global music. For me, it’s important that this growth doesn’t strip the scene of its authenticity. Scale should not take away its soul. I would like to play the role of a guide in this process, an artist who connects intimacy with vastness, tradition with modernity, showing that music can be a truly universal language. Through my performances and through the ZUMA DOMA label, I want to support artists who share this philosophy, and together shape the scene of the future; one where organic sound is no longer seen as a niche, but as one of the voices of tomorrow’s electronic music.”

Watching where Dionys is heading now, especially with Latin America on the horizon, it feels like the perfect match. That part of the world has always lived music with the heart first, and Zuma’s sound was made for that. I imagine those crowds hearing his blend of ritual, rhythm, and emotion, and I know it’s going to feel like a homecoming for him, even if he’s never played there before.

And that’s why he matters. Because he’s not just another name on a lineup, he’s shaping a movement. A reminder that electronic music can still feel human, still feel rooted, and still push forward at the same time. If the future of the scene is going to have more soul in it, then Zuma Dionys is one of the reasons why.

old-schooler

AUTOR SERGIO BIFEIS

The summer of 2025 left behind a controversy in the electronic music scene that, although seemingly anecdotal, reveals the way we relate to music culture. Asturias is a major stronghold of techno in Spain, and the Aquasella festival, with almost three decades of history, is its greatest reference point. The event has grown to gather 80,000 attendees, which forces it to open up to new audiences and sounds. The loyalty of veterans is not enough, and diversification becomes a necessity to attract new generations.

Currently, Adrián Mills and his collective 240km/h, successful with their Face 2 Face concept (two DJs facing each other, each with their own set), are synonymous with success. They mix commercial-style vocals with fast-paced hard-house and hard-techno bases, adding euphoric melodies on top. Their performance at Aquasella drew criticism from those who felt it lowered the standard and “purity” of the festival. In response, Mills announced on Instagram that at his next set at Florida 135 he would play an edit of an Oscar Mulero track with the voice of reggaeton star Feid, and that, moreover, people would be asking him for the track ID. This story was even interpreted as a show of disrespect toward a historic figure and an exacerbated display of egocentric opportunism.

This episode reignited a recurring debate: the tension between those who defend a rigid vision of authenticity and those who bet on different paths. It’s nothing new. Remember when David Guetta headlined Monegros Desert Festival in 2010, causing a scandal among purists. Today, social media amplifies these frictions and turns every gesture into a public battle.

For many, Aquasella symbolizes a techno sanctuary. That’s why the opening to trending genres sparks the fear of losing identity and diluting the legacy. Spaces of authenticity have always been minority ones, and for that reason they are defended with passion. The question is whether such attachment justifies rejecting any kind of openness outright. The organizers, moreover, must ensure an economic sustainability that makes the event’s existence and growth viable.

Techno, however, has never been static. From its birth in Detroit as a cultural rupture, to the Berlin reinterpretations of the nineties, and later fusions with house, minimal, industrial or trance—its history is one of constant mutation. Its richness lies in the branches that have kept it alive and in continuous evolution.

The debate reveals the fear that those who haven’t lived “the essence” will take over a space many feel is their own. Thus, the dancefloor, conceived as a place of freedom and mixing, turns into a battlefield between old and new. But perhaps the key lies in recognizing that there isn’t just one dancefloor. Musical globalization allows for the coexistence of niches, and this diversity ensures that everyone finds their place without needing to expel the other. Authenticity, more than in always sounding the same, lies in keeping alive the spirit of experimentation, community, and collective search that defines club culture. Turning authenticity into dogma risks locking music into a prison of immobility.

We old-schoolers will continue to exist because you can’t stop the human drive to preserve what feels sacred and left its mark on us. But music and the dancefloor don’t belong exclusively to anyone. What Adrián Mills seems to point out—beyond the provocation— is that being an old schooler means standing still in a world in constant motion. And music, like life, can only be danced moving forward.

Energy, emotion & evolution: inside the mind of amber broos

At 22, Amber Broos is already making decisions with the clarity of someone ten years more experienced in the industry. Her last EP on Arcane, the label curated by Eli Brown, marks a creative pivot that’s less about proving herself and more about refining what already works.

The project was produced alongside Belgian artist Bermio, someone she calls both a close friend and an ideal creative partner. The result is a four-track statement that pulls from retro Belgian club culture and layers it with a darker, rawer texture. The EP trades oversized peaks for control, leaving just enough tension to keep the room locked in.

“These tracks aren’t trying to impress anyone.”

“But they’re made to make people dance and enjoy themselves.”

There’s no inflated concept behind the record. No false narrative about reinvention. What’s notable is how self-assured it sounds. It doesn’t chase hype. It doesn’t ride trends. It delivers precisely what Amber intended, with a sound that lands between retro warehouse nostalgia and modern-day pressure.

“I made the EP together with Bermio, a very talented Belgian producer and a dear friend. We were completely in sync creatively, which made the whole process feel effortless and genuine.”

“Artistically, it blends my deep love for Belgian retro with more modern, raw textures. These tracks aren’t about flexing production skills. They’re about energy. They’re about joy.”

For someone who started DJing at 13, evolution is inevitable. But there’s a visible shift here. Broos isn’t just tweaking her sound. She’s reshaping the way she frames her work. The tracks are structured with a longer arc in mind. Less about immediate payoffs and more about functional build. This is music written for DJs.

NOT PLAYLISTS.

“The most challenging part was trusting my instincts and staying true to what I wanted to express, rather than focusing on what I thought people expected of me.”

“There’s always that pressure to fit a formula, to chase a specific reaction. But this EP reminded me that the most powerful energy comes when you create from a real place.”

That mindset carried through to the label decision. Arcane was the obvious choice, not because of its name, but because of its sound. Amber wasn’t looking for reach. She was looking for the right ears.

“Arcane understands techno that’s both modern and atmospheric. That’s exactly the sound Bermio and I were going for. It felt like the right home.”

What sets Broos apart from other artists her age is not just her technical consistency, but her lack of hesitation. There’s no inflated ego and no performative humility. She’s focused. She knows what she wants, and she knows how to execute. That includes managing a packed touring schedule while protecting the reasons she got into this in the first place. With releases on Hilomatik, Filth on Acid, Arcane, and tracks in the making with several prominent international artists, she’s also preparing herself for a big year in 2026 and trying to grow each year while keeping her sound relevant but also still true to herself.

“I grew up around music. My dad’s a DJ. I learned quickly how to take things seriously.”

“I feel lucky that I knew what I wanted to do from such an early age. That gave me a sense of purpose from the beginning. But I’m still learning how to balance everything and enjoy the ride.”

The conversation around touring and artist well-being has been louder than ever in recent years. Broos doesn’t preach about self-care, but she makes room for it. Her routines are small, manageable, and private. Phone calls after shows. Time with friends. Long walks before soundcheck. They don’t make it to social media, but they keep her aligned.

Earlier this year, she joined a two-week expedition through Patagonia. It wasn’t for content. It was for clarity.

“You have to let go of everything and just keep moving forward. It clears your mind in a way nothing else does.”

“That kind of stillness, without any pressure to do something or be someone, is so valuable.”

This is what makes Amber compelling. She’s busy, but not frantic. Her bookings are rising, but her identity is stable. She’s not addicted to movement. She knows when to pull back.

“When I was younger, I said yes to everything. I didn’t want to miss a single opportunity.”

“But over the years, I’ve realized that constant output can kill inspiration. I still love being busy, but I also know I need to make space to recharge. The fun I have behind the decks is one of my strengths. Protecting that fun means taking care of myself.”

That same honesty carries into her upcoming B2B with Juliet Fox at ADE, hosted by Mixmag. On paper, it’s a bold pairing. On a dancefloor, it’s a smart one. Amber is looking forward to the tension, the release, and the shared control.

“Juliet is someone I admire a lot.”

“Playing back-to-back with her is going to be a fascinating challenge. It’s about trust, listening, and letting go of control. I’m looking forward to that exchange of energy.”

Behind the decks, she’s in charge. But away from the booth, she’s open. She asks herself real questions. Is she evolving fast enough? Is she playing it too safe? Has she settled into patterns? These aren’t press-friendly questions. They’re private ones. And that’s precisely why she asks them.

“When everything quiets down, I often ask myself if I’m still pushing my sound in the right direction. Am I still curious?”

“It’s not about doubt. It’s about staying open.”

She doesn’t talk much about goals in the traditional sense. When she does, they’re framed around people, not metrics. She wants to help more girls feel seen in the industry. She wants to mentor others, the way her dad mentored her. The mission isn’t about standing out. It’s about creating access.

“I want to support other young artists, especially girls who don’t always see a space for themselves in this scene.”

“My dad taught me how to DJ and believed in me from the beginning. That made a huge difference. I want to pass that on someday.”

What you get with Amber Broos is clarity. No gimmicks. No mythology. Just an artist with a strong compass, a clean sound, and a clear sense of what matters. Growth, for her, isn’t always visible. Sometimes it’s just how you handle decisions.

“I want people to remember the energy. Not just the music, but that feeling in the room. The moment where everything clicks and you feel truly alive.”

This scene rewards speed. But Amber Broos is choosing direction and longevity. At 22, she’s figured out what many artists take decades to learn: the real power comes from restraint. Her new EP on Arcane doesn’t scream for attention. It locks into a groove and stays there. It’s retro in texture, modern in attitude, and entirely uninterested in validation. That, in itself, is a statement.

She’s not trying to rebrand techno. She’s not selling a revival or a concept. She’s focused on energy.

Not the BPM kind, but the emotional kind. The type that lives in a room when everything lands just right.

That precision is what sets her apart. She doesn’t use her age as a narrative crutch. She uses it as a tool. Her connection to Belgian club history isn’t theoretical. It’s in her muscle memory. And yet she’s already moved past proving she belongs.

What this story reveals is a new kind of artist. Not just a DJ who can fill a slot, but someone who understands architecture, how to build tension, how to hold space, how to release it with purpose. In interviews, she doesn’t pontificate.

She reflects. She’s comfortable with silence and careful with her words. That same approach shows up in her music. It’s not flashy. It’s intentional. And that’s why it works. In a time where everything is optimized for the algorithm, Amber Broos is optimizing for longevity.

Juliet Fox

the birth of symmetry

If we had to define the word symmetry, we might call it an ordered correspondence of form and position between parts, or, more poetically, a harmonious balance among different elements. Juliet Fox embodies this idea in all its complexity: mother and artist, woman and DJ, a body that cradles and a body that shakes the dancefloor. Hers is not a division, but a fusion. In her, symmetry is not rigid or static: it is wild, burning, alive. Two flames feeding each other, the fire of motherhood and the fire of music, amplifying rather than consuming.

Juliet does not choose which part of herself to show: she holds them together in a balance that is power, not compromise.

Pregnancy never slowed Juliet down; it reshaped her connection to the decks. Now the road has new priorities, and balancing motherhood with endless nights has become uncharted ground.

“It’s been a completely different year for me, balancing being a mum with late nights and life on the road. Honestly, I’ve actually found performing a bit easier in some ways, because you’re already up all night anyway. When I’m travelling with Cosmo, I can focus more, stay balanced, and have a healthier routine. It makes the experience more enjoyable. And when I don’t travel with him, I tend to fly late, play the show, and fly straight back from the club to be with him. I do things with more intention and passion, it’s given me a whole new perspective on life. Being up all night is already part of the job, so in a way, parenthood and performing overlap. But now it makes me want to give my absolute best every time, even more than before.”

2025 brought Juliet back to collaborations, forging creative bonds that expanded her sound.

“For the past two or three years, I was more focused on my solo tracks, but I realised something was missing: that connection you get when producing with others. So my aim for 2025 was to return to collaborating with as many artists as possible, and it’s been amazing to connect with others.

My first collab this year was with WarinD, who’s from Italy. We released a track, ‘Stay With Me,’ on TREGAMBE, which later also had a remix by Charlie Sparks. I then worked with Teneya, a Ukrainian vocalist based in Amsterdam. We actually met through a mutual friend. Most recently, I worked with Stēh, a Brazilian artist based in Portugal. She sent some tracks and demos to TREGAMBE as well, and I loved what she was creating, so we ended up working together on ‘Apollo 11’. I also connected with CARAVEL, whom I met in New York, where we both played. This one is almost finished. I’m now working on something exciting with Amber Broos, which will lead to a nice project together across 2026. AUTHOR:

“I want to keep showing other women that it is possible to juggle everything… it is all achievable, even if it seems impossible or complex.”

On the solo side, I have two projects coming: ‘Miss U’ in October on my label, and another solo track on Armada in November.”

The summer of 2025 took her from giant festival stages to intimate rooms, with motherhood adding new depth to each milestone…

“I actually lived two summers this year! The first summer of the year saw me play Dreamstate in both Sydney and Melbourne in Australia, which was a massive milestone for me, especially since I had given birth four weeks earlier. Getting on stage in front of such huge crowds was nerve-racking but also amazing. I realised then how motherhood made me see people and music in a different light.

Then hopped over to Miami for Ultra, which ended up being rained off due to a crazy storm, but I still got to play for a little bit anyway. I then attended Elrow Italy, which was crazy and as much fun as ever. Then, more highlights included Elrow Island, The Berlin Love Parade, Loveland Festival, two of my own huge shows in New York, and a massive set for Resistance in Ibiza at Amnesia and Drumsheds in London. I am still adjusting to how my body was and how it feels to perform now, in the best possible way. The crowds have been so great, and I love this new energy.

And then hosting my own label showcase in the Algarve, Portugal, in August was incredibly rewarding. Building that sense of family and being able to play alongside the artists on the label is so special. We’ve got even more label events planned for next year, which I’m really excited about.”

Her sound now gravitates back to harder, faster roots, while opening space for vocals and new textures.

“I’ve always loved hard, fast-paced sounds with groove. Over the past year, I’ve found myself naturally gravitating back toward that, back to where I first started. When I was younger, I listened to complex dance and trance music, and those DJs really inspired me. So while my sound has evolved a bit, it’s still rooted in that harder, driving energy.

I’m also experimenting more with vocals, which have always been part of my signature. You’ll hear my own vocals in ‘Miss U’. Part of the reason why I love collaborating with other artists is that it’s also a way for me to explore and mesh different textures with their own styles.”

That is why TREGAMBE has become more than a personal outlet: a family of artists and a space for experimentation.

“From the beginning, when I started signing other artists, I always wanted TREGAMBE to support up-and-coming talent, people with fresh creative ideas. I envisioned it as a family-like label where we could curate our own nights, and that’s still the direction I want to grow in.

We’ve now done 30 releases, which I feel is a real achievement; I don’t see this slowing down! Being a new mum has limited how many events I can take on, but I’m happy with how the label has developed. We’ve signed new artists, built collaborations, and everyone involved has been growing their own profile, too. Playing b2b with Stēh at our label night in the Algarve and in Lisbon was a highlight. I want to keep creating those connections between everyone on the roster.”

2026 is already set to be a year of back-to-backs, with new synergies waiting behind the decks.

“I’ve always loved playing b2b because it shows such a unique synergy between the artists. I recently did a B2B with Joyhauser (Foxhauser) in Copenhagen, and we built a fantastic energy. We played until 6 am at a club and could have easily carried on for hours! But before that, it’s actually been a long time since I’ve done it, so that’s going to be a big focus for me in 2026.

I’m already set to go b2b with Lee Ann Roberts for a few select shows around the world, as well as a B2B project with Amber Broos, which I’m really excited about. I’m definitely open to exploring more collaborations in the future; they add a whole different dimension to performance and production.”

Beyond the b2bs, 2026 promises global tours, sonic growth, and the balance Juliet wants to protect.

“The main thing is to keep everything moving forward while maintaining balance, like I managed to do this year. I want to continue developing my sound, touring consistently, and maintaining that momentum.

Our plans for next year include moving from Australia to the U.S., then to the European summer, and finally to Asia. I’m really excited to follow the seasons around the world, this time touring as a family. I want to keep growing my label and my brand KIKON with shows around the world, and I’m really keen to focus on exploring new territories and exciting shows throughout the year.”

Her journey is also a manifesto: redefining what success means for women in music, demonstrating that career and balance can coexist and grow together.

“I want to keep showing other women that it is possible to juggle everything. I don’t always show the hard side of it, and sometimes it’s really challenging, but it’s so rewarding to move through the months and years alongside your child’s growth while still releasing music and performing. It’s excellent for Cosmo to join us on the road occasionally and meet the fantastic people we have become friends with around the world through this job.

This topic means a lot to me, and I’d love to be available for anyone who has questions or wants to talk about it. I think it’s essential that we all share more openly. I hope that by showing examples of my life, both personally and professionally, it will serve as inspiration to those considering juggling life with being an artist.

It is all achievable, even if it seems impossible or complex, you can make it all work, most importantly, having the support from those around you, especially my partner in life and business, and a great team.”

Dhuna

Flying Without a Map

2025 has been a breakthrough year for Dhuna. From igniting Fabrik Madrid to stepping into the booth at Amnesia, Dreambeach, and Aquasella, her rise has not been about chasing hype but about carefully stitching her story into the DNA of Spain’s club culture. She represents a new generation of artists who are comfortable moving between techno and now a darker, more powerful sound, while refusing to get boxed into one corner.

There is something magnetic about the way Dhuna talks about her path. She doesn’t romanticize it, but she also doesn’t treat it like business. For her, every booth, every track, every risk is another step in a journey she is determined to live fully. At a time when the industry can feel like it’s moving at breakneck speed, Dhuna reminds us what patience, honesty, and presence look like when they are plugged directly into the sound system.

“For me, it is a true pride to have had the opportunity to bring my music to such iconic spaces that years ago I would never have even dared to imagine as possible stages. This year, debuting at Amnesia was especially emotional. After so many nights spent on the dancefloor, living it from the booth was a unique experience, full of excitement and meaning. It was a reminder of how beautiful the path has been and how dreams, with effort and passion, can become reality.”

HOME BASES AND NEW RISKS

What makes her trajectory striking is not just the stages she’s hit but the way she’s grounded herself in the clubs that shaped her. Pandora Sevilla, where she has been a resident for two years, is one of those places.

“At Pandora, I feel at home, surrounded by a true family. These two years as a resident have given me the confidence of being in a place that makes me feel comfortable, but at the same time constantly challenges me and pushes me to keep learning.”

“The first weekend of this season, I had the opportunity to play on both Friday and Saturday, sharing the booth with artists of very different styles. It’s not the same to open for Brenda Serna as it is for Cuartero, and that diversity forces me out of my comfort zone, exploring new shades of sound in every set.”

Dhuna is not interested in just blending in. Her sets are built around moments, not formulas.

“I like to surprise with unexpected twists, to connect genres, and to leave moments people will remember. It could be a special track that is not the trend of the moment or maybe one that was many years ago, something nobody expects, to create nostalgic instants.”

That same philosophy is what fuels DEPARTURES, her line of SoundCloud mixes that tie her passion for aviation with her vision of music as travel.

“My DEPARTURES mixes come from the fusion of my two passions: music and aviation. Each set represents a journey, which is why I title them with the name of a Gate. These mixes are taken from live sessions during my shows, and afterwards I add an intro that transforms them into experiences ready for takeoff.”

READING THE ROOM

After several years centered on DJing, 2025 also marked her return to the studio with a more techno-driven focus.

“I never liked forcing myself to do something that doesn’t flow naturally. This year, I feel especially creative and very connected with darker, heavier sounds, so I think it’s the perfect time to go back to production and let out what I have inside. It’s also a huge advantage to keep growing as an artist.”

“I watch the intensity with which people dance, how they react to the details of a track. It’s like a conversation. I propose, the floor responds, and in that back-andforth, I decide the direction. The important thing is to keep the journey coherent, even if the intensity changes. The energy of the crowd tells me if it’s time to push, to fly, or to pull back.”

That responsiveness is what allows her to move seamlessly between festivals and intimate clubs.

“While a club’s controlled environment allows for more freedom to experiment, at a festival I lean toward a safer, more direct approach. Sound quality plays a crucial role in this. In intimate spaces like clubs, I tend to take more risks, while at a festival, my goal is to make sure the impact is immediate and strong, adapting to the diversity of the audience.”

And when the room isn’t responding the way she expects, she doesn’t force it.

“The first thing I look at is if people are enjoying themselves, and a good indicator is if they’re dancing. If I notice that the energy is flowing, I know I’m on the right path. But sometimes the vibe isn’t what I expected. In those cases, I adjust the sound and track selection to find the right rhythm that hooks them. I always try to be as prepared as possible in case my initial plan doesn’t work and I need more resources.”

EXPANDING HORIZONS

Dhuna’s vision is no longer confined to Spain. After planting her flag at Miami Music Week and ADE, she now sets her sights on Central Europe, where many of her inspirations play regularly.

“The truth is that I haven’t had the opportunity to move much around Central Europe, but it’s something I would love to do. I’ve always been drawn to that region, especially because many of my references play there frequently.”

She resists being defined by any single style, even as techno becomes more central to her.

“Although lately I feel more attracted to techno, I don’t like putting labels on music. I always try to stay open to everything that excites me, regardless of genre. What matters is to mix coherently and fluidly, to make the transitions subtle, so that the musical journey makes sense.”

2025 has been defined by breakthroughs: iconic debuts, returning to the studio, and global milestones. But Dhuna refuses to reduce it to numbers or hype.

The truth is more personal. Every set, every track, every risk is another way of learning about herself and deepening her bond with the crowd.

Her back-to-backs taught her trust. Her productions reminded her to wait for the right moment. Her residencies forced her to stay adaptable. Festivals pushed her to think big. Clubs allowed her to think differently.

And through it all, the throughline remains the same: intensity, freedom, connection.

Dhuna is not positioning herself as the next star of a single genre. She is carving out something rarer: a career built on presence, honesty, and the willingness to let each chapter transform her sound and her story.

Acid Futures: Marie Vaunt’s Techno Without Borders

Marie Vaunt doesn’t play it safe. Her tracks carry the bite of acid, the shadow of gothic melodies, and the punch of peak-time techno, all woven into something that feels cinematic rather than formulaic. In a world where trends burn fast and fade even faster, she has carved out her lane with persistence, precision, and a refusal to dilute her vision.

AUTHOR:

By 2025, she isn’t just another name on the Beatport charts; she’s the best-selling female techno artist and one of the top four overall. But behind the numbers lies an artist who still treats the 303 like a living instrument, who layers anime-inspired atmospheres under warehouse kicks, and who insists that honesty is the only compass worth following.

Her story isn’t about chasing virality, it’s about building something that lasts. And with her label Kurai Records, her acid-driven catalog, and her Japanese-American identity feeding into every detail, Marie Vaunt is proving that techno’s future belongs to those brave enough to make it personal.

ACID & MUSIC INFLUENCE

Acid has always been more than a texture in Marie Vaunt’s sets; it’s her fingerprint. For her, the 303 is not just a machine, it’s a living organism that still breathes fire into the dancefloor decades after its birth.

“The 303 will always feel alive to me because it’s more than a sound; it’s a living, breathing instrument. Its imperfections and the way it responds to tiny tweaks make every sequence unique. To reinvent it, I like to push it through modern processing, layer unexpected textures, or let it play against haunting pads or hard-hitting drums. It’s about putting that familiar squelch in a world it hasn’t lived in before, so it feels reborn rather than nostalgic.”

This balance between the mechanical and the emotional defines her catalog. Yes, her tracks are built for peak-time energy, but they never stop at sheer impact. The roots of that duality can be traced back to the bands and movements that shaped her.

“I’m drawn to contrast. Drumcode’s peak-time energy gave me a blueprint for building massive rhythms, but artists like Depeche Mode, The Prodigy, and The Cure taught me that darkness and subtle emotion can hit even harder. Outside of techno, anime soundtracks and movie scores have influenced the way I layer atmosphere under a driving beat. It’s that tension, power, and vulnerability that keep my sound straightforward.”

ANIME & JAPANESE ROOTS

For Marie Vaunt, anime was more than entertainment; it was an education in storytelling. The way Japanese animation flips between tenderness and brutality left an imprint on how she builds her own sonic worlds.

“Anime was my first introduction to storytelling that could be brutal one moment and heartbreakingly beautiful the next. Shows like Akame ga Kill or Attack on Titan taught me that emotional weight and aggression can coexist. In my tracks, the kick drums might be relentless, but there’s often a fragile melody, vocal, or texture buried inside, and that’s the anime influence.”

Her identity as a Japanese-American artist adds another dimension to that duality. It’s not just a cultural backdrop; it’s the fuel behind her discipline, her stage presence, and her vision of artistry without borders.

“Being Japanese-American means I’m always navigating two worlds. From Japan, I draw a sense of discipline, minimalism, and respect for tradition. From LA, I get the chaos, the experimentation, and the fearless energy of the underground. Even visually, my artwork, outfits, and stage presence are a mash-up of those influences. It keeps my creative perspective wide open.”

The result is an artist who can command a warehouse in Los Angeles with the same intensity she’d bring to a Tokyo stage; her sound is shaped by both worlds, but confined by neither.

FOOD & CULTURE

For Marie Vaunt, inspiration isn’t limited to studios and stages; it often starts in the kitchen. Food is another form of rhythm, a daily ritual that feeds her creative instincts just as much as it feeds her body.

“Food is a huge part of my creative ritual. Japanese cuisine, with its precision and balance, reminds me to respect the details in my mixes. LA’s food culture is wild and experimental, which inspires me to take risks. Cooking is like building a track, layering ingredients, balancing flavors, knowing when to keep it simple and when to go bold.”

It’s a philosophy that mirrors her music: precision balanced with chaos, structure laced with surprise. The same way a dish can shift with one spice, a track can transform with one new texture, and in her world, both cooking and producing are acts of composition.

CAREER & VISION

Marie Vaunt has broken records on Beatport and carved her name among the top four techno artists in the world. Yet her success has never diluted her vision. If anything, it sharpened her resolve to protect her voice from being swallowed by trends.

“Kurai Records exists so I can stay fearless. Success is amazing, but the moment you chase numbers instead of ideas, you lose what made people care in the first place. I remind myself why I started: to make dark, emotional, acid-driven techno that excites me first. The commercial side is a byproduct, not the goal.”

Her tracks, whether dropped in a sweaty underground basement or blasting from the mainstage towers of a global festival, are built to carry. She doesn’t chase the crowd; she trusts that emotion will always translate.

“I don’t change my process for festivals or underground clubs. I honestly believe that a track that’s made with care will translate anywhere. Maybe it’s a whisper in a warehouse or a roar on a big stage, but the emotion carries. I trust the universality of music and its ability to fit in without me forcing it.”

Looking forward, she isn’t interested in quick pivots or following hype cycles. Her vision is slower, deeper, and rooted in both her love of techno and her heritage.

“My focus is to keep pushing my techno and acid sound forward and to let it evolve naturally by iteration, as I don’t believe in following trends. I also want to keep growing Kurai Records into a reference label in the techno scene, while bringing my Japanese heritage further into the spotlight through the aesthetics, the emotion in the music, and the community around it. For me, it’s about building something timeless and evergreen rather than chasing what’s popular right now.”

CLOSING REFLECTIONS

Marie Vaunt’s story is proof that techno in 2025 doesn’t need to choose between raw power and emotional weight. She is building something that doesn’t just hit the body but also lingers in the heart, where acid lines twist into memories and melodies carve out space for vulnerability. What makes her path compelling isn’t just the milestones or the statistics, but the way she frames every release as a chapter of a larger narrative, one that refuses to compromise.

Her discipline comes from Japan, her fire from Los Angeles, her vision from years of listening closely to what both the crowd and her own instincts demand. What she carries forward with Kurai Records, her stage presence, and her sound is not just a career strategy but a philosophy: that authenticity is the only compass that matters.

“For me, it’s about building something timeless and evergreen rather than chasing what’s popular right now.”

And maybe that’s why Marie Vaunt feels like one of the artists shaping not only the present of techno but its future. She is not chasing the noise of the moment; she is designing echoes that will still be heard when the hype has passed.

OXIA

The Patience of a Pioneer

The electronic music industry is obsessed with immediacy, but Oxia has always played the long game. While others chase playlists and quick-hit singles, he has built a career on tracks that outlive hype cycles, songs that become part of the architecture of dance culture. Domino is still one of the most played records in techno history, his Cercle set pulled in millions within days, and yet his name has never been tied to trends. Oxia belongs to that rare group of artists who evolve at their own pace, and the scene bends around them.

Now, more than a decade after Tides of Mind, he steps forward with Aelle, his third studio album. It is not a return, because he never left. It is not a rebrand, because his sound has never needed one. Instead, it is a slow-burn statement from an artist who knows that true impact is measured in years, not weeks. Across twelve tracks, Oxia balances the groove of the club with the vulnerability of solitude, the euphoria of the floor with the melancholy of memory.

Aelle was carved through patience, collaboration, and an unshakable belief in timeless music. And in 2025, it feels like a reminder that techno’s most powerful voices are often the quietest ones, those who wait until they have something real to say.

“It’s true that a lot of time has passed since Tides of Mind. Time goes by so fast. For me, an album is never something I want to force. It has to come naturally, when I feel I have a story to tell that goes beyond singles or EPs. Over the past decade, I’ve been focused on touring, releasing tracks and remixes, but I always had the idea of a new album in the back of my mind.” AUTHOR:

The tracks that would eventually shape Aelle were not written in a single burst of inspiration. They collected slowly, with fragments set aside until the right time revealed itself.

“I had already set aside a few tracks, some of the softer ones, quite a while ago. But it wasn’t enough to shape a full album. I needed to wait until I had both the time and the inspiration to create more music that fit into that universe. Of course, life sometimes brings unexpected things you can’t control, which can delay the projects you had in mind. On top of that, I have to admit I work quite slowly, and I’m a bit of a perfectionist when it comes to production. That’s also why this album took time to come together.”

What makes Aelle powerful is not just the patience behind it but the emotional spectrum it holds: from grooves built for the floor to passages that invite reflection. Oxia wanted the record to carry weight in both spaces, to move dancers but also live as a soundtrack outside the booth.

“That’s actually one of the reasons why the album took time. I kept experimenting before I was really satisfied with the result. I wanted the more dancefloor-oriented tracks to also be enjoyable outside of a club setting. The challenge was to bring together all these elements I love in electronic music, groove, melodies, intensity, emotion, and make it feel coherent, whether you’re on a dancefloor or listening in a more personal context.”

That duality is perhaps the most striking quality of the album. Bright, hopeful cuts like Presence and Colors of Life sit alongside the haunting melancholy of Aerial. The balance between light and dark doesn’t feel calculated, it feels human.

“To be honest, I didn’t really plan that contrast, it just came instinctively. Whatever happens in life during the creative process inevitably influences the music, even if not consciously. Some tracks were made quite a while ago, so it’s hard to say exactly where I was personally at the time. I’d say I’m generally a pretty happy person, but like everyone, there are moments when you’re not at your best. Even if they’re rare, they’re part of life. I think that mix of light and melancholia is just part of who I am, and it naturally influences my work.”

If Aelle carries Oxia’s fingerprints, it also bears the touch of those closest to him. The album feels deeply personal, but it’s not a solitary work. Longtime allies and fresh voices helped shape its final form, giving the record the kind of depth that can only come from collaboration.

“Nicolas and I often work together (and we also run Diversions Music) so it felt natural to have him on this project. We had started a track a few years ago but never finished it. I thought it would fit perfectly on the album, so we took the time to complete it. That became ‘Faces.’ He also helped with the mixing of the album.”

There’s also a sense of intimacy in the way Oxia chooses collaborators: friends from his own city, artists who share his orbit not just musically but personally.

“Yannick is a long-time friend, and we live in the same city, so we see each other often. We listen to each other’s music and sometimes come up with ideas that turn into collaborations, like the two tracks he contributed to. On one of them, ‘Silk & Fur’, we actually sang ourselves, but weren’t totally comfortable with our vocals. So we asked Hacène (another artist from our city) to re-record them. He also added a second part to complete the lyrics and brought something unexpected that really elevated the track.”

Even when working with vocalists, the choices came from trust and shared history rather than industry calculation.

“With Hen Wen, who’s a friend from my hometown, we had talked for a long time about collaborating. When I finished the instrumental, I felt her voice would be perfect. She wrote the lyrics, and that became ‘Calling The Sun’.”

What ties these partnerships together is the way they expand Oxia’s universe without diluting it. Each voice, each idea, stretches the emotional palette of Aelle while keeping its center intact.

“All these collaborations brought something extra. Each of them added a part of their own universe to mine, and that’s the beauty of working with other artists.”

Listening to Aelle straight through, it becomes clear this isn’t just a collection of tracks thrown together. It breathes like a story, carrying the listener through peaks and valleys, tension and release. That wasn’t an accident, even if the final flow took time to uncover.

“I take that as a compliment, so thank you for noticing. I wouldn’t say the tracklist came together completely naturally, I actually tried several versions before finding the right flow. I wanted to alternate the more energetic tracks with the softer, more intimate and introspective ones, so that the album feels like a journey through different moods and emotions. It wasn’t about designing it like a DJ set, it was more about creating a balance that makes sense when you listen from start to finish.”

That balance is what makes Aelle resonate. It carries the architecture of a night out but also the intimacy of a solitary listen. It feels cinematic without losing its club pulse, a rare hybrid that reflects Oxia’s decades of experience. The album isn’t just music for a moment, it’s an invitation to stay inside its world.

Every album carries its own pressure, but for Oxia the challenge with Aelle was clear: avoid repetition and push himself into corners he hadn’t yet explored. Singles and EPs can be laser-focused on the floor, but an album requires a wider lens, a willingness to show sides of yourself that might never make it into a peak-time set.

“Every album is a challenge, because I don’t want to repeat myself. It’s very different from making a single or an EP for the dancefloor. On an album, you can explore ideas you wouldn’t normally go for, more intimate or introspective tracks. I always try to push my sound forward while staying true to what defines me as an artist. Working on Aelle reminded me why I still love making music after all these years. The excitement of creating something new, experimenting with different moods, and seeing how a track can evolve in ways I didn’t expect.”

That’s the essence of longevity: not chasing trends but staying curious, allowing the process itself to renew the spark. Aelle became more than a return, it was a reminder of why Oxia is still here, shaping the conversation two decades on.

Oxia has never been a stranger to big moments. His Cercle set reached over a million views in days, and “Domino” has quietly built into a modern classic with more than 150 million streams. But while those milestones put him in front of a global audience, he sees albums as something different entirely, a format that resists the quick dopamine of viral culture.

“Streaming a live set like my Cercle performance is similar to a single, it’s immediate, and you see the reaction right away. Domino reaching around 150 million streams is a big milestone for me, but even that took years. That track is a bit special and it’s become a classic over time. An album is different. It works over the long term. You want people to take their time with it, even if that means listening over several years. You want the album to stand the test of time, which is why many of the tracks have a more timeless quality. And it also gives me space to explore different moods and sides of my music that singles or viral moments often can’t. It’s just a different kind of expression.”

That patience is rare in a world where DJs can rise or fall on a single track’s algorithmic luck. For Oxia, the album is a statement against disposability, a body of work designed to last long after the playlists move on.

Oxia has never been a stranger to big moments. His Cercle set reached over a million views in days, and “Domino” has quietly built into a modern classic with more than 150 million streams. But while those milestones put him in front of a global audience, he sees albums as something different entirely, a format that resists the quick dopamine of viral culture.

“Streaming a live set like my Cercle performance is similar to a single, it’s immediate, and you see the reaction right away. Domino reaching around 150 million streams is a big milestone for me, but even that took years. That track is a bit special and it’s become a classic over time. An album is different. It works over the long term. You want people to take their time with it, even if that means listening over several years. You want the album to stand the test of time, which is why many of the tracks have a more timeless quality. And it also gives me space to explore different moods and sides of my music that singles or viral moments often can’t. It’s just a different kind of expression.”

That patience is rare in a world where DJs can rise or fall on a single track’s algorithmic luck. For Oxia, the album is a statement against disposability, a body of work designed to last long after the playlists move on.

Aelle is more than just Oxia’s third album. It’s the sound of an artist refusing to rush, refusing to bend to the constant turnover of trends. In a world where singles dominate and virality decides relevance, he has chosen the slower, harder path: building a body of work meant to last years, not weeks. That patience is rare, and it shows in the record’s depth.

What makes Oxia’s story compelling is that he hasn’t abandoned the club. His tracks still move floors from Paris to Buenos Aires, yet with Aelle he shows that vulnerability and groove can coexist. It’s a reminder that electronic music doesn’t have to split between functional tools and personal statements. The best work does both, and Oxia proves it here.

Looking back on his decades in the game, the legacy is already undeniable: one of France’s most respected exports, a producer whose tracks have become timeless, and a mentor for a generation still learning what longevity really means. With Aelle, he closes one chapter and opens another, standing as proof that the long game is still the most powerful one.

KAS:ST

The Emotional Alchemy of ADORE Beyond Techno: KAS:ST’s Hybrid Vision on Adore

KAS:ST (Manuel Sene) doesn’t deal in half-measures. His productions have always carried a cinematic scale, music designed to outgrow the booth and exist in a bigger narrative. With “ADORE”, his new album, KAS:ST delivers his most uncompromising statement to date. Trance peaks, broken beats, African roots, and raw techno collide in a record that refuses to be reduced to one sound.

This is also his first full-length project since taking KAS:ST forward as a solo act. Life outside the studio has shifted the balance: marriage, fatherhood, and a deeper sense of responsibility echo throughout the record. Vulnerability becomes part of the language, sitting alongside the power and intensity that have defined his work until now.

ADORE is not a formula; it is a manifesto. A body of work that insists techno can be more than functional, that it can hold emotion, storytelling, and risk without losing coherence. In a scene often addicted to repetition, KAS:ST is showing a different path, one that feels raw, personal, and necessary.

With ADORE, KAS:ST is staking his claim as one of the few artists willing to stretch techno beyond its own cage. The record pulls from broken beats, trance peaks, African rhythms, and even pop references, yet it never loses coherence. Instead, it feels like one continuous statement. This is not a playlist of club weapons; it is an album that insists on honesty and on showing every side of an artist who refuses to stay in one lane.

That refusal is not just an aesthetic choice; it is a philosophy.

“From the start, I didn’t have a fixed blueprint. My goal was simply to create a record that reflects every side of my universe and the life I’m living today. I let each influence come in naturally: my African roots, trance, broken beats, raw techno, even pop, until the puzzle fit together by itself. The point was never to stick to one single color, but to show that my identity is hybrid and multifaceted. Having that freedom as an artist, not letting myself get locked into one specific style, has always been essential for me.”

This is a statement many techno producers are afraid to make out loud. Most still cling to the safety of uniformity, delivering twelve versions of the same track to keep their slots on festival lineups. Manu does the opposite. He opens the door to all of his influences and lets them bleed into each other, betting on personality rather than predictability.

The decision to expand his palette came with a deeper shift in his own life.

“I’ve been on my own with KAS:ST for almost two years now, so it was important for me to fully express my personal artistic identity. I’m very proud of what Carol and I achieved together in the past, but being alone naturally awakened different desires, emotions, and horizons. My personal life has also played a huge role. I got married last year,

I have a beautiful little daughter, and the love I feel for them inspires me and gives me strength every single day. My music inevitably reflects that.”

This is not just a personal detail thrown in for sympathy. You can actually hear it in the record. The vulnerability is not ornamental; it’s structural. Where previous releases often leaned on impact, ADORE allows room for fragility, for emotion to guide the tension as much as the kick. It is the sound of an artist unafraid to let his private life bleed into the booth.

“I’m often categorized as a DJ or club artist, but that doesn’t fully define me. I listen to so many different styles of music on a daily basis, and those influences constantly shape the way I create. Finally, the album format gave me the freedom to experiment. I didn’t want to deliver just a compilation of tracks that sound the same. That’s not what I want to share with my fans. I wanted to surprise them, to take them on a real journey through my world.”

That last point matters. In 2025, when streaming dominates and EPs are often built for algorithmic rotation, committing to a full album that refuses to sound homogeneous is both risky and rare. It positions ADORE as something closer to a cinematic score than a set of functional tools.

“For me, Adore isn’t just about love in the romantic sense. It’s a word that embodies the intensity of my emotions: my attachment to my loved ones, to my music, to my audience. It carries passion, sometimes obsession, but also gratitude. It’s a simple word that condenses everything I wanted to express with this record. The opening words of the album capture this feeling perfectly.”

KAS:ST plants his flag in a word that is emotional, open, even exposed. That choice alone signals where this album stands in the larger landscape: not afraid of sincerity, not afraid to risk being understood too deeply.

If ADORE sounds cinematic, it is because KAS:ST has always built music with one eye on the screen. His records unfold carrying the kind of visual weight that makes them feel bigger than the club.

“Music and visuals are inseparable for me. My videos are natural extensions of the tracks. They give a body and a face to the emotions I try to translate into sound. With LEGACY and The Tribe, the stories are closely tied to my own background. As the grandson of Senegalese, Italian, and Spanish immigrants, I carry that heritage inside me, and it adds both weight and coherence to the project.”

That honesty is rare in a scene where visuals often feel like branding, a backdrop to the music rather than a vital part of it. KAS:ST approaches them differently. His videos are not accessories; they are stories of exile, survival, and belonging. In doing so, he blurs the line between techno and cinema, refusing to let the music exist as something abstract or faceless.

One of the most striking things about ADORE is the number of voices inhabiting it. The record feels almost like a film script, with different characters entering and shaping the emotional landscape. For KAS:ST, each collaboration is not decoration but narrative, a way to channel emotions through textures that his own sound cannot carry alone.

“Every voice on the album plays a specific role, almost like characters in a movie. Be No Rain brings this unique melancholy, Neav embodies a fragile softness, and with Next To U, I wanted to take a personal step forward. Singing was a challenge, but also a necessity. I couldn’t let anyone else carry those words; they had to come from me.”

In a culture where vocal features often get reduced to hooks for playlists, KAS:ST treats them with intention. His own decision to step behind the mic signals something deeper: a refusal to outsource his most personal statement. By putting his own voice at the heart of the record, he collapses the distance between artist and alias, leaving no doubt that ADORE is not just a project but a confession.

Techno often builds its reputation on rigidity, on staying inside a formula that guarantees impact on the floor. With ADORE, KAS:ST deliberately bends that frame. Tracks like Echoes of Us flirt with pop, while Next To U slips into breakbeat territory, proof that his vision is not afraid to risk disorienting an audience.

“As I said earlier, I never tried to fit into a box. Techno has always been one of my foundations, but I wanted to show that it can interact with other styles without losing its soul. Tracks like Echoes of Us or Next To U are experiments that prove you can step outside the club framework and still keep the whole record coherent. For me, the only thing that really matters is being sincere and the love I receive from my fans. Of course, not everyone will embrace that approach, but honestly, I’ve never made music to please people or meet their expectations. The moment you start thinking like that, creativity dies, because fear becomes your guide.”

This is the essence of ADORE: an album that rejects safety in a landscape where many producers design tracks to slot neatly into the Beatport charts or algorithmic playlists.

KAS:ST gambles on sincerity. The result is a record that stretches techno’s vocabulary without losing its core, carving out space for experimentation in a genre often obsessed with uniformity. If ADORE expands techno’s vocabulary, its deepest register comes from Sene’s Manu’s own heritage. African languages, rhythms, and textures run through the album, not as exotic decoration but as grounding elements. For KAS:ST, weaving these sounds into the record is both a personal reconnection and an artistic provocation.

“It’s both. On one hand, it’s a personal reconnection with my heritage, and on the other, it’s an artistic will to push techno into new territories of rhythms and voices. It’s essential for me not to forget where I come from, but also to transform that heritage into something alive that speaks to the present. I feel very close to my Senegalese roots, but I’m also a product of French and Western culture, so the album is truly a mix of both.”

KAS:ST’s visual world has always stood apart. Where many techno acts treat videos as marketing collateral, he uses them as narrative extensions of the music. The films for LEGACY and The Tribe are not backdrops but central pieces of his artistic identity, stories that carry almost as much weight as the tracks themselves.

“I think those stories resonate because they speak to something universal: exile, survival, the search for identity. Even though they’re inspired by my own life and the people around me, everyone can relate to them in their own way. The success of the videos shows that people are hungry for strong narratives, even within music that is often labeled as underground.”

The challenge with an album like ADORE is how to carry its cinematic scale into the booth. Techno culture is still built around clubs and festivals, where intensity and stamina often take priority over nuance. For

KAS:ST, the answer lies in rethinking performance itself, shaping something that sits between a DJ set and an audiovisual journey.

“Of course, I’m aiming to build a full audiovisual show with my team connected to the world of ADORE, but I need more time for the project to be fully developed. My DJ sets are already eclectic. I can move from melodic techno to harder sounds, but in the club context, I still like to keep things intense and techno-driven. Beyond the club tracks, the album itself is more about listening and escaping. I always include the more club-oriented tracks in my sets, but ADORE is also an invitation to experience something deeper.”

Legacy and the Next Chapter

ADORE feels like both culmination and departure. It gathers everything KAS:ST has carried until now and pushes it toward something new, a space where techno merges with soul, storytelling, and risk. For Manu, it is not the final word, but the opening of a new cycle.

“For me, ADORE is clearly the start of a new cycle. It’s the most complete project of my career so far, but it also opens the door to new explorations. In ten years, I hope people will remember ADORE as a record without creative limits, one that proved techno could carry emotion, storytelling, and soul, and as the moment where a new chapter of KAS: ST truly began.”

If his vision holds, ADORE will not just sit as another techno album but as a benchmark, a reminder of what happens when the genre stops hiding behind uniformity and embraces its full spectrum.

KAS:ST has always operated on a grand scale, but ADORE shifts that ambition inward. The record is not defined by oversized synths or cinematic build-ups; it is defined by the way he folds his own life, heritage, and vulnerability into a genre that often resists such exposure. In that move, he drags techno into unfamiliar territory, one where honesty becomes as powerful as impact.

That honesty is what sets him apart. It is not the safe choice, but it is the one that gives ADORE its weight. And weight is what survives beyond hype cycles and festival seasons.

Looking at the bigger picture, ADORE feels less like a statement and more like a roadmap. It shows how techno can stretch, how visuals can carry as much meaning as sound, how heritage can drive the rhythm forward, and how personal lives can bleed into the booth without diluting the energy. If this is the beginning of KAS:ST’s new cycle, then the next decade is not just about harder kicks or bigger drops. It is about opening techno up to its own potential, and that is where ADORE leaves its mark.

AUTHOR: SERGIO NIÑO

PHOTOGRAPHY: YAKIND

SPACE 92 Takeoff

isn’t a label, it’s a worldwide movement

In just a few years, Space 92 has gone from underground whispers to the biggest stages on Earth, rewriting what peak-time Techno can sound like and how far it can travel. 2025 has been the year where the fuse finally hit the powder: Ultra Miami, EDC Vegas, Tomorrowland Belgium and Brazil, all conquered with the same arsenal of Sci-Fi drenched anthems that turned him into Beatport’s best-selling driving Techno artist of all time.

He isn’t just headlining festivals, he’s redefining what headlining means. Tomorrowland Belgium left him in tears on stage, a raw moment that cut through the lasers and fireworks to reveal an artist still stunned by the scope of his own journey. That vulnerability is key to understanding him. Behind the distortion and acid, there’s a human story of persistence, risk, and a refusal to settle for “normal.”

With his label TAKEOFF already sitting at number four worldwide after only six releases, and collaborations stretching from Maddix to Malena Narvay, Space 92 has proven he’s more than a festival phenomenon. He’s a builder, an instigator, a connector. And if 2025 was the launch, then what lies ahead is nothing short of orbital.

A LANDMARK YEAR

2025 will go down as the year Space 92 stopped chasing the dream and started living it. Ultra Miami, EDC Vegas, Tomorrowland Belgium and Brazil, the holy trinity of global dance culture, all ticked off in one sweep. These aren’t just gigs, they’re the stages where legends are minted. And he’s not there as support. He’s headlining with a sound that’s entirely his own.

“2025 has been an incredible year for me so far. Performing at each of the world’s three biggest and most prestigious festivals was, not so long ago, a dream I never thought would come true. I actually broke down in tears on stage at Tomorrowland Belgium. I was so tense and focused that it took me a good while to pause and take it all in. And when I did, I started crying uncontrollably. It was the best set of my life. I am very proud of everything that’s been achieved this year.”

TAKEOFF: A ROCKET LAUNCH

If the festival run was proof of Space 92’s global pull, the launch of TAKEOFF was the sign of his long-term vision. In less than a year, the label has already broken into the top 5 worldwide, something most imprints spend a decade chasing. And it didn’t happen with hype cycles or big-budget campaigns; it happened because the music landed like a meteor.

“I had a very clear vision of what I wanted and how I wanted to convey it. I also had a few huge bangers in my pocket. The first three TAKEOFF releases (‘Offbeat’, ‘Orbit Motion’, and ‘Formula Loca’) were all Beatport Techno PT/D Top 3 hits and remained forever on Spotify as well. ‘Orbit Motion’ scored us our first Beatport Number 1.”

“But yeah, to be honest, there were no elaborate plans prepared by expensive consultants to orchestrate this launch; in the end, TAKEOFF is just me, the label manager, and a tiny support crew. I am very happy with the outcome. My label reflects exactly who I am as an artist, and also as a person. The producers I signed have complete artistic freedom and are cared for. We all have genuine affection and respect for each other; it’s got a family vibe to it, I really like and want to nurture.”

That family energy might just be TAKEOFF’s biggest weapon. Space 92 is betting on loyalty, patience, and mutual respect. The result: a label that doesn’t just release music, it builds momentum around a collective vision.

THE LABEL’S FUTURE

Most labels that rise this fast crash just as quickly. But Space 92 is already thinking about sustainability, about how to grow without losing the heart that made TAKEOFF special in the first place. He knows momentum can be dangerous if it turns into a machine.

“That’s beautifully said, thank you! I think 2026 will remain relatively similar, expansion-wise. TAKEOFF’s rise will need to be carefully controlled and monitored; that being said. I don’t want my label to become a soulless factory releasing records non-stop, giving them five minutes of attention before hopping onto the next release. This is also why we’ve only organized two events this year. The first one was TAKEOFF’s official launch worldwide in the shape of a free, small pop-up event in Buenos Aires, where I played for an hour and a half. The second and last event of the year will take place on a train in Amsterdam during ADE. TAKEOFF Train will feature a few amazing headliners. I can already say Joyhauser and Amber Broos will be part of the lineup, in addition to a few members of the TAKEOFF family featured on our upcoming release, ‘Mission 1’ (A Various Artists compilation featuring 7 Techno producers from around the world, out November 26th).”

A label launch in a Buenos Aires pop-up and a label showcase on a moving train at ADE, those aren’t the usual industry playbook moves. But that’s the point. Space 92 isn’t chasing volume; he’s crafting moments that people remember. TAKEOFF isn’t about flooding the market; it’s about writing stories that stay in the culture.

Fifteen Beatport Number Ones. The title of Peak Time/Driving Techno’s best-selling artist of all time. For most, those stats would be the headline. For Space 92, they’re just markers on the path; milestones that matter, but never more than the faces in the crowd.

“Being recognized as a producer by my peers is the ultimate reward, but so is watching tens of thousands of people around the world dance to the music I made. I was born to do this, and when I tried to have a ‘normal’ job, I was the unhappiest, most miserable bastard on Earth. Being able to live decently off the music I make is already fantastic, and something I didn’t think was achievable four years ago.”

COLLABORATIONS AS CATALYSTS

From underground heroes to mainstream crossovers, Space 92’s collabs have become their own kind of laboratory. Each project stretches his sound in unexpected ways, proving that Techno doesn’t have to stay in one lane to keep its bite.

“Most of my collaborations have happened organically, with artists such as Oliver Heldens or Maddix reaching out to me on Instagram and having a chat. Sometimes it’s the other way around; I reach out to someone because I know this specific person’s sound would 100% work on a track I’m working on. In Malena Narvay’s case, I was looking for a Spanish-speaking singer for a new track I was working on, and dozens of people told me to look at her profile, as she’d previously made a track with Boris Brechja. I did; we talked. I met with her in Argentina, and ‘Formula Loca’ was born. Globally, every single collaboration I’ve worked on has made me learn and grow as a producer.”

These collabs aren’t just names on a flyer, they’re catalysts, jolts of energy that spark evolution. One moment it’s a Beatport hit, the next it’s a pop-leaning anthem, but at the core it’s always Space 92 bending his world to meet someone else’s, and finding new ground in the overlap.

If there’s one thing Space 92 has mastered, it’s keeping his identity instantly recognizable while still leaving room for surprise. Trancey melodies cut through distortion, acid burns under the surface, and every track feels wired with a Sci-Fi pulse. The question is not whether he’ll evolve but how far he’ll push it.

“Maybe I’ll sprinkle some more Trance on my Techno at some point, or maybe I’ll crank up the BPMs, or maybe I’ll do both… I’m working on a couple of special projects for next year. I’ve actually got a bunch of high-profile collaborations lined up until early 2026, and I’m working on new music as well.”

CHINA AND THE GLOBAL DANCE MAP

Few Western Techno artists can say they’ve truly cracked China, but Space 92 has turned those trips into case studies in how fast a scene can shift. The first time he landed there, it felt alien: an EDM act with mic shout-outs, a seated crowd staring blankly at the stage. It was a clash of cultures, and he didn’t hold back.

“The first time I went to China two years ago, there was an EDM act playing before me, complete with the whole cringey microphone shout-outs to the crowd. Everyone was sitting down at their tables, still staring at the stage. It was surreal. I started getting pissed off, so when it was my turn to play, I looked at the crowd and asked them (well, I gestured, really) to get up and dance. After a while, people went crazy during the set!”

“That fire only grew. A year later, he returned to China and found a transformed crowd: shirtless, feral, fully locked into the rhythm.

“One year later, when I went back to the same city in China, I went on stage expecting the same setup. Boy, was I wrong! The crowd was feral; the men were shirtless, and it was incredible. It gets better and better every time, and I’m so happy about this. Several promoters informed me that before COVID-19 hit, EDM was the reigning genre in China; however, things apparently changed after the pandemic. Techno is slowly growing; more and more festivals are inviting Techno artists, and there is a real and dedicated Techno fan base. I’m actually traveling to Foshan in a few hours, so I’ll keep you updated, haha!”

BEYOND THE DANCEFLOOR

For Space 92, the vision doesn’t stop once the lights go out. Global tours and chart-topping releases are only part of the story; behind the booth, he’s already sketching the next universe for his fans to step into.

“I have so many ongoing projects at the moment, it’s a miracle I still have time to eat or sleep, haha. I’m currently working on a clothes & merch line. People ask me about merch every single day and have done so for years, so this has been long overdue. I’m also working on a very special show, but everything is top-secret for now. Let’s just say that your question about expanding my Sci-Fi inspirations into other media is very foretelling!”

Whether it’s fashion, stagecraft, or new visual languages, Space 92 wants to build a world where the Sci-Fi undertones of his sound finally have a life of their own.

Headlining Ultra, EDC, and Tomorrowland in one season might read like a career peak, yet Space 92 talks about those moments with raw emotion, even admitting to breaking down on stage. The tears, the nerves, the pride, they make his dominance feel human.

The launch of TAKEOFF shows the same pattern. It could have been a calculated, consultant-driven operation, but instead it came alive with instinct, bangers in the pocket, and a tight crew bound by trust. In his words, it’s family, not factory. That honesty is why the label already sits among the biggest in the world after just a handful of releases.

And while his stats, fifteen Beatport #1s, best-selling peak-time Techno artist of all time, paint him as a machine, the reality is closer to a dreamer who never fit into a “normal” job. His collaborations, his willingness to risk new genres, and even his plans to expand into fashion and immersive shows all prove that his story is still unfolding. Space 92 isn’t chasing milestones; he’s chasing meaning, turning into a universe that feels as cinematic as it does personal.

Sound, spirit, and the art of presence with KTK

“In the end, I see my artistic journey as an on going experiment, a space to play, feel, transform, and discover new ways to channel energy and emotion.”

Berlin might be overflowing with techno talent, but KTK is carving out her own constellation. Rooted in her Greek heritage and fueled by cosmic vision, she blends hypnotic techno, subtle psytrance elements, and minimal bounce into high-energy journeys that shift between groove and gloom. Her sets feel less like performances and more like rituals, where dancers are guided through darkness and light with a precision that is both intuitive and deliberate.

Her rise has been fast but intentional. From appearances at Creamfields and Teletech Festival to regular slots at RSO and Tresor, KTK has already stepped into the spotlight of the international scene. Support from figures like Anetha and KI/KI, plus standout releases such as her debut solo EP Echoes From Syrius on Misguided, show an artist who refuses to follow the obvious route. Instead, she sharpens her identity through sound design, a spiritual approach to creativity, and a lifestyle that balances the intensity of touring with a focus on health, clarity, and well-being.

In conversation, KTK is open about the deeper layers of her artistry. She reflects on what drives her connection to listeners, how she prepares for the chaos of the stage, and the way mindfulness and spirituality shape her creative flow. She speaks candidly about sustaining energy as a touring artist, staying authentic in a fast-moving scene, and the projects that are now shaping her future. What emerges is a portrait of an artist not only building momentum but also defining her own philosophy in real time.

IDENTITY

There is something deliberate about the way KTK approaches her craft. Her sets are not built for background noise or passing moments; they are designed to pull people into a heightened state where groove and energy feel like more than just music. For her, sound is inseparable from philosophy, and identity is something that develops as much on the inside as on the dance floor.

“I would describe my artistic identity as existing somewhere between techno and trance, faster BPMs, complex yet straightforward rhythms, always hypnotic and energetic. Perhaps leaning slightly more toward techno, though that depends on perspective.”

“For me, it’s not just about the sound itself but about the state of consciousness it can create. It’s about presence, the way music can shift awareness and open space for something deeper. Over time, my artistic identity has grown beyond the music into a lifestyle. Spirituality, awareness, and high-energy living are not only values I try to capture in my music but also principles I carry into daily life, some days more successfully than others, which is part of the journey. This depth has developed over the years. My approach was always spiritually charged, but initially, it was too abstract to grasp fully. With time and daily practice, the link between my music and my inner world has become clear. Now it feels inseparable music, mindset, and lifestyle are part of the same identity, coming straight from the soul.”

That inseparability is what fuels her process. She is not interested in churning out tracks on autopilot. For KTK, producing is about intuition, empathy, and knowing when the flow is real.

“What motivates me most when producing is tuning into my intuition and letting emotions lead the way. Even before starting, I can usually sense whether it will be easy to connect that day or whether my mind is too occupied with other tasks. For me, producing is never mechanical; I have to be in the right state of mind to create something meaningful. That’s why I try to make music every day, even if it’s just for ten minutes. After those first minutes, it becomes clear either the flow takes over and I keep going, or it’s simply not the day, but at least I’ve tried and stayed connected to the process.”

“In the early stages in the studio, I avoid overthinking and simply imagine what I’d love to hear on the dance floor. When an idea clicks, I feel an instant rush of energy, warmth in the chest, that physical spark. That’s when I know others will catch the same euphoria, and from there it’s about refining the details (and I pay A LOT to that) so the track can truly resonate.”

“When DJing, the approach is similar, but the context is different. Empathy is everything. I’ve spent countless hours on the dance floor myself, eyes closed, completely immersed in sound, so it’s easy for me to switch perspectives and sense what the crowd needs in the moment. Certain rhythms and textures have a particular effect on the body and mind, and I love to explore that. My goal is always to create a shared state of presence, a space where people can let go, connect, and feel something deeply within themselves, yet at the same time beyond themselves.”

That empathy extends to how she prepares for the booth. For KTK, the ritual before a set is as important as the set itself. Technical readiness matters, but so does grounding, focus, and intention.

“I always arrive fully prepared, not by planning every track, but by making sure I’m ready in every sense when I step on stage. Technically, that means having all essentials with me: headphones, USBs (a few of them, just in case), my reverb if required, earplugs (which I’ve never played without for years, to protect my ears!), so I can feel secure and free to focus on the music. Mentally, I ground myself through small rituals, such as lighting incense sticks, hydrating, and feeling confident in my skin and the clothes I wear. These details may seem subtle, but they shape my presence. If the set is very late (or early in the morning), I make sure to rest so my mind stays clear and not overstimulated from travel, which can often be intense. For me, preparation is not about control but about entering the booth centered, present, and open.”

Even with all that preparation, she leaves space for spontaneity. Planning the shape of a set does not mean closing off the dialogue with the audience, and for KTK, that dialogue is what makes each night unique.

“I definitely plan the direction of my sets, considering the party, the lineup, my play time, and the size of the stage. Each factor shapes the flow; a main-time set in an intimate club is very different from a bigroom closing performance. I also like to check the lineup in advance to sense the energy before and after me. This doesn’t mean I change my style; I always stay true to my sound. Once the initial direction is set, I plan the first few tracks to create a smooth entrance, then stay open and let the crowd guide me, turning the set into a shared experience. It kinda becomes a dialogue.”

SPIRITUALITY & CREATIVE FLOW

For KTK, creativity is not something separate from her spiritual practice. The two are tightly woven, each informing and strengthening the other. In her world, sound is never random, and decisions in music or career always stem from intuition and alignment.

“As I mentioned, spirituality is definitely my guiding hand in many aspects of my work, both creatively and in the important choices I make. When producing music, I focus on sounds that feel otherworldly and ethereal, not ordinary. I pay attention to every detail, from background noises to subtle elements, ensuring each has a precise place and purpose.”

“Spirituality also shapes my daily life. I follow a strict morning routine and small rituals that set the tone for the day, helping me stay grounded, sharp, and connected. It’s also the one thing that really grounds me during stressful phases, before a release or during intense touring. That doesn’t mean

I never feel pressure; it’s about how quickly I can return to baseline and pull myself together. When I face important decisions, I try to listen to my gut and intuition. It’s not always perfect as the analytical mind or strong emotions can sometimes cloud judgment, but ultimately, intuition shows the way forward and helps me stay aligned with my values.”

That sense of presence has become her anchor. In an industry where distractions are constant, she frames success in terms of clarity of purpose and the discipline to protect it.

“As you said, the industry is full of distractions, and presence becomes the anchor that keeps me connected to my vision. At the core, it comes down to one question: how much do you want it, and what impact do you want to have? Once that’s clear, the decisions become simpler; you either let the noise take over or stay sharp and aligned. Of course, balance is key; the occasional fun distraction or moment of play is part of life, but it’s about not letting it swallow your essence.”

“A small personal story here: before I started touring full-time, I studied sports, was a personal trainer, and was very committed to fitness. Discipline, a sharp mind, focus, and presence were essential in training; one moment of inattention could literally break your bones. I think that’s why focus and presence feel so natural for me today; it has be come my default system. For me as an artist, mindfulness is the same anchor; it keeps me present, grounded, and able to channel my energy into everything I do.”

HEALTHY LIFESTYLE

Behind the high energy of her sets and productions lies a strict routine; discipline is essential for longevity. KTK treats her health as an investment in creativity, knowing that maintaining balance throughout the week enables her to handle the chaos of touring.

“I believe the body is capable of balancing a lot, which is why I maintain a very healthy routine on normal weekdays. I wake up early, follow my morning rituals, eat nutritious meals, stay hydrated, read to stimulate my mind, meditate, do yoga and breathwork, and hit the gym from Monday to Thursday (sometimes Friday if I’m not traveling). I mix up my workouts, including weights, Pilates, and running, to challenge my body in different ways, and I go to bed by midnight. This keeps me balanced, strong, and mentally sharp, so that when touring, I can handle 2–3 days of less sleep and stress without feeling completely drained. On the road, I can push through because my default state is one of regeneration and resilience. After a tour, I need a day to reset, which I usually spend in the gym. I rarely skip Monday’s leg day. It’s tough, heavy, sometimes brutal, but I show up for myself and afterwards I feel like Wonder Woman hahaha.”

That discipline is not just physical. For KTK, protecting her mental space is just as crucial as maintaining her body, because both are directly tied to creative clarity.

“For me, body and mind are unapologetically intertwined. I strongly believe in the power of the mind over matter. Your body is only as strong as your mind allows it to be. Being aware of this connection means being intentional about what you feed your mind: how much you scroll, what content you consume, and where you place your attention. The daily amount of energy we have, for most of us, is finite, and if it’s spent on distractions or things that don’t matter, there’s less available for creativity and decision making.”

“I’ve learned that cultivating this awareness requires constant practice and attention. The more consistently I work on protecting my mental space, the more I can channel my energy into creative pursuits and key decisions in my career. It’s a skill that develops gradually, but has a major impact on longterm performance and clarity.”

UPCOMING PROJECTS & RELEASES

Even as she refines her sound and strengthens her routines, KTK is already shaping her following creative chapters. She speaks about upcoming work with a mix of excitement and restraint, preferring to let the music reveal itself at the right moment but still dropping hints about what is to come.

“I have a few inspiring projects coming up and A LOT of new music I can’t wait to share, though I like to let the music and magic reveal itself when it’s the right time. What I can share for now is a special collaboration with someone who inspires me as an artist and human and has also become a wonderful friend. Together with BIIANCO, we created a high BPM, high-energy track featuring very rhythmic, psy-influenced elements and her unique vocals. I’ve been playing it for a few months, and the reaction on the dance floor has been incredible every time. I’m really excited to share it with you very soon!”

For KTK, however, the journey is not only about the next single or release. It is about remaining open to creativity in all its forms, while staying committed to the sound she wants to stand for.

“For now, music is definitely my main focus, developing my craft as much as possible and spending as much time as I can in the studio, challenging me in different ways to always keep my creative juices flowing. I might explore different genres just for fun, but my priority is to truly capture and shape the sound I want to stand for. That said, I believe creativity unfolds in many forms, and as someone who constantly seeks new impulses, I’m certain my creativity will lead me wherever it wants to manifest. Music will always be my main ride, but I’m open to exploring how it can intersect with other crafts and experiences.”

“In the end, I see my artistic journey as an ongoing experiment, a space to play, feel, transform, and discover new ways to channel energy and emotion.”

AUTHOR: SERGIO NIÑO PHOTOGRAPHY: ARTIST

PER PLEKS

THE WAREHOUSE AS A COMPASS

Warehouse culture has always been about rupture. Born in the late 70s as a rejection of disco’s polish and a reclamation of raw spaces, it was less about glamour and more about defiance, inclusivity, and sonic experimentation. Today, few artists embody that spirit with the same intensity as PER PLEKS. Restless and constantly reinventing, his approach to techno resists formula and thrives in risk.

“I get bored with my own creations very easily, so I’m naturally reworking and forging new and to me more exciting sounds and styles. Sometimes this means I start from scratch, recycle old projects, or get inspiration from music that was made a while ago.”

For PER PLEKS, reinvention is not just a branding exercise, but a matter of survival. It is the antidote to stagnation and the lifeblood of underground culture, a reminder that the warehouse spirit has always thrived on rupture, risk, and renewal. His trajectory is less about following trends than about bending them, reshaping his art in dialogue with both history and the present moment.

GENERATIONS AND SAFE SPACES

Much of his thinking revolves around how scenes evolve across generations. He is clear-eyed about the inevitable frictions.

“One of the biggest lessons I learned and also the relief I got from looking at the past is that there will always be a discussion between old and new generations of the same scene. Not everyone will like the art you do, and art is not meant to be liked by everyone.”

For PER PLEKS, inclusion is non-negotiable. He argues that underground culture must expand rather than contract, creating room for outsiders, experimenters, and the next wave of ravers. But he also sees how social media complicates that.

“Yes, you shouldn’t film at an event and invade a safe space for others to express themselves. That’s part of educating the new generation. However, I also see a lot of people online hating on a certain type of music or people by calling it ‘TikTok techno,’ which is the opposite of what techno stands for. Inclusion, tolerance, and respect should be the basic manners. That also counts for the older ravers when they look at the younger generation.”

UNDERGROUND ROOTS, COMMERCIAL SCALE

Like many of his peers, his gateway into electronic music was not a purist’s canon but a cultural explosion. “To me, it was the album ‘Scary Monsters and Nice Sprites’ by Skrillex.” That spark ignited a path into more complex, darker sounds, but also gave him perspective on how each generation enters differently.

Today, complex dance is the global trend. Festivals are increasingly dominated by big-budget productions, LED walls, and pyrotechnics that dwarf the scale of traditional underground venues. For PER PLEKS, this expansion is double-edged.

“This huge attention is a big benefit for many up-and-coming artists to grow and build a career. It also elevated the formerly underground sound from small venues to the world’s biggest stages, featuring the best and most powerful production. This leads to a conflict between the original and trend-building parts of the scene, which cannot compete financially and production-wise with the big commercial events. Especially in the age of social media, the bigger the production, the more attention it receives.”

TECHNO AS POLITICS

His view of global electronic culture is shaped by privilege and caution. “First of all, I feel blessed to be able to see and experience so many different and diverse parts of the techno scene worldwide. I personally feel that the one mutual language we all understand, no matter where in the world we are, is music.”

Yet he resists naïve idealism. He warns against the manipulations of online discourse.

“What really challenges me are politically motivated campaigns or cancel culture within the music scene, that is not based on facts or are used to gain publicity for their own benefit. Techno is and has to be political at any time, but the community should also be cautious of wrong-motivated campaigns.” For him, politics is essential, but so is discernment.

Discipline and Flow

PER PLEKS doesn’t romanticize inspiration. His process is built on daily practice.

“Creative flow is not linear from start to finish. It comes in waves, can stay for days, and then disappear for weeks. To me, the importance lies in showing up at the studio every day and starting to work on music, regardless of the creative flow. This teaches discipline but also makes room to learn new skills and improve on technical things you may not look at in a hyper creative phase.”

TRENDS, FOR HIM, ARE NOT THREATS BUT LESSONS.

“I love analyzing trending music and learn what made this stand out against all the other music that’s being released every day, and breaking down a track to its key elements and understanding the magic that made this specific track a trend can significantly improve one’s music-making process. However, I do not follow a specific formula just to meet expectations. If a song works, it works. Trying to create music based on a specific formula limits your authenticity and ability to overcome your own barriers.”

In my opinion, this is one of the most revealing parts of the interview. It shows PER PLEKS as both pragmatic and idealistic, a rare combination in electronic music. Many artists either romanticize inspiration as something mystical or dismiss trends as

“sellout culture.” He does neither. He treats creativity like training for a sport; you show up, build discipline, and trust that flow will come and go. At the same time, he looks at trends with curiosity instead of fear, which makes him sound both humble and sharp.

This duality, discipline without rigidity, openness without compromise, is what makes him stand out. It says a lot about why his music feels alive, never locked in one formula, but also never careless. It’s thoughtful, rooted in process, yet always open to surprise.

In performance, his philosophy is equally uncompromising.

“Catching the crowd’s vibe is a key skill here that is necessary to be able to build a set to match the room’s energy and lift it to the next level.”

Yet his vision goes beyond clubs and festivals. A confessed gear nerd, he has been experimenting with cameras and aesthetic filming in unique, often hidden spaces.

“Together with my team, I’ve built a concept of a DJ set in combination with aesthetic filming in very unique and unseen places.”

“The craft of DJing is more than pressing play or playing a set that’s planned from A to Z. It comes from selecting songs and bringing records to the event that people cannot find anywhere else besides your set. I select the tracks based on how they make me feel. My vision succeeded when I made people dance, everyone had a great time, and after the set they texted me about the track IDs.”

LOCAL INSPIRATIONS, POLITICAL ECHOES

Recent years have brought him to Kyiv, where the techno community persists despite the ongoing war.

“The Ukrainians are suffering from a war aggressor for so many years now, and still manage to have a supportive and living techno community. The people have so much positivity. This experience and the common global tension lead to some political hints in my upcoming tracks.”

That direct connection between lived struggle and sound underscores his conviction that techno must remain a political force.

“If you count yourself as part of the techno scene, you should be a political activist too. It can be on big topics around the world or just in small, day-to-day situations. Awareness, respect, and courage to stand up for others are key elements why the techno scene is so great and will be great even when mainstream trends move on.”

His reflection carries weight because it bridges two realities: the dancefloor as a sanctuary and the world outside it as a battlefield. The joy of a rave in Kyiv, despite war, is not escapism; it is a declaration that culture endures, and that resistance can be danced into being. For PER PLEKS, techno’s vitality depends on remembering this truth.

THE ROMANCE OF WAREHOUSES

“To me, the whole myth of the early age of electronic dance music is very fascinating and a huge inspiration as a musician, but also as part of the techno community. As someone who’s trying to change and shift my form of art constantly, I still feel a deep connection and respect for the roots of the music and the artists that were the pioneers of that music.”

THIS IS NOT JUST AESTHETICS, BUT BIOGRAPHY.

“I grew up and still live in an area based on steel production and coal mining, so within the warehouse rave aesthetic, I’m able to connect my core memories of driving through my hometown with the music I make and the vibes that I find the best.” The connection has become collaborative:

“My team and I have worked out a concept of a visual and audio experience within the most extraordinary places we can find and get access to. It’s worth keeping an eye on that in the near future.”

PER PLEKS’ words draw a clear line between discipline and freedom. For him, inspiration is not something to wait on but something to earn through daily practice. By showing up in the studio, even on days when the spark is absent, he creates the conditions for growth. Discipline, he argues, does not kill creativity; it sustains it, allowing him to be ready when inspiration strikes. In this way, his approach mirrors the larger ethos of techno itself: one that emphasizes structure and repetition, leaving space for sudden, transformative moments.

At the same time, he does not shy away from confronting the forces shaping today’s scene. From the rise of “TikTok techno” to the generational clashes between underground roots and commercial expansion, PER PLEKS insists on holding onto authenticity without dismissing the new. He sees trends as lessons rather than threats, opportunities to dissect what makes certain records resonate, while refusing to reduce his own music to formulas. For him, reinvention is not just marketing; it is survival, the lifeblood of underground culture.

And running through all of this is his conviction that techno must remain political. His time with the Kyiv rave community, thriving in the shadow of war, left a lasting impression. That lived struggle, combined with his own background in post-industrial landscapes, anchors his conviction that activism and awareness are non-negotiable components of culture. For PER PLEKS, the future of techno is not simply about sound; it is about respect, resistance, and the courage to stand for something, even as the scene shifts. That stance, more than any track or trend, is what keeps the warehouse spirit alive.

Moving roots: the sound of GI.O

“People can feel that it’s a Latina behind the decks, whether through percussion, rhythms, or just the energy on the dancefloor. “

Talking about GI.O means talking about a paradox that turns into harmony. Her music is born from her roots, Brazilian by blood and Berlin by adopted home, yet it never stays still, never confined. It carries within it the memory of distant cultures and at the same time frees them from their staticity. Anthropology in the form of beats: trance euphoria, techno grit, Latin spice that emerges without ever becoming cliché. An oxymoron that works, defining GI.O as an artist who belongs to every place she transforms into vibration.

This dual identity manifests in every choice: in her sets, which move between Berlin’s seriousness and South American physicality, and in her productions, where a funk bassline or Brazilian beatbox can coexist with trance melodies and techno percussion. There is no preset plan, only an instinctive fidelity to her origins that becomes a universal language.

Her trajectory spans different worlds without being confined to any of them: from the vibrant dancefloors of Bogotá to the institutional showcases of ADE, GI.O absorbs and reflects diverse cultural energies, transforming them into an ongoing dialogue. There is no nostalgia in her roots, only movement: each crowd, each city, becomes a fragment that enriches her sonic identity.

This is where her mark lies: a Latinity that is not just an aesthetic choice, but a vital force recognized in the energy of the dancefloor. It is the trace that lingers with the audience: bodies in motion, smiles opening, moments of collective self-celebration. GI.O does not build walls of genre, but spaces where individuality is protected precisely because it finds a home in encounter.

From here her language takes shape: a blend that pairs the euphoria of trance with the raw tension of techno, while always leaving room for a different warmth, more playful, rooted in Latin heritage. It is not a formula calculated at the desk, but a spontaneous reflection: fragments of belonging that seep into the structure of her tracks and sets, surprising a European context often accustomed to stricter codes.

“I’ve become more self-aware of how my Brazilian roots naturally blend into my taste for trance and techno. Those genres are always my main reference when I produce, but the “Latin spice” just appears on its own, not in an obvious way, but in subtle details that make the track feel warmer and more playful.”

In Berlin, trends change at the speed of light and micro-genres multiply every season. In this vortex, GI.O has chosen not to be trapped: individuality for her is not isolation, but the freedom of staying true to herself.

“Since moving to Europe I’ve seen trends come and go so quickly, including shifts in my own taste. The moment I stopped worrying about fitting in, I felt more connected to my music. I love trends because they show how many possibilities exist, but I use them more as inspiration than as rules. What matters to me is staying true to myself. Eventually, people recognize you precisely because you don’t fit in.”

With Se Solta and Missed Calls, GI.O revealed two distant yet complementary sides: on one hand, Brazilian heat, on the other a more European intensity. Her upcoming releases are not aimed at defining a rigid label, but at nurturing an identity that thrives on surprise.

“I love exploring different sides of myself in the studio. I don’t want to feel boxed into one genre: every release can be a surprise. But the more I produce, the more my identity builds naturally. At the end of the day, my goal is simple: to create music that feels danceable, fun, sexy, and bold. You’ll see a lot more of that in my upcoming releases, new labels, new supports, and new hot tunes.”

Every artist dreams of leaving a recognizable fingerprint, that detail that makes the crowd say, “this must be her,” and GI.O seems to know precisely what hers is.

“I think my fingerprint is already present and growing with every set and release. People can feel that it’s a Latina behind the decks, whether through percussion, rhythms, or just the energy on the dancefloor. For me, it’s about creating moments where people shake their bodies, feel happy, celebrate with friends, and embrace a sense of self-love.”

From Brazilian roots to Berlin, from Latin American festivals to European showcases, GI.O brings with her crowds that respond in unique ways: the emotional warmth of South America and the contagious freedom of European dancefloors become complementary energies she transforms behind the decks.

“Every crowd shows love in its own way, and that reflects their culture. In Germany, for example, people dance without holding back, and it’s contagious. In Latin America, the warmth and emotion you feel from the audience is irreplaceable. Every country and crowd shows its support in unique ways. Both energies inspire me differently, and I bring those experiences with me behind the decks.”

For GI.O, ADE is not just another date on the calendar, but a symbolic moment: a stage that marks milestones, recognition, and new perspectives.

“This is my second time at ADE. Last year I played at Into The Woods, which was already one of my highlights of 2024. Being invited again this year feels even more special. Representing Brazil on an international stage like this means everything to me. Every artist knows how tough the industry can be, so moments like these feel emotional and deeply rewarding.”

When it comes to her creative process, GI.O almost always starts with kick, bass, and percussion, enriched with Latin accents. From there, the track shapes itself around her mood: darker or more playful.

“Producing is always a surprise. I usually start with a base, kick, bass, and percussion, and build from there. My tracks almost always have a rhythmic element that nods to Latin culture: maybe an off-beat funk bass, a percussive groove, or even a Brazilian beatbox. Sometimes it’s obvious, sometimes it’s subtle, but it’s always there. From that foundation, the direction depends on my mood, whether I want the track to be more serious and mysterious, or more energetic and playful.”

Being both DJ and producer for GI.O means merging two different energies: the immediacy of the stage and the intimacy of the studio. Two perspectives that do not clash, but complete each other, turning creative honesty into impact on the dancefloor.

“Since I started producing, I’ve grown a lot as a DJ. Having both perspectives is powerful: on stage, you feel what works instantly, while in the studio, it’s a deeper, more personal process. When I produce, I don’t think about the crowd; I do it for myself. But somehow, that honesty translates, and you can feel it later on the dancefloor.”

In the end, GI.O’s strength lies precisely here: turning paradox into harmony. Her roots are not anchors that hold her back, but currents that push her forward. Each set, each track, becomes a collective ritual where cultures do not clash but intertwine, creating a language that belongs to everyone and to no one.

There is something deeply spiritual in this tension: music not as a label or definition, but as a state of passage, of constant rebirth. It is in this fluid space, between trance and techno, between Berlin and Brazil, between stage and studio, that GI.O reveals her essence: a sound that does not seek stable roots, but finds its truth in eternal movement.

Risk, discipline, freedom: the language of Alba Franch

Alba Franch isn’t just another name rising out of Madrid’s electronic underground. She is one of the artists giving shape to the city’s identity, translating its raw energy and chulería into a sound that is both precise and unrestrained. A resident at Mondo Disko, she has carved her place in a booth that has hosted legends, balancing respect for the club’s legacy with her own fearless narrative.

Her background as a classical pianist and art historian gives her a rare perspective: techno, for her, is not only entertainment, but an artistic and cultural language, a structure of tension and release, discipline and freedom. From Madrid to Berlin, her sets reveal an artist who understands dancefloors as spaces of dialogue, where local character meets global exchange.

THE MADRID SCENE AND MONDO DISKO

Madrid’s electronic underground is no longer in the shadows. It has grown into one of Europe’s most dynamic hubs, with collectives, clubs, and crowds shaping its identity night after night. For Alba Franch, the DNA of the city’s techno pulse is found not in theory but in the raw intensity of the dancefloor.

“The DNA of Madrid techno is in the energy that permeates the dance floor. The audience here is one of the most appreciative and powerful I’ve ever met: they dance with incredible intensity and dedication. This connection is so strong that it ultimately sets the course of the session.”

She highlights a distinctly madrileño trait that fuels this culture: chulería. A cocktail of boldness, confidence, and the will to break molds.

“This attitude is reflected both in the DJs, who take risks with their selections, and in the clubs, which dare to program offerings that don’t always follow the unwritten rules of the international scene, but instead respond to what the city wants: enjoyment, surprises, and an intense nightlife. Personally, this Madrid attitude inspires me in the booth: it pushes me to take risks and keep the tension alive between what the audience recognizes and what they don’t expect.”

For Alba, that feedback loop between artist and audience is where the magic lies.

“That energy gives me the freedom to play and build a sonic journey that feeds off the dance floor as much as the dance floor feeds off me. And that’s where I try to contribute my personal perspective, one that’s also nourished by other cities, but always finds its starting point and return in Madrid.”

Nowhere is that energy felt more strongly than at Mondo Disko, the city’s most iconic techno institution. Stepping into its booth is a rite of passage and a responsibility.

“Entering the Mondo Disko booth always commands respect. The club has hosted figures who have shaped the history of techno, and being part of that legacy means living up to a space with a very defined identity. But at the same time, the Mondo dance floor allows you to connect with an audience that fully trusts its offering, which gives me the freedom to take risks and integrate my own musical narrative. When I open the night, I prepare the ground for a meaningful journey with the next artist; when I close, I try to leave an emotional mark and make sure the audience goes home with a huge smile. For me, it’s about a dialogue: keeping the essence of Mondo and its avant-garde spirit alive while contributing my own story through risk-taking. That balance between respect and risk is what makes each session there so special.”

CROSSING BORDERS: FROM MADRID TO BERLIN

For Alba, taking her sound beyond Spain has become more than just touring, it is a cultural dialogue. Berlin, in particular, has offered her a contrast that sharpens the edges of her own identity as an artist.

“Traveling and DJing in cities like Berlin has opened me up to a very enriching cultural dialogue. Each scene has its own language: in Berlin, for example, there’s an almost ritualistic respect for the music and the dance floor, while in Madrid, overflowing energy and celebration predominate. Connecting with those audiences means listening, observing, and letting your set be transformed in the exchange.”

Carrying Madrid’s overflowing energy to those stages feels like an act of representation, but each city also leaves a trace on her.

“Exporting Madrid’s energy to those contexts excites me because I feel like I’m carrying a part of the city and its character with me. Conversely, each trip leaves its mark on me. I pay close attention to the work of the DJs and producers I meet in different cities and always try to learn from their technique and character. Often, you can even distinguish a DJ’s nationality by their sound, and I think that’s wonderful. All of that comes back with me and blends into my work in Madrid, creating a constant flow between the local and the global.”

FROM ART HISTORY AND THE CONSERVATORY TO TECHNO

Her artistic language didn’t emerge only from clubs and dancefloors. Alba’s foundation in classical piano and her studies in art history gave her a different set of tools to approach techno, not as pure entertainment, but as an art form with its own architecture.

“I think my studies have influenced my understanding of techno, although not consciously. Both disciplines gave me a sensitivity that allows me to perceive structures, aesthetics, and emotions at all times, whether in sets or productions.”

This doesn’t mean she forces those influences into her sets. They are already embedded in her instincts, shaping the way she perceives sound and form.

“When I’m in the booth or studio, I don’t think, ‘This comes from classical music’ or ‘This comes from visual arts.’ Rather, those influences already live within me and filter through naturally. Techno, for me, isn’t solely entertainment, it’s a cultural and artistic language, a sonic architecture where tension, color, and rhythm coexist to create immersive experiences. The discipline of the conservatory and the perspective of art history gave me the tools to treat techno as something deeper.”

Alba’s roots in classical training taught her structure, precision, and resolution. But stepping into electronic music meant learning how to let go of those rigid frameworks and embrace unpredictability.

“In classical music, everything has a destiny: a piece opens, grows, builds tension, and finally resolves. When I first started producing, I tried to bring that same logic to electronic music, clinging too tightly to the rules of music theory. Instead of helping me, they tied my hands. I realized those rules didn’t have to be a barrier but a tool. Today, I use them in the right measure: they help me create coherence, but I never lose the freedom to experiment. In my sets, I like to maintain a certain narrative, but I’m also drawn to surprise and improvisation, the kind that only emerges in the moment. My creativity is born from that balance: the discipline of my classical background and the freedom I found in electronic music.”

PRODUCTION AS SELF-EXPRESSION

Behind the decks she has already carved out a clear identity, but for Alba, the studio opens a more intimate dimension. It becomes a mirror of her moods and a playground for her imagination.

“My productions inevitably reflect aspects of my life and personality. Some days I’m more nostalgic and the music becomes melancholic; others it takes on a dreamy and ethereal quality; sometimes something simple and fun emerges. It’s a direct reflection of my emotions, but at the same time, production lets me dream beyond the everyday. It’s a bridge between the intimate and the imagined. Right now, I’m very focused on trance, hard house, and hard groove, but that changes constantly. Collaborations also shape my sound. I love working with friends weekly; from those sessions, unexpected sounds emerge, pushing me out of my comfort zone and teaching me something new every time. My current moment is about exploring, learning, and letting emotions and personal connections guide me.”

For Alba, the sound doesn’t exist in isolation. Visuals, concepts, and atmosphere are extensions of her language, not as overthought symbolism but as part of a coherent whole.

“For me, the visual and conceptual aspect is important, but not because I’m searching for deep meaning. What matters is coherence: that the image connects with what the track conveys. These elements give listeners another perspective if they want it, and they form part of my artistic and personal identity.”

LABELS AND LIMITATIONS

Genres help the industry communicate, but they can also put artists inside boxes that rarely reflect their full identity. Alba is aware of this tension, but she refuses to let it dictate her path.

“That tension is always present. Promoters and audiences need clear labels because it makes communication easier. But if I define my project within a single category, I feel limited. My musical identity is constantly evolving, and my authenticity lies in letting it evolve freely.”

Labels may come and go, but her internal compass stays focused on freedom.

“I understand that sometimes I’ll be presented under a specific genre, it’s

part of the industry, but internally, I keep working with the freedom of not belonging to just one place. In the end, I prefer people discover me through the experience of my sets and productions, not through a single word trying to define everything.”

In the age of social media, numbers and algorithms often seem to carry more weight than the music itself. Alba navigates this landscape carefully, never losing sight of what matters.

“Social media and algorithms are double-edged swords. On one hand, I love that they connect me with artists worldwide and let me learn from different scenes without leaving the studio. But focusing only on numbers, followers, listens, views risks losing the essence: the music and the joy of creating it. I try to use them with balance: I’m active, but always to showcase my productions, sets, and projects. I prefer my online presence to revolve around my art, not the algorithm’s game.”

LEGACY AND ESSENCE

What does Alba want people to carry with them after a night on her dancefloor? The answer is not abstract theory or intellectual decoding, but something deeply human.

“What matters most to me is that people listen to my music or leave the club with a feeling of fulfillment, happiness, even peace. That they feel like they gave their all on the dance floor and truly enjoyed the journey. For me, there’s nothing more valuable than that. The story behind a set or track doesn’t need to be analyzed or understood by everyone, I’m not searching for hidden meaning. All I want is for the music to act as a channel of enjoyment, dedication, and celebration. If the audience leaves with that energy, then I’m satisfied with my work.”

Watching Alba navigate Mondo Disko or Berlin, you realize she doesn’t need fireworks to command attention. Her strength lies in the way she reads a dance floor, in how she creates space for surprise, and in her refusal to compromise on authenticity. Alba plays as if every set is both a risk and a gift, a moment that belongs to her but also to everyone dancing with her.

That is perhaps her most important contribution. She reminds us that techno is not about labels or algorithms, it’s about people, about the feeling you take with you when the lights come up. Alba leaves you with that quiet conviction that the music is bigger than the night, bigger than the tracklist. And in an industry so often obsessed with the surface, she is proof that depth still matters.

Bárbara Lago

Intensity, Freedom, Connection

From the underground roots of Galicia to festivals like Monegros and Verknipt, Bárbara Lago has carried her sound with a mix of discipline, rebellion, and now transformation. Each phase of her music feels like a mirror of her own journey.

She started with purist techno, not to chase a trend but to understand the essence of the genre. That discipline gave her a foundation, but when the world cracked open after the pandemic, her sound did too. Hard techno became her way of screaming back, a raw energy that refused to stay quiet. Now, with hard bounce, she’s turning that fury into something visceral and fun, still heavy but made for connection as much as for release.

What makes Bárbara stand out isn’t just her BPMs or her ability to control a room at 5 a.m. It’s the honesty with which she approaches each stage of her evolution. She doesn’t perform like someone following a template. She plays and produces like someone exposing herself, letting every change in her life be heard in her music. That is why right now, in a scene saturated with formulas, Bárbara Lago feels like a name you need to pay attention to.

Bárbara didn’t just fall into hard sounds by accident; she built her foundation through learning the essence of techno before she dared to bend or break it. That discipline gave her the confidence to later unleash the grit of hard techno, a sound that mirrored the rage and urgency many of us carried after the pandemic. Now, with hard bounce, she’s not just expelling energy but reshaping it, turning raw power into something danceable, fun, and visceral.

“I started with the most purist techno because at that moment I needed to understand the root, the essence, to learn the discipline of the genre. That’s how I discovered electronic music and how I understood it back then. Later, with hard techno, the time came to break chains, to express that rage and strength we all carried inside after the pandemic. I needed to show that character without filters. Now, with hard bounce, I don’t just want to release energy, but also to transform it: to make it danceable, fun, visceral.”

That evolution isn’t just musical, it’s personal. Bárbara speaks of her sound as a mirror of her own growth: moving from observation to rebellion, and now toward transformation.

“Beyond BPM, this evolution speaks of me as a person: of someone who went from holding back and observing, to exploding and rebelling, and now to transforming all of that into something that connects and spreads. My sound reflects that journey of maturity. In the end, every musical stage has also been a stage of my life.”

Hard bounce itself is still finding its shape within rave culture, and Bárbara relishes being part of that construction. For her, it’s less about choosing between tradition and invention and more about colliding both, creating sparks where hard techno’s darkness meets the groove of hard bounce.

“For me, it’s somewhere in between the two. Hard bounce is still under construction, and that motivates me a lot because it gives me the freedom to explore it without fixed rules. When I play it, I feel I’m participating in creating something new for the dancefloor. My intention is to push hard techno and hard bounce until they meet. My sound is born exactly from that mix: the punch and darkness of hard techno with the freshness and groove of hard bounce. I’m interested in that clash.”

At 155 to 160 BPM, every decision behind the decks can either ignite or derail the night. Bárbara thrives in that pressure cooker, crafting sets that feel like a constant push and pull between chaos and release.

“I try to play with the aggressiveness of hard techno and the groove of hard bounce to maintain tension, but also give breaths that make the next impact even stronger. It’s a back-and-forth: taking the crowd to the edge, letting them go, and catching them again. What I want is for people to leave the dance floor feeling like they’ve lived through something intense and liberating. That they leave with the sensation of having burned off everything they were carrying inside.”

Every stage she steps onto, Bárbara calls it a battlefield. It isn’t bravado, it’s how she frames the challenge of reading a room, setting the tone, and facing down the unknown energy of a crowd. The fight isn’t about aggression, it’s about trust and vulnerability.

“When I say every stage is a battlefield, I mean that every club, every festival, and every lineup presents a different challenge. It’s not the same to face a crowd that’s already on fire at 5 a.m. as it is to open a night with the responsibility of setting the tone, or to play a closing. I always try to follow a coherent line with each party: to understand the energy of the place, the sound of the artists playing before and after, and the pulse of the people in front of me. For me, there’s no universal strategy, each dancefloor demands something different.”

That adaptability has sharpened even more through her back-to-back sets. This year, she’s shared booths with Skryption, Daniella Da Silva, Malke, Cloudy, and Human Error. Each encounter, she says, wasn’t just a set, but a duel and a dialogue that forced her to reimagine her own approach.

“For me, this year’s B2Bs were much more than performances. It’s something I really enjoy because each one poses a different challenge. It’s not just about playing, but about opening up a dialogue between two people. What I enjoy most about these sets is the chance to adapt to other styles. It forces me out of my comfort zone, to plan many different scenarios, and to discover new music. Each B2B is like a game of chess. The bond you create with the other person is also something really beautiful. I think it’s a connection that’s hard to explain.”

EMERGENCY CONTROL

Her debut EP, Emergency Control, was where all of these battles and lessons coalesced. It wasn’t just a release, it was a declaration. For Bárbara, producing meant no longer being shielded by the booth, it meant exposing her sound in a way that was permanent and vulnerable.

“Emergency Control was a turning point because it forced me to face my insecurities in a very direct way. I had spent years building my identity as a DJ, but producing is another field: you can’t hide behind the booth, your sound is exposed, recorded forever. My biggest insecurity was exactly that, asking myself if what I had inside was strong enough to let out and put my name on. During the process I had to learn to trust myself but also to take advice from my friends, to not compare myself with other producers, and to accept that my first work didn’t need to be perfect, it needed to be honest. And that honesty was the key. Looking back, Emergency Control revealed a lot about my artistic identity: I always look for rawness and energy, and I move in that middle ground between dark and danceable.”

Compilations have also become an outlet for Bárbara to test the edges of her sound. Appearing on Reckless, Innergate, and DSR, she treats each VA as both a contribution to a collective story and an opportunity to slip in her own coded message.

“Being part of a VA always has that double edge: on one hand you’re part of a collective project, with a shared spirit that defines the label’s identity; on the other, you have the chance to leave your personal mark in a different context. I like to adapt to the narrative of each label, because I think every compilation has an intention, but at the same time, I want my contribution to have something recognizable that says: this is also me. Also, for me, VAs are a way to release singles that stray a bit from my more personal style. They let me experiment, try other approaches, other ideas that might not fit in a full EP, but that find their place in a compilation. It’s like launching little capsules.”

Her journey from residencies to major festivals has been extremely rapid, but she doesn’t pinpoint the obvious milestones as the true breakthroughs. Instead, she credits a night in Granada as the moment where her identity clicked onstage in a way it never had before.

“Every stage has taught me something different, but the first one where I felt I wasn’t just performing, but truly arriving as myself, was at Domo Granada. It wasn’t the biggest or most high-profile festival, but it had something special: the connection, the timing, and the feeling that my sound was exactly in the right place at the right time. That was when I stopped worrying about whether I had to fit in or how people perceived me, and I just let myself go. That night I felt a certainty I hadn’t felt before: that I could stay true to my identity and that

authenticity was strong enough to hold a stage. Since then, festivals like Monegros, Verknipt, or Ultra have been layers added to that journey, but Domo was the first time I thought: this isn’t just a performance, this is me arriving as Bárbara Lago.”

When asked about the future, Bárbara resists the temptation to map out a five-year plan. Her energy is focused on the present, but she also feels a responsibility to hold the door open for those coming behind her.

“I don’t usually project myself five years ahead (and I don’t usually get it right, haha). Music and life change too quickly, and I think the most honest thing is to go with what my body asks of me at each moment. What I am sure of is that I want to use the place I’m in now to support the new generations. They’re coming with an energy and freshness that are essential for the scene to keep evolving, and I think it’s our responsibility to give them space, share with them, and open doors for them.”

And when everything else is stripped away, she keeps her essence simple. Gratitude is her anchor, intensity her weapon, freedom her compass, and connection her reward.

“When you strip all that away, my essence is simple: I’m a girl who enjoys doing what she loves most and who feels deeply fortunate to be able to bring her music to different countries and meet people through it. That gratitude is what keeps me motivated and what I try to transmit every time I step into a booth. If I had to define my career and my bond with people in three words, they would be: intensity, freedom, and connection.”

From the discipline of purist techno to the rage of hard techno and now the playful chaos of hard bounce, every shift has mirrored her own growth. She carries the fire of rebellion, the patience of discipline, and the freedom of someone who has nothing to prove but everything to share.

Her message is clear: intensity without connection is hollow, freedom without responsibility is fleeting. Bárbara is stepping into her role not only as an artist but as a guide for the next generation, turning her booth into both a battlefield and a sanctuary.

In her own words, it all comes down to three things: intensity, freedom, and connection. That’s the DNA of her sound, her career, and the imprint she’s leaving on rave culture.

BIIANCO

Building GAIA, Building A World

BIIANCO is not interested in fitting into the mold. From their earliest days on stage to their current place in the intricate dance conversation, they have built a career on refusing to play it safe. For them, music isn’t just a soundtrack to the rave; it’s a platform for identity, resistance, and connection, a way of showing up fully, with flaws, fire, and all.

That drive has crystallized in GAIA, the party they launched this year with a sold-out debut at Corsica Studios. More than a rave, GAIA feels like a manifesto: FLINTA-forward lineups, accessibility built into every detail, and a family-style approach to curation where artists are chosen as much for their integrity as for their ability to light up the dancefloor. It’s loud, unapologetic, and deeply intentional, a reflection of BIIANCO’s own journey as a queer, femme, neurodivergent, and partially blind artist navigating the global scene.

But GAIA is only one side of the story. Behind the booth, BIIANCO putheys just as hard, blurring the line between DJ set and live show with looping, hardware improvisation, and relentless energy. Add to that their obsession with engineering, their roots in classical music, and their determination to use dance culture as a community-building force, and you get the kind of artist ADE exists to celebrate: uncompromising, inventive, and building the future in real time.

If the global rave circuit has sometimes felt predictable, GAIA is BIIANCO’s answer to tearing up the script. Launched with a sold-out night at Corsica Studios and already scaling to Colour Factory and Los Angeles, GAIA is more than just another party series. It’s a blueprint for what the next chapter of

high-energy club culture could look like: risk-taking lineups, radical inclusivity, and a sense of belonging that you can feel from the moment you step inside.

“GAIA came out of so many late-night conversations with close friends, usually after playing or raving together, where we’d talk about what was missing in the scene. I wanted to build a night that wasn’t just another club booking, but a real space focused on four things: the most exciting talent in high-energy, hard dance music; FLINTA-forward lineups that go beyond tokenism; a sense of inclusivity that you can actually feel the moment you walk in; and real accessibility for those who are usually left out of nightlife experiences.”

“The name GAIA felt right because it’s about creating a world, not just an event, that nurtures and uplifts. Gaia was the original Greek representation of Mother Earth. The party itself is rooted in joy, connection, and sonic chaos, but also in responsibility to the community. I don’t just want people to dance. I want them to feel like they belong.”

That vision isn’t abstract; it’s built into every layer of the night. BIIANCO’s own lived experience as a queer, femme, disabled artist makes accessibility a non-negotiable.

“As many people know, I became visually disabled after an accident a few years ago, and since then, accessibility in rave spaces has gone from something I never thought about to something that directly shapes how I move through the world. So building a space that’s intentionally inclusive and accommodating wasn’t just a nice-to-have, it was non-negotiable.”

It also appears in the bookings. GAIA lineups prioritize artists whose communities mirror its ethos, creating a space where belonging is more than a slogan.

“All of my most formative rave experiences have taken place in queer, community-focused environments. That’s the blueprint for GAIA. It shows up in who I book, artists whose fanbases and creative energy reflect the exact community I want to build this with. And because I’m queer, femme, and disabled, my fanbase naturally shares those same values, so in a way, this is just an extension of the world we already move in.”

For the Los Angeles edition, the ethos even begins at the door.

“We’ve got an incredible door person who’ll be lightly quizzing people on the party’s ethos before they enter. Think of it like a fun, cheeky remix of the Berghain door, but rooted in values, not exclusivity.”

GAIA is carefully curated like a family tree of disruptors. BIIANCO handpicks artists not just for their DJ skills, but for their vision. “I look for artists who are more than just DJs, they’re visionaries building entire creative ecosystems, both in their sound and in their communities. While the lineups can include cis men, GAIA is intentionally FLINTA-forward. I’m curating a list of people I’d want to collaborate with on music or just cook dinner with on a Tuesday night. These are artists who bring integrity, imagination, and a sense of responsibility to the scene. They’re disruptors at the intersection of art forms.”

“I want people to walk away feeling like they experienced some of the most cutting-edge artists in the most inclusive, intentional environment possible. I want them to feel fully open in the best way, emotionally, physically, and artistically. Like they found a piece of themselves on that dance floor that they didn’t know they were missing. If they leave feeling seen, enriched, and euphoric, then GAIA did what it was supposed to do.”

If GAIA is BIIANCO’s statement to the culture, her DJ sets are where that manifesto comes alive in sound. They’ve built a reputation for risk-taking, weaving live acid 303 improvisations into her mixes and treating the booth like a stage rather than a safety net.

“I come from a live music background. I was a classically trained pianist and spent years playing in bands as a singer, synth player, bassist, drummer, and guitarist before becoming a modular synth-obsessed tech-head. So honestly, getting the live element out of my sets would be harder than putting it in. Even the way I spin leans into that ethos: I often use multiple decks at once, stay super active on the mixes, and approach it like a performance, not just track selection.”

“I’m not interested in passive DJing. I want to challenge any complacency that’s crept into the techno scene and push the boundaries of what a DJ set can feel like. Whether it’s improvising on a 303 live or just treating the decks as an instrument, I want to inspire other DJs to take more risks. Some of my friends, like Serafina, Fumi, and the 240 km/h crew, are, in my opinion, among the most athletic DJs in the world. Being around them has raised the bar for me, and I hope I do the same for others.”

Her viral looping video of “Against The Wall” proved just how magnetic that hands-on approach could be, but for BIIANCO, it was never about chasing virality.

“Honestly, I feel fortunate that what I naturally do in the studio, looping, live playing, hands-on performance, is what resonates most with my audience. That video wasn’t calculated at all. I’ve never had an influencer bone in my body, so the only way anything was going to take off was if it involved me literally playing something with my hands.”

What started as instinct has now become their signature move on tour.

“Bringing that into the touring space has been such an effortless extension of my sound. Being at the intersection of live hardware and DJing keeps me creatively engaged, and frankly, keeps me from getting bored.”

Their approach is rooted in both engineering and artistry. “I say I’m an engineer first because I’m always trying to build what doesn’t exist yet. If something’s missing from a track or my set, whether it’s a sound, a transition, or a feeling, I won’t go digging for it; I’ll just make it. That mindset of shaping your tools to serve your vision is what being engineer-first means to me. The same goes for performance. If I want a specific moment, I’ll use the gear in front of me, the mixer, the decks, the 303, to sculpt it in real time. It’s less about relying on what’s available and more about constantly innovating with what’s possible.”

That mix of precision and chaos sharpened when they relocated to London, and later Berlin, where the culture transformed them into the artists they are today. “I’ve always loved DJ Gigola’s Live From Earth merch that says ‘I trust the timing of my life’, it perfectly sums up my journey. It wasn’t just that I moved to London; it’s that I arrived there as someone who had grown up in America with a classical music background, spent a decade touring in bands, and was still restless. I hadn’t yet found the sound or scene that really lit me up. But once I got to London with that foundation, everything seemed to click into place.”

Now, Berlin has pushed that even further.

“The line between community and art is so thin in our sound and scene, and we’re constantly in dialogue with other artists. For example, one of my closest Berlin-based friends, DJ and producer KTK and I spent months discussing music over dinner, and now we have a track coming out together next month on Teletech. It’s this kind of artistic synergy that London sparked and Berlin has deepened for me. Music will never be extracted from its cultural context, and dance music is arguably one of the most community-driven contexts in the music world. For me, when community and music are interlinked, my art thrives.”

For some people, the dancefloor is an escape, but for BIIANCO, it’s the opposite. The rave has always been a mirror, a place where they can stand fully in their own skin.

“For me, dance music has never been about escapism; it’s been the exact opposite. It’s been a way to root myself more deeply in who I am. As someone who’s queer, femme, neurodivergent, and partially blind, the dance floor has always felt like a space where I could actually arrive, not disappear. I hope that my music becomes that same kind of grounding force for others, a catalyst for self-definition and unapologetic embodiment, whatever that looks like for them.”

That honesty is why GAIA resonates so fiercely. It isn’t just a party, but a manifesto, a space designed to center the very communities that built dance music from the ground up. And like its founder, GAIA is not static; it’s meant to evolve, to challenge, to morph into whatever the culture needs next.

“Ultimately, I want to be more than just a musician. I aim to create a cultural ecosystem centered around my art. GAIA is the community-driven vehicle for that vision. It’s designed to grow with the people who shape it, to evolve through the energy and input of the trance and hard dance communities. I’m sure it’ll morph into something I can’t even predict, and that’s the point; it’s collaborative by nature. But if I’m manifesting: I see BIIANCO and GAIA at the forefront of high-energy, high-talent, FLINTA-forward rave culture, offering both sonic catharsis and space for those who need a little Mother Earth goddess energy in harder dance sounds.”

In the end, BIIANCO isn’t just throwing parties or dropping tracks. They’re rewriting what it means to belong in electronic music. GAIA is proof that a rave can also be a refuge, a dancefloor that doubles as a manifesto. Their sets carry the same energy: restless, risk-taking, impossible to reduce to background noise. And maybe that’s the point.

They’re not interested in fitting into the industry’s pre-cut boxes. They’re building their own ecosystem, one rooted in queerness, community, and the kind of fearless experimentation that makes a scene feel alive again. If you step into GAIA or one of their sets, you’re not just witnessing another DJ behind decks. You’re stepping into a world where music isn’t escapism but embodiment.

For BIIANCO, the future isn’t about louder kicks or faster BPMs. It’s about building spaces where people can finally feel like themselves, and that might just be the loudest statement of all.

SUMIA

Fire Without a Mask

The first thing you notice about SUMIA is not the bassline, even though it can shake a warehouse to its foundation. It is the fire. Raw, restless, and unapologetic, her energy is impossible to ignore. She does not ease into a set; she sets it ablaze, throwing herself into a sound that feels less like a genre and more like a release.

Her transformation from hypnotic layers into the raw force of complex dance was not a rebrand. It was instinct, born out of chaos, travel, and the intensity of life itself.

“At some point, hypnotic layers just weren’t enough to carry what I wanted to express. The scene, my travels, the chaos of life around me… all of that pushed me toward something more raw and explosive.”

The Istanbul-born artist has become a central figure in hard dance’s new wave, but her story is deeply personal. Every track, every distorted vocal, every kick carries fragments of her own experiences: heartbreak, rage, freedom, rebirth. SUMIA does not hide behind the music. She reveals herself through it.

Her rise has been fierce, marked by appearances at EXIT Festival, ADE, and Amnesia, as well as collaborations with Matrixxman and B2Bs with Indira Paganotto and AIROD. At the same time, her work with Volx and her new trance-focused imprint Kissnbite Records shows that she sees rave culture as more than entertainment. For her, it is activism, a way of creating community, planting trees, raising funds, and proving that music can heal as much as it can overwhelm.

What follows is SUMIA’s story in her own words. The shift that rewired her sound, the vulnerability of using her own voice, the contradictions that shape her productions, and the vision she carries for the future of hard dance. Because SUMIA is not chasing formulas or titles, she is chasing honesty. And that honesty is fire without a mask. Transformation of Sound

SUMIA’s evolution was not born in a single moment. It was a pressure building quietly until it could no longer be contained. The hypnotic layers that once defined her sets and productions eventually felt too restrained for the energy she needed to release. What came next was not a strategic shift, but a raw expression of who she had become.

“It wasn’t one single moment. It was more like an energy that kept building inside me. At some point, hypnotic layers just weren’t enough to carry what I wanted to express. The scene, my travels, the chaos of life around me… all of that pushed me toward something more raw and explosive. It wasn’t a calculated rebrand; it was me listening to my own pulse. Hard dance became the way to let all of that intensity out.”

This new chapter is less about genre than about truth. SUMIA refuses to be boxed in by labels, describing her sound not as a style but as a mirror. For her, tracks are not built from formulas; they are carved out of lived experience.

“My sound is a mirror of my life. Every track is a piece of what I’ve been through: chaos, freedom, heartbreak, energy, rebirth. It doesn’t come from formulas; it comes from who I am and what I carry inside me. That’s why people don’t just hear kicks and synths. They feel my

story, my fire, my contradictions. My sound is me, raw and unfiltered. And honestly, if someone wants to judge my style, they don’t even need to listen to my music. Feeling me is enough.”

This philosophy explains why her performances feel less like shows and more like confrontations with emotion. SUMIA is not just pushing BPMs. She is translating her own contradictions into rhythm, forcing the dancefloor not only to move but to feel.

In a world where most producers rely on synths and samples to speak for them, SUMIA chooses the most vulnerable instrument of all: her own voice. It cuts through the distortion not as decoration but as confession. Whether robotic, filtered, or raw, her vocals carry the weight of lived experience.

“Most of the vocals you hear in my tracks, even the robotic ones, are mine. I write the words and I record them, even if they’re processed with effects. My voice is the most personal instrument I have because it comes straight from my experiences and emotions. Every lyric is tied to something I’ve lived, so recording it feels like leaving a piece of my life inside the track.”

This decision is not about convenience or experimentation. It is about exposure. For SUMIA, using her own voice is the act of stripping away the mask, of refusing to hide behind production.

“Using my voice is intimate and daring because it strips away the mask. I’m not just producing sounds, I’m exposing myself. And soon I’ll take it further by singing my own tracks live on stage. That’s the next step for me, turning vulnerability into power in front of people.”

Her voice becomes the bridge between producer and audience, between private experience and collective release. In a scene obsessed with speed and volume, SUMIA dares to place fragility at the center, and that is where the actual fire lies.

For SUMIA, the studio has become a place where emotions take shape as rhythm. She does not enter the room to produce simply. She walks in only when there is something inside her that demands to be released.

“When I go into the studio, it usually starts with something I’ve lived through. I don’t go there just to make a track; I go when I feel like I have something to say. Sometimes it begins with a vocal idea, with a groove, sometimes with a sound that matches the mood.”

Perfection is not the goal. What matters is capturing a spark that feels alive. SUMIA measures the worth of a track not by technical polish but by the moment it resonates beyond herself.

“I know a track is done when I play it for my sister Melissa Dust, she’s also a producer, and we end up dancing to it together in the studio. If it makes us move or laugh or just feel something real, then I know it’s finished. For me, it’s not about perfection, it’s about capturing that spark.”

In this process, music becomes not a product but a dialogue. A track begins as an unspeakable feeling, takes shape in sound, and is validated only when it sparks a shared reaction. That is the cycle SUMIA lives for.

SUMIA’s tracks are more than rhythm. They are messages she never sent, emotions she never voiced, experiences that refused to be silenced. Every layer carries the echo of words left unsaid, translated into energy instead of conversation.

“Lately, my personal relationships have shaped me the most. There are so many things I don’t say out of politeness or because the moment passes, but I don’t keep them inside. They end up in my music. Every unsent message, every word I swallow becomes energy I turn into sound. It’s my way of answering without speaking, of turning silence into rhythm.”

This idea of music as language extends far beyond the dancefloor. With her Volx label and its activist projects, from charity releases for earthquake victims to tree-planting in Amsterdam, SUMIA proved that beats can spark more than movement. They can spark change.

“With Volx, I learned that music’s power goes way beyond the dance floor. Charity releases and projects, such as tree planting, showed me that music can unite people and create real change. That same spirit continues now with Kissnbite Records, our trance label. For me, the true power of music is to connect, to heal, to give something back.”

Her collaborations reflect the same philosophy. Working alongside artists with distinct identities such as Matrixxman, Indira Paganotto, and AIROD has been less about sharing a booth than about sharing conviction. Each encounter sharpened her sense of authenticity, while also exposing the challenges of her own intensity.

“Collaborating with artists like Matrixxman, Indira Paganotto, and AIROD has been about more than just music. It’s also about friendship and inspiration. Each of them has such a strong identity, and being around that energy taught me to trust my own. I realized my strength is in authenticity, in bringing mystoryinto everyset and track. It also revealed my weaknesses, such as overthinking or pushing myself too hard, but even those became fuel for growth. Having friends like this reminded me that art isn’t about competing, it’s about lifting each other and evolving together.”

Through silence transformed into rhythm, activism evolved into community, and collaboration blossomed into growth. SUMIA has crafted a vision of artistry that is both personal and collective. Her fire burns brightest not alone, but in connection.

Owning the Stage

Milestones like EXIT, Amnesia, and ADE could each be considered career-defining, but for SUMIA, the real breakthrough was not tied to a single stage. It was the realization that her most actual power came from stepping into her own identity, unfiltered, and watching a crowd respond with the same intensity she poured into them.

“Playing EXIT, Amnesia, and ADE were all milestones, but the real breakthrough wasn’t one stage. It was the moment I realized I could fully trust my own identity up there. The energy from the crowd showed me that what I was doing was truly connected, and that gave me confidence to keep moving forward.”

That confidence earned her a title she never asked for but now carries with grace: the Princess of Hard Dance. For SUMIA, it is a compliment but not a d efinition. Her music is in constant motion, a reflection of evolution rather than a fixed crown.

“Being called the Princess of Hard Dance is a beautiful compliment, but I don’t want my journey to fit into one definition. My music keeps evolving, and so do I. What matters most is the energy and connection people feel. That’s the real title for me.”

More than power, what she aims to leave behind after each set is intimacy. SUMIA does not view her audiences as faceless masses but as companions in a shared release.

“Beyond intensity and energy. I want people to leave my sets feeling like we shared something real. On stage, I feel what they feel; we’re connected in that moment. I don’t see them as a crowd; I see every dancer and listener as my companion on this journey. What I hope stays with them is a sense of belonging and release, like we went through something together. In the end, that’s what makes the night unforgettable. The music fades, but the feeling stays.”

This is the paradox of SUMIA’s sets: ferocious in energy, yet rooted in tenderness. Her dancefloors are not just spaces of release, but of recognition.

Beyond Boundaries

For SUMIA, the future of her sound is not about following trends, but about dissolving the very walls that try to contain it. Hard dance is her foundation, but she refuses to see it as a cage. Each new track, each new set, is another step toward blurring the edges between genres, emotions, and expectations.

“I see my sound moving more freely, blending hard dance with trance, groove, and unexpected textures that surprise both me and the crowd. For me, boundaries exist to be broken, and I feel there are still untouched spaces in how emotional and raw hard dance can get. I want to keep pushing until it feels limitless.”

Her vision of collaboration reflects the same spirit. She is not chasing names for the sake of status, but seeking real sparks with artists who share her drive for honesty and intensity.

“As for dreams, I want to bring my music to stages I haven’t touched yet, places where energy turns almost spiritual. I’m always open to collaborations, but it has to be real. Sharing that spark with artists I truly connect with is what I’m chasing.”

In this pursuit, SUMIA is carving a path that is not just about harder beats or faster tempos. It is about building experiences that collapse the distance between performer and dancer, between chaos and catharsis. The fire she carries has no mask, no limits, and no intention of burning out.

2HOT2PLAY

Unity in duality

Berlin has always thrived on contrasts, and 2HOT2PLAY embody that balance between raw energy and sharp precision. What started with two friends playing around has grown into a sound that reflects the grit and open-mindedness of their home city. Rooted in trance but never boxed in, their sets lean into intensity without losing sight of the atmosphere on the floor, always shaped by a sense of dialogue between them and the crowd.

Now, with shows stretching from Europe to Australia, the duo are testing how far that dialogue can travel. Tracks like “Think About It” and their early cut “Keep the Balance” didn’t just put them on the map, they marked the start of a global community that’s beginning to recognize their signature. For 2HOT2PLAY, it’s not just about BPMs or drops it’s about leaving each crowd with a sense that they’ve been part of a moment, one that can only happen when two visions meet behind the decks.

“Since the very beginning of 2HOT2PLAY, our roles have fallen into place naturally. Basti takes care of most of the production, and Pascal handles the artistic direction, ideas, and performance. But generally speaking, as a duo, we have a greater creative input that results in more possible outcomes. Playing on stage as a team enables us, on the one hand, to perform a more complex DJ set, and on the other hand, it helps us read the crowd and tap into the mood of the people on the dancefloor.”

If Berlin was their artistic cradle, it’s no coincidence. Every artist who passes through the German capital absorbs its codes, but 2HOT2PLAY recognized the city’s evolutionary drive, choosing to root themselves in trance while pushing it into new, harder, less melodic territories.

“On the dancefloor, we want people to feel both the rush of intensity and the warmth of belonging.”

“Berlin is a great city for the push of new, upcoming music genres. We were mainly rooted in Berlin’s Trance scene and quickly realized the open-mindedness of the people. At any point, we had the feeling that there was a big interest in the development of the Trance sound. We felt people were looking for a new sound that’s a little harder and a little less melodic, creating energized, uplifting vibes, which is something we always try to achieve in our live shows.”

What started as a Berlin identity has now become a global passport. After conquering Europe, 2HOT2PLAY carried their sound all the way to Australia, learning that every dancefloor has its own personality, but never abandoning their core imprint.

“At the moment, it’s so exciting to get to know so many different crowds around the world. We always try to bring our identity everywhere we go. Yet we adjust our sets to fit the setting. Usually, we try to gauge the expected energy level of the crowd and, in comparison with the setting, adjust accordingly. It feels like crowds are always different due to their local background. That’s a fascinating part of playing shows, every show feels different.”

Inside every set are moments that define them: emotional anchors capable of creating collective memory between the DJ and crowd. These are the tracks that, no matter the latitude, ignite the energy of the floor.

“There are a few tracks we always love to play, no matter where we are. Definitely one of our favorite opening tracks, since it’s imposing and gets everybody’s attention, is ‘FTS’ by Showtek. The ‘Where Have You Been’ edit by DJ Tallboy, Paul Meier & Paracek is one we really love performing, as most of the time people will sing along with it and feel more likely to do so when we sing as well. Last but not least, our track ‘Think About It.’ Especially in Australia, this track put us on the map, and the people went crazy when we played it.”

At the center of their journey lies Amsterdam. ADE is not just an event, but a crossroads where careers take shape, where meetings and milestones turn into long-term stories. For Basti, his first experience there was unforgettable: a moment of pure synchronicity that today finds its completion in their return to the same stage.

“Last year, in 2024, I visited ADE for the first time and attended some events of my favorite artists. All my friends were going to another event, but I just had to go to the Funk Tribu Invites Intercell event, so I went on my own. After quickly becoming friends with the DJ ‘Friendly Neighbor,’ I got to see first Caiva and then the act I had been waiting for: Funk Tribu B2B Bad Boombox. Not only did they play an insane set, but while I was trying to get as close to the DJ booth as I could, they also played our track ‘Keep The Balance.’ As I was rushing through the crowd, I completely lost it when he heard them mix in our just-released remix of ‘Let Me Think About It.’ I made it to the DJ booth, gave Eduardo and Djeki a handshake, and got chills while having the brightest smile on my face. Funny enough, we’re going to have a full-circle moment, playing at this year’s Intercell Funk Tribu Invites!”

But their aim isn’t just to make people dance: it’s to deliver a total experience, an interplay of intensity and belonging, euphoria and human warmth.

“On the dancefloor, we want people to feel both the rush of intensity and the warmth of belonging. We want everybody to have the best time of their lives.”

Step by step, track by track, 2HOT2PLAY has built its identity through milestones. From the breakthrough of Keep The Balance, which made them recognizable, to the worldwide explosion of Think About It, they have shaped a sound unlike anything else.

“The start of our typical 2HOT2PLAY sound came with ‘Keep The Balance.’ It’s the first track in which we found our signature sound and the first track that people heard and told us sounded like something new. But the one that really put us on the map was definitely ‘Think About It.’ This track clearly opened doors for our visibility worldwide.”

For them, the future is never just a distant horizon, it’s a constant promise. Tours, collaborations, global dreams: each step becomes a springboard pushing them further, with the same enthusiasm as day one.

“Big things coming… Jokes aside, in the near future, we’re going to work on collaborations with some of our favorite artists. We’re also planning our next tours outside of Europe again. As our recent Australia tour was one of the most exciting things we’ve ever done, while making a ton of new friends, we feel like we need to come back as soon as possible, too! Playing on every single continent on earth is also on our bucket list. Honestly, we couldn’t be more hyped about what’s coming in 2026!”

2HOT2PLAY don’t waste time on pretence. Their formula is simple: hard-edged trance energy, delivered with the precision of two minds locked into the same vision.

From Berlin’s sweat-soaked basements to festival main stages across Europe and beyond, they’ve built a reputation on impact, not on hype.

The next chapter is already in motion. Tours outside Europe, collaborations with their heroes, and a clear intention to leave a mark on every continent. No fluff, no compromises—just two artists pushing their sound as far and as loud as it will go.

noise mafia

Breaking Rules Before They Exist

Noise Mafia didn’t stumble into electronic music; he attacked it head-on. At 11, a random encounter with Skrillex online flipped the switch. A year later, he wasn’t just consuming tracks; he was finishing his own. That was the start of a path built on curiosity, risk, and refusal to stand still.

What hasn’t changed is the core: energy and emotion first. The delivery keeps shifting, morphing from instinctive early experiments into a sharper, more defined sound, but always carrying the same intention. His catalog doesn’t follow genre rules; it bends them until they break.

That unpredictability has become his calling card. Every track holds a question mark, every drop a curveball. Whether it lands in a club, on a festival stage, or just through headphones, the feeling is the same, raw, direct, and unmistakably Noise Mafia.

ORIGINS & EVOLUTION

Noise Mafia’s story starts at home, in a house full of siblings and clashing tastes. From Tiësto to Gigi D’Agostino, there was always music blasting somewhere. But the real spark came online, headphones on, scrolling through the chaos of YouTube until one name changed everything.

“My first truly conscious encounter, the one that really sparked my curiosity, came when I was 11. I came across an artist named Skrillex. His sound blew my mind, and in that moment I thought: I want to create music.”

A year later, he had already finished his first track. No scene, no mentor, just raw curiosity and a drive to turn energy into sound. That instinct still defines him today.

“What has never changed in my music is the intention to convey energy and emotion. From my very first attempts, I always wanted to create a feeling that connected with people, whether on the dancefloor or through headphones. That search remains at the heart of everything I do.”

The difference now is discipline. What began as pure trial and error has evolved into a sharper vision, influenced by countless genres but united by a clear identity.

“In the beginning, it was more instinctive, almost experimental. Over time, I began incorporating different genres, new influences, and a clearer vision of what I want to build. Each track carries something of me, growing into a more solid, defined sound but always driven by curiosity and exploration.”

PRESENT & UPCOMING WORK

Every Noise Mafia track carries a fingerprint. It’s not about BPM or genre tags, it’s about tension, surprise, and that sudden left turn that makes you double-take.

“What ties all my songs together under the Noise Mafia identity, technically speaking, is the sound design, the vocals, the drums, and the sense of unpredictability. What might surprise me in this part of the track? Or which genres will be fused in the next one? Beyond genre or mood, I always try to make each track say something that reflects who I am as an artist.”

The same instinct decides where each track ends up. Some pieces live as direct offerings on Bandcamp or SoundCloud, others demand the polish and platform of an official label release.

“If it’s more experimental or meant as a direct gift to the community, I put it on SoundCloud or Bandcamp, because the connection there is immediate. But when a production has a more solid focus and aligns with the narrative of a label, I prefer an official release to give it a broader reach. Every artist brings their own universe, which forces me to listen differently and question my own formulas. In that process, I discover things about myself: how flexible I am, which parts of my sound are essential, and which I can transform. In the end, every collaboration leaves me with the sense of having learned something I wouldn’t have discovered working alone.”

FUTURE OF ELECTRONIC MUSIC

Noise Mafia isn’t afraid of technology, but it’s clear about where the line sits. AI is welcome in the studio, but never in the driver’s seat.

“I firmly believe the essence of music is partly human sensitivity and intention. For me, the line is crossed when AI starts replacing the creative judgment and emotional connection an artist provides. I think it can be a complement, but it shouldn’t fully replace us. As long as it’s used to enhance a vision without diluting the human voice, it’s still a tool.”

On the bigger picture, he sees the next decade of electronic music not as a tug of war between hybrids and minimalism, but as a cycle of both.

“I think hybrids will continue to be an important part of the future of electronic music because they reflect the curiosity and openness of today’s artists. At the same time, I don’t see minimalism or pure sounds as a regression but rather as a necessary counterbalance. For me, it’s more about finding a balance between exploration and clarity, between innovation and respect for the roots.”

That balance is also what explains the current obsession with retro. To him, nostalgia isn’t just fashion, it’s memory.

“Music is like a circle. Everything is born, comes back around, and transforms into something different without losing its original essence. That’s why nostalgia connects with people’s emotional memory. Retro sounds evoke moments, feelings, and eras we all carry with us. In my music, I try to take elements of those genres but reinterpret them with my own experiences, vision, structures, and energy.”

Noise Mafia’s story begins in a crowded family home, where Daft Punk, Tiësto, and Gigi D’Agostino shared space on the stereo. It was Skrillex, though, who flipped the switch at age eleven and made him realize he wanted to create, not just consume. By twelve, he had already finished his first track. That restless curiosity has carried him from bedroom experiments to a sharper, more defined sound, but the thread of energy and emotion has stayed constant.

If there is one signature, it is unpredictability. His tracks are designed to surprise, built on sound design, vocals, drums, and sudden twists that keep listeners alert. Sometimes that surprise takes the form of a free drop on SoundCloud or Bandcamp meant as a direct gift to his community. At other times, it belongs on a label that can reach bigger stages.

For him, release platforms are not about prestige but about intention, choosing the right vessel for each story.

Collaboration has also shaped his evolution. Sitting in the studio with other artists forces him to break habits and question his own formulas. The process reveals what’s essential in his sound and what can be adapted. His dream label is still OWSLA, both for nostalgia and for the credibility it represents. In general, he sees labels as playing a dual role: gatekeepers of cultural trust and tools for distribution. Being part of one, for him, is both an honor and a responsibility.

He isn’t afraid to look at the bigger forces shaping the scene. AI, in his view, can complement but never replace the human spark. Authenticity stems from sensitivity, imperfections, and intention, things that machines cannot replicate. The future of electronic music, he believes, lies in a balance between hybrids that push boundaries and stripped-down sounds that respect the roots. Both forces are needed to keep the circle turning.

That circle is also where nostalgia comes in. For Noise Mafia, retro sounds connect because they touch emotional memory, but he refuses to recycle the past without reinvention. His approach is to reinterpret those familiar elements with new structures, fresh energy, and his own perspective.

In his words, music always comes back around, but it should never stand still. In the end, Noise Mafia is less about genres or numbers than about process. He doesn’t chase labels; he chases curiosity. He doesn’t chase trends; he chases honesty. From the chaos of Skrillex at age eleven to his current explorations of AI, labels, and hybrids, his career feels like a circle constantly expanding, each track pulling from the past but pushing toward something new. Expect the unexpected, because for Noise Mafia, the only constant is movement.

Afem Syko

Finding Groove in a World Obsessed with Hardness

Afem Syko has lived on both sides of techno’s current divide. He cut his teeth during the Hard Techno explosion, but in recent years, he’s stepped away from the louder-is-better race to carve out a sound rooted in trance, flow and groove. The decision wasn’t without risk. Still, for Afem, it was essential: a return to authenticity and the joy of dance music as he had first experienced it.

He recalls how his early sets already carried playful and groovy textures, even while the pressure of the scene pushed him toward faster, harder sounds. For a time, he went along with that current as an upcoming artist. Still, eventually he realized that the relentless direction of Hard Techno no longer reflected what he truly felt inside.

“Looking back at my sets from a few years ago, I wasn’t always playing hard. My sound was energetic and raw, yet still playful and groovy. However, over time, the techno scene evolved and became increasingly challenging, with a growing influence from hardstyle and hardcore. It felt like the only thing that mattered on line-ups was who could play harder and faster… After many conversations with my team and with people I trust, I decided to take a risk, change direction, and return to a style that truly represents me, regardless of outside expectations.”

Shifting sound comes with its own obstacles. Fans, promoters, and peers can be slower to adapt when an artist changes course. For Afem, the early months of this transition tested his conviction.

“Going harder as an artist is actually quite easy: promoters, events, and the crowd usually adapt very quickly to it. But moving the opposite direction turned out to be much more challenging… It takes a great deal of courage to stay true to your plan and not deviate from it. I had to accept that some fans would drop off. But honestly, I’m really grateful for my core fanbase, which is super open-minded and can appreciate different styles in one night.”

That core support eventually gave birth to a new identity: “Bouncy Syko,” a nickname that stuck due to the playful, off-beat basslines in his latest productions. Authenticity, he insists, is everything.

Between

Hard Techno and Trance/Groove

“What I play now is still very energetic and driving, but the feeling is happier, more flowing, even more sensual. The first thing I noticed was the way people move and dance. It’s less aggressive, with more smiles, and it feels more relaxed and expressive… That being said, I don’t think the key values are opposites at all. Both cultures share the same foundations: respect, love, caring, and togetherness.”

This openness between styles is what fuels his creativity. After a set, he often wanders through festivals to soak up completely different energies. Listening to all kinds of genres, seeing other stages at festivals, soaking up their energies, and embracing the musical beauty... for Afem, that’s the real lifeblood of electronic music. For Afem, that’s the real lifeblood of electronic music.

Although he’s moved into more melodic territory, Afem hasn’t abandoned the technical and structural lessons that Hard Techno taught him.

“Hard techno taught me how to build and release tension, how to structure a track so it keeps people on edge, and how to deliver that rush of energy at exactly the right time. I still use those techniques today, just in a different context.”

His current productions lean heavily into melody, vocals, and bounce, often beginning with a strong central idea that locks the track into focus. For Afem, producing has become as much a spiritual ritual as a technical exercise.

“For my tracks, I usually start with a vocal, a harmony, or a melody and then build everything else around that theme… For me, producing is a very spiritual process, with so many factors that impact creativity. That’s why I pay attention to my state of mind and body before going into the studio. I try to start my day with movement, good food, and sports or meditation. When body and mind are at peace, it’s so much easier to reach that flow state.”

He also embraces new learning curves: from designing sounds from scratch to planning drum lessons in order to capture more organic rhythms. For him, curiosity is the key to artistic growth.

COLLABORATIONS AND COMMUNITY SPIRIT

Collaboration has taken on new importance in this chapter of his career. Working with peers from different genres has not only expanded his sound but also deepened his sense of connection to the wider music community.

“Recently I’ve started doing a lot more collaborations with other artists from the same musical background, but also other genres. A recent highlight for me was a full-circle moment: producing a track with one of my childhood idols, who was behind some of the biggest national and international hiphop records back in the day. That experience reminded me how music cuts across genres and generations.”

With a shift in style comes a recalibration of release formats. Afem has been more deliberate about timing and context, choosing singles and carefully curated EPs rather than rushing to flood the market.

“Before, the focus was more on EPs with four or more tracks, but right now we’re concentrating on singles for my new sound, to make people more aware of it and to let the direction settle in… To fully answer your question: it will be a mix of everything - singles, EPs, and collaborations. But not just for the sake of releasing - only when it really makes sense.”

Touring brings with it both exhilaration and strain. Afem has learned to protect his creativity and health through a mix of discipline and small rituals.

“The DJ and producer lifestyle is demanding. It’s not just touring anymore; there’s also the constant pressure of maintaining a social media presence… What keeps me grounded is strength training. Sitting for hours in planes and studios takes a toll, so working out resets my body and clears my head. It also fuels creativity. After training, ideas flow more easily.”

Earplugs at night, cold showers in the morning, and mindful habits form his shield against burnout. Variation, he insists, is key to keeping the mind fresh.

BALANCE AND AUTHENTICITY

When it comes to the pressures of the industry, Afem sees discipline and authenticity as his compass.

“The industry is full of expectations… faster releases, more content, constant presence. I think if you follow every demand, you lose yourself very quickly. For me, balance starts with knowing my own values and being able to say no, even when it feels risky. I’d rather miss out on an opportunity than do something I don’t really support.”

For him, authenticity is not just a strategy but a survival mechanism.

Afem Syko’s vision for the future is clear: growth without compromise, passion without pretense.

“My biggest goal is to reach people’s hearts and souls with my music, just like I experienced when I first discovered raves and techno. That energy completely changed my life, and now my purpose is to give back to the scene that gave me so much. If Afem Syko can inspire that same feeling in others and help shape the Trance/Groove movement with authenticity and passion, then I’ll know I’ve done my part.”

Afem Syko’s path is a reminder that electronic music is not just about speed, volume, or hype. It is about conviction, curiosity, and the courage to follow your own instincts even when the scene pushes in another direction. His move away from the harder-faster-louder race was less about retreat and more about embracing joy and authenticity as the true core of his sound.

What makes his voice resonate is the balance he strikes between discipline and freedom, structure and spontaneity. He carries the intensity of Hard Techno into his Bounce and Trance era without losing sight of the playfulness that first drew him to the dancefloor. By doing so, he challenges an industry obsessed with trends and reminds us that the true power of music lies in its ability to open hearts.

As festivals expand and genres blur, Afem’s story demonstrates that the artists who endure are those who adapt without losing their identity. He has crafted a sound that feels lighter, brighter, yet just as powerful, allowing the crowd to breathe, smile, and move together.

In the end, Afem Syko stands not just as a DJ or producer, but as a signal flare for a scene in transition. His music is proof that authenticity is still the strongest currency in electronic culture. And if this truly is the future, then Afem is already living in it.

PETERBLUE

Latin beats, cultural power: the Peterblue manifesto

Born in the beating heart of Latin America, in Colombia, Peterblue grew up surrounded by ancestral rhythms: drums, chants, percussion carrying stories of resistance and memory. Even in the flashing lights of international clubs, he carries a mission: to transform Latin music from decorative folklore into a tool of vision, identity, and cultural power. In every beat lies a dialogue between past and future, roots and innovation. His music is not just sound, but a political act, an affirmation that what was once marginalized now rises to redefine global dance culture.

From the very beginning, Peterblue sought to bridge distant worlds: tradition on one side, modern club structures on the other. This was never about nostalgia, but about preserving the value of ancestral memory by turning it into something alive and transformative.

“I always felt that to truly understand something, technical knowledge alone isn’t enough. You need to go deeper and understand the roots, the context, why what you’re doing exists in the first place. For me, that perspective has always been key when creating. I have a very clear rule: if I can’t bring something real, something that musically adds value to a work, I prefer not to do it. I’ve always worked from a place of respect, rescuing elements I grew up with, things that are part of my history and my culture. And I do it with the intention of connecting with people who, like me, share that vision and feel there’s something valuable in what’s ours, in what represents us.”

Here, music becomes politics, not through slogans, but through cultural awareness. Incorporating ancestral traditions is not about aesthetics, it’s about reclaiming identity. When those rhythms enter a club, when a set pulses with that primitive beat, memory is built and identity expands.

For Peterblue, Latin heritage is not only tradition but future. For decades, Europe and North America dictated what was considered “proper” club sound. Now that axis is shifting, and he sees it as his mission to push the sound of his land to the forefront.

“I feel this is a way of starting to decentralize the narrative. For a long time - and especially in electronic music - Europe has set the standard, the ‘proper’ club sound, what was considered ‘good.’ But I believe now we have a huge opportunity to show another universe that’s been there for decades: music, stories, and traditions that have been made invisible or considered secondary within the global circuit. Latin America has an incredible richness, and I’ve taken it as a personal mission to work from there, from what’s ours. What’s wild is that you can already feel how this energy is influencing other cultures, how it’s starting to resonate outside too. I like to think our music always had immense power… it just hadn’t been lit yet.”

“I like to think our music always had immense power… it just hadn’t been lit yet.”

When Latin rhythm crosses into global culture, it triggers something primal. It is not meant to be understood but felt. The Afro legacy, blended with Indigenous roots and outside influences, forged a pulse both ancient and universal. Peterblue calls it “tribal,” a rhythm that bypasses the mind and speaks directly to the body.

“I believe Latin America is the result of a powerful mix: Indigenous cultures from the Americas, influences from the northern hemisphere, and above all, an Afro legacy that has profoundly shaped our musical identity. Without a doubt, Afro culture has been key to what we now understand as Latin music. Practically every danceable genre has African roots, with a very primitive, very visceral pulse. I call that sound ‘tribal,’ because it has something ancestral that connects directly with the body. It’s the kind of rhythm you don’t need to understand to feel, you just hear it and you want to move. It’s something beyond rational thought; it’s human.”

What was once dismissed as marginal, like bubbling, raptor house, Latin club, is now headlining festivals. Genres that once lived in the shadows are shaping tomorrow’s main stages, not by compromise but through persistence and the refusal to erase identity.

“Without a doubt, what’s happening today is the result of many Latin American artists who have been pushing this for years. And although I’ve only been deeply involved in this discourse for about four years, I include myself in that. Before the pandemic, for an electronic artist with native sounds, breaking out of their own cultural context was practically impossible without having a ‘foreign’ sound. It was very difficult for anything to transcend if you came from a place like Latin America. But I think with globalization, and all the changes that followed, that started to shift. I feel that the classism that has always been so deeply marked in electronic music is slowly beginning to fade. In the end, everything goes through a phase of acceptance. At the beginning, even the base genres like house or techno were rejected by the ‘good taste’ defenders, yet they ended up becoming the pillars of a culture-defining music.”

As Latin sounds rise into the mainstream, concerns about appropriation or dilution inevitably surface. But for Peterblue, evolution is not betrayal. Music is not a museum piece but a living, breathing force: always changing, always colliding, always creating.

“I feel this is clearly going to keep evolving, and I understand why for many people that could be controversial. But personally, I don’t see it as negative. I don’t like to think of music as something static, like a museum piece that must be preserved intact. For me, music is constant movement. Just like society, it’s a reflection of our minds and how we’re always changing. And in the end, that’s what has generated the biggest milestones in music history: cultural exchange, fusion, mass adoption. It has always been that way. It’s precisely those collisions between worlds that spark new ideas, new sounds, new ways of feeling.”

For Peterblue, artists like him are not gatekeepers but bridges. They bear the responsibility of guiding native sounds into the wider industry, enduring criticism from both underground purists and mainstream skeptics. He embraces that tension, seeing exposure not as a risk but as a tool to elevate production quality and open new paths.

“I feel that trying to evolve a genre or style only from the underground is very difficult. In my case, I’ve had to take on a key role in these first steps of positioning certain sounds within the broader structure of the music industry. And that hasn’t been easy. I’ve had to deal with exposure and also criticism, both from the mainstream side and from the underground. Sometimes it feels like you’re caught between two worlds that demand opposite things from you. But I choose to see that exposure as a tool, an opportunity to elevate the genre, improve production quality, and collaborate with artists who truly add to the process. In the end, if those paths don’t open, the sound remains trapped within itself.”

Syncopation, for Peterblue, is not just a technical trick but an emotional language. It breaks the four-on-thefloor, disrupts predictability, decentralizes the “standard” sound. The dancefloor is hungry for surprise, and syncopation is his way of feeding it.

“I feel it’s a very interesting way of proposing an alternative to the classic four-on-the-floor of disco, techno, or house. The dancefloor is always asking for something new, something surprising, something that breaks the known structure. And that’s been part of my discourse from the start: decentralizing that ‘standard’ sound that’s been installed as the norm. Because dance music is actually much broader than we usually imagine. There are other cadences, other rhythms, other ways of connecting with the body and I think that’s where the truly exciting part lies.”

Surprise itself becomes a philosophy: every track begins with a familiar base but inevitably shifts, introducing a new rhythmic layer or unexpected twist. This balance of recognition and desire has helped him forge a unique identity.

“Exactly, that theory of ‘surprise’ is infallible for me in my sets. I always try to keep people on their toes, never letting the music become predictable. In my tracks, I usually start with a main base to work on, but my goal is always to break that scheme at some point and introducing another rhythmic layer or a change that takes the track somewhere else. I don’t like monotony. Personally, I think that’s one of the keys that has helped give my music a unique touch: creating an identity that can be recognized, but also keeping people wanting to hear more.”

In the end, what sets Peterblue apart is not how loud he can play, but how deeply he can resonate. Latin music in his hands is not embellishment, not nostalgia—it is revolution. A rebellion that slips under the skin, a political act embedded in groove, in rhythm that demands presence.

The most powerful political act is to give space: to amplify ignored stories, to honor silenced instruments, to awaken memories suppressed by uniformity. When ancestral beats rise in the club, they resist standardization and remind people of where they come from, even as they lead them somewhere new.

In this invisible transformation, Peterblue builds his future: an identity reborn, cultures in dialogue, generations finding their voice through percussion, syncopation, surprise. This is how music becomes more than sound, it becomes gesture, community, memory, and promise.

SERGIO NIÑO

AUTHOR:

MATRAKK

From risk to revelation

Matrakk has built his reputation on risk. Long before trance regained its foothold in European clubs, he was dropping it into techno-heavy nights, daring the crowd to follow him into euphoric territory. Some called it heresy, others called it brave, but for Matrakk it was always the only way forward, pushing beyond the obvious and trusting the energy of the dancefloor to carry him through.

Now, with ADE around the corner and a new EP ready to land, he is stepping into his boldest chapter yet. This record is not a continuation, it’s a reset: trance-fueled, hard house driven, groovier and more joyful than anything he has put out before. It captures an artist who took time to realign with himself and came back sharper, freer, and more dangerous. It’s not just about BPMs, it’s about state of mind.

And with the launch of his label Saint-Germain, Matrakk is expanding that vision beyond his own sets and productions. More than an imprint, he sees it as a house of sharing, a community built around joy, risk, and reinvention. The message is clear: Matrakk isn’t here to play by the rules. He’s here to break codes and write his own.

THE UPCOMING EP

This autumn, Matrakk is releasing more than just another record. For him, this new EP is a checkpoint, a reset, a way of realigning with his true artistic identity after a period of doubt.

“This EP is a way for me to mark a turning point in my artistic direction. For several months, I’ve been working hard on my artistic direction because I felt like I was no longer in tune with my music. So I decided to take the time to figure out what I really wanted to do next. I then decided to create this EP to showcase this new direction, which is much more representative of what I’m going to be offering now.”

The sound is noticeably different. Where earlier productions leaned into force and heaviness, this time Matrakk is chasing groove, joy, and festival-sized euphoria.

“This project is a mix of trance and hard house sounds, much more groovy and joyful than what I’ve offered before. I really want to return to a festive style and energy.”

When he imagines these tracks in the wild, it is not the darkness of a basement that comes to mind, but the glow of a sunrise.

“I think these tracks can be adapted to different contexts, but let’s be honest, I think they would be much better suited to a festival with a sunrise. When I made this EP, I really tried to do it in a happy state of mind every time to create intense energy with strong emotions. I think that from the beginning, the energy in my music has been a bit like my signature, and I really wanted to keep that but with a touch of freshness for this new direction.”

ARTISTIC DIRECTION SHIFT

The move toward trance-infused atmospheres may feel new to some listeners, but for Matrakk, it has been part of his DNA since the beginning. The difference now is that the scene has caught up with him.

“To be honest, I’ve always loved and championed trance since I started out, even though it wasn’t easy on the very purist techno scene before Covid. Since then, our scene has evolved a lot and I can now afford to take more risks and offer 100% of my vision of my music.”

This shift is not a rejection of techno, but an embrace of the broader emotional spectrum he has always wanted to explore.

“I’m not saying that wasn’t the case before, because I’ve always loved techno, but little by little I wanted to move towards 100% trance and hard house sounds. Now that I have the opportunity to do so and feel this need, I think it’s the right time. I am aware that it is a risk, but since I started out, I have been taking risks, and I think that is how we move forward and how we will advance our music. When I started out in this industry as a DJ, offering trance DJ sets at the end of techno parties was considered heresy by many people.

I’ve already received a lot of hate because of this risk-taking, but I’m happy to see that trance now has its place on the scene, and I’m proud to have defended it in my own way. So I have no problem taking risks today to offer my audience what I want to offer them now.”

SAINT-GERMAIN: THE NEW LABEL

For Matrakk, launching Saint-Germain was more than a business move. It was a declaration. After realigning his sound, he wanted to create a platform that could hold not just his music, but an entire community around his vision.

“Yes, launching this label is also a way of marking a turning point. Now that I’ve found my path, I want to open it up to my audience. This label is a way for me to create a community. The goal behind this label is, of course, to release music and promote artists that I appreciate, but above all to create a space for sharing my vision of music. I can’t reveal everything right now, but I will be offering several concepts under this label. It should be seen as a large house of sharing and not just a record label.”

For now, Saint-Germain functions as a personal lab, a testing ground where he can experiment freely before opening the doors to others.

“As I said, it’s a place for sharing, so I’ll be opening it up to other artists soon. But first, I want to take the time to develop my vision and ideas, so for now, it’s a bit like my laboratory.”

Beyond the Milestones

Tracks like My Drums Hard and Mon Amour are still part of his DNA, even if his trajectory is pulling him toward new horizons.

“From an artistic point of view, as I explained before, my direction is now different, but these tracks had an energy and emotion that I want to keep in this new direction. I’ve always liked aving rich, powerful melodies and vocals, and that has become my trademark over time. I think these tracks will always be part of my classics.”

For Matrakk, reinvention is not a strategy, it is a necessity. His philosophy is to never stop moving forward, even if it means stepping into unknown territory.

“I like not to set too many limits for myself because I think that’s how you make the best music. Now I’ve found what I love, and I’m lucky that the trance scene has become one of the most important. So I’m going to try to continue developing my music in this style. After that, I’d like to open the door to collaborations with other styles of music to continue evolving my music. I think it’s always interesting to challenge yourself and try to create things that aren’t naturally logical compared to the industry standard.”

MY THOUGHTS

Matrakk is not chasing comfort. His career so far has been a series of challenges to the status quo, from sneaking trance into techno nights when no one wanted to hear it, to now reshaping his sound around joy, groove, and sunrise energy. The new EP is more than a release, it is a statement of intent: a way of saying that the risk is worth it, that reinvention is the only path forward.

Saint-Germain, his label, underlines that intent. Matrakk is not content with building his own trajectory, he wants to create a house of sharing, a platform where community and vision matter as much as releases. For now it is his laboratory, a space where he can test the edges of his creativity, but the plan is already bigger. He wants it to be a refuge for like-minded artists, a collective that dares to put energy and emotion before formula.

What makes Matrakk stand out is not just sound but philosophy. He does not measure his music in likes, labels, or industry logic. He measures it in risk, in the power of a dancefloor at sunrise, in the ability to remind people that music is a force for release and communion. Breaking codes is not just the title of this chapter, it is the constant rhythm of his career, and it is what makes him one of the artists shaping the future of electronic music right now.

HÉCTOR LLAMAZARES

TWO DECADES, ONE STATEMENT

Twenty years behind the decks is no small thing in electronic music. Trends come and go, genres rise and collapse, but Héctor Llamazares has weathered every cycle without losing his balance. From the heart of Asturias to festivals across Spain and Europe, his sound has evolved with discipline and passion, carrying the weight of experience while still hungry for the unknown.

Arriving at ADE with Mixmag marks more than another date on the calendar. It’s the recognition of a career built on persistence, on staying true through the turbulence of shifting scenes and the temptation of shortcuts. For Llamazares, every set, every record, every project has been another step in proving that authenticity can survive in an industry that rarely rewards patience.

Now, as he steps onto one of the biggest international stages, Héctor brings not only his own story but the story of a region that shaped him. Asturias remains his anchor, a scene that forged his identity and keeps him grounded even as his sound travels globally. ADE is not just a showcase of his music, but of the resilience, risks, and reinvention that have defined his journey.

ADE X MIXMAG PRESENCE

Stepping into ADE with Mixmag isn’t just another gig for Héctor Llamazares; it’s the culmination of years of resilience. He sees this moment as proof that discipline pays off, that the long nights and the constant grind eventually find their way to the spotlight.

“Arriving at ADE Amsterdam alongside Mixmag is definitely going to be fun. The act itself represents effort, consistency, and the respect I hold for music, something that never stops surprising me and constantly pushes me toward new challenges. I’m confident the international audience will respond well to what I bring. My style is deeply rooted, giving weight and authenticity to what they hear, so emotion is guaranteed.”

TWO DECADES OF REINVENTION

Behind every artist’s success are moments of doubt, shifts in trends, and projects that don’t always go as planned. From building a live set backed by legends to facing setbacks with Warm Hall, the journey has been anything but linear. Yet today, with renewed passion and Spanish talent on full display at ADE, the fire is still burning strong.

“Over the years, I have gone through many changes. Perhaps the hardest moments are those of self-reflection, when you realize it is not your time, even though just a few months earlier it seemed like it was. Shifts in trends are inevitable. The pandemic was a radical change, only comparable to when tech house exploded onto the scene. These movements can really affect an artist’s stability. The toughest situation is often having to change direction, leave behind projects you care about, or keep working without major results, waiting for the cycle to turn and for your sound to regain its place.”

“One of the hardest moments in my career was realizing we had a brilliant project in our hands that, due to small details, did not follow the path I felt it deserved. Warm Hall was born out of passion and emotion. We spent countless hours in the studio to be ready for anything. We released some robust material and gained support from artists

like Laurent Garnier, Hernán Cattáneo, Marc Marzenit, and many more. We built a top-level analog live set, ready to tour, and honestly, I still sometimes ask myself. As you can see, not everything goes as planned. But here I am today, representing Spanish talent at ADE, with my passion for this work renewed and intact.”

AQUASELLA: FIFTEEN EDITIONS, ONE STORY

If there is one festival that mirrors Héctor Llamazares’ growth, it’s Aquasella. Fifteen editions deep, the connection runs far beyond a booking. It has been his yearly checkpoint, a stage that tests him, elevates him, and gives him the space to take risks.

“Aquasella is pure emotion for me, something I experience and celebrate in a very special way every year. I feel the festival has accompanied my artistic growth, even though you always need to find your own path forward. Aquasella is part of European electronic music history, with 28 editions behind it. Both the legendary La Real club and Aquasella have been key players in the evolution of electronic music in Spain since the 1990s.”

He speaks of the freedom this festival gives him to deliver sets that carry risk, the kind of performances that can go wrong but, when they land, are unforgettable.

“I believe the festival has given me the freedom to deliver unexpected, emotionally impactful sets that other artists might hesitate to attempt, because these kinds of sessions involve real risks. These dancefloor-driven yet emotional sets have helped me stand out. Over the years, there have been moments that deeply marked people and are still remembered today.”

For 2025, the plan is to keep writing those moments. And if you’ve ever stood in the valley at sunrise, you’ll understand why he describes it with so much intensity.

“Picture this: the sun rises over the Aquasella valley, nature all around, and thousands of people on a Sunday at 7 a.m., after three full days of festival. Then this track drops, Moby, In My Heart (Sandy Rivera Mix).”

ROMANTINA RECORDS: BUILDING A LEGACY

Launching a label in 2025 is not just about putting music out; it’s about carving an identity in an oversaturated landscape. For Héctor Llamazares, Romantina Records, co-founded with Pilar Román, is precisely that: a statement, a new chapter, and a challenge embraced head-on.

“Romantina Records was born from the excitement of a new path, the shared enthusiasm, and the desire to grow and enjoy achieving our goals alongside a community of artists and fans who identify with it. The label’s image perfectly reflects our vision. Looking at the design, you can see a clear contrast. The logo exudes calm, but a disruptive, rebellious crest turns everything on its head. That is how we see the label. Just like in DJ sets, we want things to happen.”

It’s a philosophy that matches his trajectory: rooted in discipline, sharpened by resilience, but always willing to embrace risk. Romantina isn’t just another label; it’s a vehicle to pass on that ethos, the need to move, to provoke, to surprise.

ECHOES IN WAX: THE VINYL JOURNEY

Vinyl has always been more than a format for Héctor Llamazares. It is a language, a way to measure time and identity. With his project Echoes in Wax, he has built a concept that is less about nostalgia and more about telling stories across decades of electronic music.

“Echoes in Wax came about naturally out of necessity. I felt something was missing, that I needed to close a circle. The idea was to have a set in my booking offer where I could fully express myself, 360º, drawing on all my influences. Over the years, I’ve kept collecting records, many of them collector’s items, across these key genres. Compiling music from 1986 to 2025 has been an incredible experience, a story that needed to be told. Beyond that, for me, playing this set from time to time feels like the totem in the movie Inception, a way of knowing where I stand. Holding onto my roots gives me a starting point I don’t want to forget, and it helps me stay grounded.”

The selection is a map of his influences: Joey Beltram’s Drome, Aphex Twin’s Quoth, Mr. Fingers’ Washing Machine, Carl Craig’s Future Love Theme, LCD Soundsystem remixed by Tiga, Omar-S, Âme, and more. It is a journey that jumps between techno, house, electro, and acid without hesitation, threading together nearly four decades of club culture into one arc. With Echoes in Wax, Héctor isn’t just playing music. He’s reminding the crowd and

himself that roots matter, that the future of sound is always tied to the past, and that authenticity has to be renewed every time the needle touches the record.

INSIDE THE STUDIO: CRAFT AND RITUAL

If the booth is where Héctor Llamazares tells the story, the studio is where he writes it. After two decades, he finally has the space and tools he always dreamed of, a room that feels like both a laboratory and a sanctuary.

“Today I can proudly say I have the studio I always dreamed of, more than enough space to work and enjoy music. Over the years, I’ve collected synths, drum machines, sequencers, percussion, and other instru-

ments for different projects. In my studio, you’ll find everything from a Moog Voyager to a Xoxbox, a Juno-106, a MIDI drum kit, a sampler, and much more, with additional gear stored in boxes that I pull out whenever I want something different. My creative process relies heavily on studio work, everything I’ve learned over the years, and, above all, about 80% on improvisation. I haven’t been able to release much music recently, but we’ve dedicated a lot of time in the studio, and that’s where the upcoming records are coming from.”

That improvisational spirit keeps his sound alive. Tracks are not meticulously planned blueprints, but moments of discovery. Machines become extensions of his hands, silences become sparks, and the result is music that feels as alive in the studio as it does under festival lights.

WARM HALL & THE ART OF PERFORMANCE

Some projects stay with you forever because they test every boundary you thought you had. For Héctor Llamazares, that project was Warm Hall. It wasn’t just another alias or a casual collaboration; it was a full dive into the unknown: live analog performance, machines sequenced in ways that left no room for error, and the challenge of building something raw and human in real time.

“Developing that live act with Raúl was a huge challenge. We had many machines sequenced, sends and returns, and a complex Ableton setup with lots of tracks.

Some issues arose, but we eventually solved them. In the end, it was an incredible learning experience. It definitely will not be my last live project.”

Warm Hall forced him out of the safety net of traditional DJing, where instinct and selection carry the night. On stage with racks of gear, there was nowhere to hide. What emerged from those performances wasn’t just music, but resilience, and the realization that risk itself can be the strongest part of an artist’s identity.

ASTURIAS: A SCENE WITHIN A SCENE

In an industry where moving to Berlin, Barcelona, or London often feels like a requirement, Héctor Llamazares chose to stay rooted in Asturias. For him, it wasn’t a limitation, but a statement. Asturias has always been a hub of Spanish electronic culture, with La Real and Aquasella writing history since the 1990s, and a tight network of clubs, record stores, and collectives carrying that legacy forward today.

“Talking about Asturias is talking about one of the cradles of electronic music in Spain. Since the 1990s, the best DJs, both national and international, have passed through here regularly. I am proud to be part of this and to export my art from here to many cities across the country. It is said, rumored, and well known that Asturias has one of the best pools of local DJs in Spain, and possibly in Europe.”

“The consolidation of collectives, clubs, and independent artists who have continued strengthening the legacy left by many active DJs creates something hard to put into words. Currently, we have several top-level clubs, including Teatro Albéniz, with over 30 years of history, Lanna Club, Sala Gong, Danza Prima, Sala Acapulco, and Kuivi. Also, in many other venues, you can find parties run by collectives, and you can also find record stores like Ohmios Récords and Mita Récords.”

Staying in Asturias shaped his sound as much as his discipline. Instead of chasing trends in bigger markets, Héctor honed his craft in a community where reputation is earned set by set. That grounding is part of what makes his perspective so different: he doesn’t just play for the scene, he carries one with him wherever he goes.

FINAL WORD: TO THE NEXT GENERATION

After two decades of sweat, reinvention, and persistence, Héctor Llamazares doesn’t hand out advice like a lecture. What he offers instead is lived truth, the kind you only earn by enduring the highs and lows of a long career.

“I’d tell them to enjoy the process, be patient, and take advantage of training on platforms like Aulart or producer courses to develop a standout project. I also believe it’s crucial to build organizational skills. Self-management is key during those early years when no agency is paying attention. With a solid strategy, you can achieve a lot. I want to take a moment to thank Mixmag for their support and all the professionals and friends I continue to share this journey with. Every project, every meeting, and every moment we share makes this journey special and inspiring.”

It’s a grounded perspective from an artist who has never lost sight of why he started. In a culture where speed often outruns substance, Héctor reminds us that patience, consistency, and authenticity are still the cornerstones of a lasting career. His story is proof that electronic music isn’t just about chasing the next peak; it’s about building a journey that can hold its weight, night after night, year after year.

NIÑO

AUTHOR: SERGIO

PHOTOGRAPHY: JAKOB STOLZ

HOME AGAIN

Ten Years of House, Community and Belonging

Berlin has always been a city of extremes. Clubs that never close, queues that never move, techno that pounds until time itself disappears. For many, that is the mythology of the capital, a place where outsiders become insiders under the weight of a kick drum. But for Nils Caspar Thabo … or Thabo, as fellow DJs and Producers call him, that narrative always felt incomplete. When he founded Home Again, it was not to reject Berlin’s techno dominance, but to carve a space where house music could once again breathe. What started as an intimate gathering for friends became, almost by accident, a cultural force that now spans labels, festivals, and international showcases.

“In the mid-2010s, I was promoting events that catered more to the market than to my own passion,” Thabo recalls. “After a while, I realized I wanted to make a change. I decided to only focus on what I truly love, and that was house music. That was the birth of Home Again.”

That decision came at a time when Berlin felt saturated by commercial techno. The House was a minority presence, with only a few sanctuaries, like Tape Club and Cookies, carrying the flame. For Thabo, the influences of Chicago and Detroit resonated deeply. Their blend of groove, funk, and soul connected directly to the hip hop he had grown up with. If techno was about the machine, house was about the human heartbeat.

The journey of Home Again was anything but linear. For a young collective without corporate backing, surviving in Berlin’s cutthroat nightlife was always a question of resilience. Then came COVID, a crisis that nearly silenced the entire ecosystem.

“COVID was a turning point,” Thabo explains. “We suddenly had the time to reflect on ourselves and dream bigger, but also the uncertainty of whether it made sense to keep going when no one knew what the future of events would look like.”

Instead of retreating, the collective doubled down. Their first festival was a gamble, financed not by big sponsors but by sweat, trust, and long nights of hard work. It became a milestone, proof that a house could still rally a community in a city obsessed with techno.

From there, Home Again naturally expanded into residencies, a record label, a platform for emerging talent, and eventually a festival that is now a fixture on Berlin’s cultural calendar.

Throughout it all, the guiding principle has been community. Thabo says the clue is in the name itself.

“The idea of Home Again is to create a place where everyone feels welcome, where everyone feels they belong. At the core is the team, then the artists, and around that is the wider family of our community.”

With Home Again, bookings are not decided by algorithms or trends, but by connection. Some names may not perfectly align with the brand’s identity, yet they allow the collective to stay financially afloat and create space for riskier curatorial choices elsewhere.

“Anyone who says ticket sales don’t matter is lying,” Thabo admits. “But what defines the Home Again family

is artists who bring passion, energy, and emotion. It is always about respect, about community, about the culture of house music.”

This philosophy extends beyond Berlin. When Home Again travels to cities around the world, they do not attempt to replicate its events wholesale. Each local scene is treated as unique, with collaborations alongside regional crews and an effort to spotlight local talent. The result is an authenticity that feels both global and grounded.

“We never copy and paste Berlin,” Thabo says. “Every city has its own DNA, and we respect that. We collaborate with local crews, showcase regional talent, and maintain high production standards. That way, the event feels true to its location, but still unmistakably Home Again.”

Another defining pillar is diversity, which, for Thabo, is far more than a buzzword.

“For us, diversity is not a PR line; it is in our DNA. We put it into practice with diverse booking pipelines, FLINTA takeovers, inclusive partnerships, awareness teams, and transparent briefings. And honestly, it just makes the parties better. The energy, the crowd it attracts, the artists it brings in, it lifts everything.”

That balance between cultural authenticity and professional growth has been key to their expansion. Thabo insists that Home Again will never grow at the expense of its underground spirit. Partnerships only happen when they align

with the community and the music. Collaborations with Technics, Pioneer, Beatport, or Electronic Beats are extensions of their values, not distractions from them. Growth, in his words, is about better infrastructure and better artist care, not diluting the vision.

Now, with the tenth anniversary approaching in 2026, Home Again is preparing to mark a milestone that feels both like a celebration and a statement of intent. A fourth Berlin festival edition will take place from May 14 to May 18, alongside a worldwide 10 Year Tour.

“Our most significant legacy is building a cultural ecosystem that runs from the party to the label to the festival and into creative spaces. With the 10 Year Tour and the anniversary festival, we want to show that a local idea can resonate globally without losing its essence.”

Looking ahead, Thabo views the future of house music not as a matter of trends, but as a matter of connection.

“The future is about bringing people back to the dance floor and making sure the next generation discovers house. Trends will come and go, but the essence of this music is about connection. Home Again’s role is to keep that spirit alive, to inspire, to evolve, and to always feel like home.”

For a project that began as an act of defiance against the monotony of Berlin’s techno wave, Home Again now stands as proof that house culture is alive, diverse, and future-facing. And with Thabo at the helm, the story is far from over.

“I love making everybody feel comfortable with the right choice of music, and then letting them dance out of their comfort zone.”

GROOVE AS RITUAL: THE WORLD OF MENESIX

On the dancefloor, Menesix doesn’t just build sets: he builds rituals. The groove becomes a tribal call, a pulse that unites strangers and pushes them beyond their limits, transforming the floor into a moving community. Genres or trends do not shape his philosophy, but by shared energy: an ancestral language everyone understands, even without words.

Each track is an offering, each choice an act of trust. First, he makes people feel at ease, then he takes them out of their comfort zone, where the unexpected turns into discovery. That is where Menesix finds his most profound connection with the crowd: in the moment when the groove is no longer just music, but a collective experience, liberation, ritual.

“I love making everybody feel comfortable with the right choice of music, and then letting them dance out of their comfort zone. When I reach that level, I know I can connect with and control any crowd.”

It’s an approach rooted in his heritage: Brazilian by blood, Dutch by upbringing. Raised between the tropical richness of Latin rhythms and Amsterdam’s electronic culture, Menesix made groove his signature. Funky basslines, warm percussion, sharp kicks: every sonic choice is a declaration of identity that has carried him from intimate clubs to monumental stages.

“The most important thing is the groove, a groovy bassline, and sometimes a heavy kick helps to keep the balance. I try to feel the people, and when you listen to the beat of your heart, you always know what they want.”

From the small Lovelee club in Amsterdam, where Menesix shaped his All Day Long shows with sets of 8 to 10 hours, he grew into selling out his own shows at the legendary Dutch techno temple like the Gashouder and AFAS Live in Amsterdam, playing for thousands.

Each step has been another chapter in a journey guided by the same principle: pure energy and authentic connection.

“I see OVRDOSE more as a community. Our mission has always been to grow like a family and build a connection that hasn’t been felt or seen before.”

What makes this trajectory unique is not only how fast he has risen on the scene, but also his ability to stay true to a simple, radical philosophy: groove above everything else. That is what gave birth to OVRDOSE, first as a personal platform and today as a label that welcomes new, bold, and independent voices.

“When choosing tracks, I always look at the energy of the sound, the creativity of the producer, and the strength of their vision. I started my label because I didn’t want to wait for people’s reactions or deal with label rejections. That’s why I also wanted to release music from others, to keep motivating them. If I feel that someone has truly put their heart and soul into their music, I can instantly hear whether it fits the label, because I’ve been through that same struggle myself.”

OVRDOSE is not just a logo stamped on records, but a community bound by shared values. For Menesix, the dancefloor is never a neutral space: it is a social laboratory, a place where new ways of being together are tested. And that is the spirit he wants to preserve, even beyond music itself.

“I see OVRDOSE more as a community. Our mission has always been to grow like a family and build a connection that hasn’t been felt or seen before. The way we treat each other on the dancefloor is something special, and I’d love to see that energy continue throughout my life in this scene with our label.”

It’s no surprise, then, that Menesix dreams of expanding this vision into fashion. For him, clothing is an extension of music: symbols of belonging, visible signs of an invisible community. Collaborations with brands like FOUR Amsterdam are only the beginning of a journey aimed at turning groove into a tangible identity.

“I’m always aiming for the next step, because I never stop growing and learning. Creating my own clothing brand has always been a big dream of mine, and right now I’m working hard on it. I want to inspire people not only through music but also through clothing, which brings a different kind of energy. For example, when you wear it, you feel part of the family.”

His creative balance feeds on collaborations as much as on private moments. Menesix is an artist open to new projects and influences, but one who also knows how to step back, finding peace and stability among friends, family, and long walks on the beach with his dog.

“I always feel inspired by new collaborations and projects. Outside of that, I try to find peace and balance with the support of my family and friends, and by taking long, relaxing walks on the beach with my dog.”

From Brazil to Amsterdam, from Ibiza to Marrakech, with stops in London and Switzerland, each international stage becomes a laboratory of energy. It is never about replicating formulas, but about staying true to the creative process, surrendering to the flow of music without the anxiety of results.

“It’s about feeling that deep connection with yourself, the moment you start making music. Don’t focus on creating one specific hit, just enjoy every step of the process. Time will show if you create something that resonates.”

This is how his legacy is being built: not in the size of the crowds he draws, but in the quality of the impact his music leaves. Truly touching someone, imprinting yourself in their memories, lingering as a vibration in their mind and body: that is Menesix’s accurate measure of success.

“Always stay true to yourself and don’t compare yourself to others. At the end of the day, it’s all about you. It’s not about the number of people you attract, but about how you make them feel with your music. When you truly touch people, your music will live in their minds and souls forever, and that’s what keeps music alive.”

That is what makes Menesix different: his ability to turn groove into a philosophy of life, a code that runs through stage, studio, label, fashion, and community. Every choice, every project, every dream revolves around a single vision: creating spaces where people can recognize themselves and set themselves free. Looking beyond, his message grows even deeper. His music is not just about what happens in one night, but about what remains the day after: the echo vibrating in memory, the sense of having shared something that goes beyond entertainment.

For him, groove is a spiritual legacy, a mark written into bodies and souls, destined to survive even after the lights go out.

Every dancefloor becomes a microcosm, a social experiment, a space where people from different cultures find common ground. This is the heart of his philosophy: not simply to offer a show, but to create an experience that can change those who live it, even if just for one night. Because, as Menesix reminds us, it is not about numbers, but about the intensity with which you can touch those who listen.

The future may not be written yet, but one thing is sure: as long as there is a dancefloor to ignite, Menesix’s groove will continue to move bodies and minds, reminding us that music is, above all, an act of sharing.

LOVEFOXY

LORD JUICE IS A CULTURAL STATEMENT.

Identity, Visibility, and House Music

Few artists have risen with the raw speed and personality of LOVEFOXY. In the space of four years, she has gone from Berlin’s underground to playing Boiler Room, Berghain, Tomorrowland, Awakenings, and a Paris residency at Badaboum. Yet milestones are only the surface. Her new EP, Lord Juice, distills what sets her apart: house music with bite, tracks that feel like living characters, and a stage presence that turns DJing into physical theatre. As the daughter of a Berlin club pioneer and a POC woman determined to write her own story, LOVEFOXY steps into ADE not just as another breakout act but as an artist staking out her manifesto, bold, unfiltered, and impossible to ignore.

THE MAKING OF LORD JUICE

LOVEFOXY’s new EP, Lord Juice, doesn’t feel like just another release. It’s the moment she draws a line between her past and her future. Where her debut Burning Down The Sluthouse served as a classic house introduction, Lord Juice dives into something grittier, bolder, and far more personal.

“I feel like I definitely evolved between my last EP and this one. BDS was a classic house record, and I wanted to be introduced as a producer. In the process, I didn’t fully plan it to be anything specific; I was experimenting with ideas and directions, which resulted in numerous drafts. Parking ideas for a while is a great way for me to see if it still slaps. With this EP, I felt more drawn to gritty and fun statement pieces. A fun, well-rounded mix of everything, et voila, the Lord Juice EP!”

Her storytelling instinct is clearest in “Just Not Cute” and “On Da Table,” two tracks that balance sass, humor, and raw energy in equal measure. They don’t just play as bangers; they act like characters in the room.

“A track for me should always tell a story, and this was the first time I played around with samples of my own voice. Especially ‘On Da Table’ was intended to tell the story of me climbing on each table that allows it, to celebrate with everyone in the room. The lyrics are quite clear and punchy and have a direct message and sass to them. The music is there to underline a certain energy in these cases – it’s sassy, fun, and hard-hitting.”

Tracks like Just Not Cute and On Da Table are more than party anthems; they’re snapshots of her character. They blur sass, humour, and raw energy into something both playful and sharp. AUTHOR:

PERFORMANCE, IDENTITY, AND VISIBILITY

LOVEFOXY´s shows aren’t simple exercises in track selection or what people would just call “parties”; they’re full-body experiences, complete with heels, sweat, dancing on speakers, and sometimes leaping into the crowd.

“I am naturally someone with a lot of energy and having a stage and outlet for that as LOVEFOXY to DJ, it just really makes sense for what I want to give and achieve in each night or set I play. Don’t get me wrong, it can be tiring to perform fully all the time, so that varies in each space I step into. It’s also ok to let the music do its thing if that’s what the night needs. We do it for the people.”

That fearlessness, however, comes with its own shadows. As a female POC artist, LOVEFOXY navigates scrutiny and objectification that often overshadows her artistry. She admits these experiences can be painful, but her answer is to reclaim them through her music.

“Being objectified is something very familiar to me. As Fania, a female POC born and raised in Berlin, it’s something I need to deal with before pouring it into my music. Most of the time, these experiences are more painful than joyous. I work on that through my LOVEFOXY persona, which I’ve created to maintain a distance from my private self. I can use that energy and turn it into statements such as ‘On Da Table’ or ‘Just Not Cute’. Both tracks read as fun party moments but have messaging in there.”

This balance between vulnerability and defiance is what gives LOVEFOXY her edge. She doesn’t just take space, she creates it. “Totally both, I am planning to create hubs and partner with talent who I identify with. Thankfully, most of the time, they are my peers too. I have to create my own lane, identity, and voice with what I’m doing. I hope that my music and presence speak to others who want to create and be more out there, while knowing and being ok with the fact that they can’t control how others will react.”

ROOTS AND VISION

LOVEFOXY’s manifesto is anchored in heritage. Her mother, who ran Berlin’s legendary Tempelhof club, remains a central influence, passing down not only records but also the entrepreneurial courage to carve out her own space.

“My mom has always been my cheerleader and a very entrepreneurial female figure. I honour that by continuing to build my legacy with the values I was taught. I don’t feel the need to break away from it because it doesn’t overshadow anything I’m doing. I’m consciously paving the way to be myself and, most importantly, to have fun with it all.”

Those foundations were tested and sharpened through early immersion in nightlife. At 14, she was sneaking into Berghain. By her teens, she was working as a bouncer at Chalet.

“Berlin’s club culture is something I really value. It showed me a lot, the good and the bad. Back then, we didn’t fully understand everything, but we felt a certain energy and freedom that came with going out. Those nights gave me the confidence I still carry to do and be whoever I want, basically.”

Now, standing at the centre of her breakthrough years, LOVEFOXY admits the pace is dizzying. “It never stops. I wish it would sometimes, though, so that I could celebrate these milestones more. Being in the middle of it, you don’t always grasp what just happened. Most of the time, I need to carve out time to reflect. But I’m here for all of it.”

Her bigger vision is as clear as her present momentum. She wants to stay rooted in Chicago and Detroit house traditions while building a space where performance, sexuality, and empowerment thrive. “I want to be remembered as someone who never lost track of that fierce manifesto. As an artist, you’re often presented with opportunities that look lucrative but won’t help you achieve your goals. I will always try to balance that and let LOVEFOXY be whoever she wants to be. At the end of the day, it’s about using your artistry as a story you want to tell.”

LOVEFOXY’s trajectory exemplifies the intricate interplay between heritage, identity, and artistic innovation that characterizes contemporary house music. Emerging from Berlin’s underground yet carrying a lineage tied to her mother’s pioneering role in the city’s early house scene, she represents both continuity and rupture. Her new EP Lord Juice underscores this duality: rooted in classic house structures yet deliberately gritty and confrontational. By framing her own evolution as a shift from the polished debut Burning Down The Sluthouse to the unapologetic textures of Lord Juice, she positions

her work as a deliberate negotiation between tradition and experimentation, between inherited legacies and self-authored futures.

The tracks themselves function as narratives in a larger performative project. Pieces such as On Da Table and Just Not Cute operate not only as club-ready compositions but also as embodiments of sass, humour, and embodied energy. LOVEFOXY’s decision to incorporate her own voice within these tracks collapses the distance between DJ, producer, and performer, reinforcing an aesthetic of immediacy and self-insertion. In doing so, she challenges the historic invisibility often imposed on women and POC in electronic music, recasting her own body and voice as both medium and message. The music, then, becomes inseparable from the physicality of her stage presence, where dance, movement, and risk-taking serve as extensions of sonic intent.

Yet, her career also highlights the persistent frictions of visibility within nightlife culture. LOVEFOXY articulates the exhaustion of negotiating objectification and scrutiny, but she also demonstrates how these experiences are rechanneled into her creative practice. Through the construction of her LOVEFOXY persona, distinct from her private self, she transforms these encounters into statements layered within her music. These messages oscillate between the appearance of playful party moments and more coded gestures of resistance. This dynamic illustrates how marginalized artists frequently develop strategies of resilience and transmutation, where pain is not silenced but metabolized into aesthetic force.

Looking ahead, LOVEFOXY’s articulation of her goals situates her in a broader discourse of cultural responsibility. She envisions her artistry not only as a personal expression but also as a potential hub for collaboration, community, and underrepresented voices. By balancing homage to Chicago and Detroit roots with a fierce manifesto of empowerment and performance, she resists the pressures of commercial assimilation while maintaining openness to reinterpretation through collaboration and remix culture. In this sense, LOVEFOXY’s work can be read as both an individual artistic journey and a contribution to the ongoing redefinition of house music’s cultural politics, a reminder that the dancefloor remains as much a site of identity and representation as it is of rhythm and release.

ARES CARTER FROM PACHA DREAMS TO GLOBAL MOMENTUM

For Ares Carter, 2025 has been a year of full-circle moments. The New York–born DJ and producer cut his teeth in the early 2010s, hustling for teenage slots at the now-defunct Pacha NYC. More than a decade later, he spent his summer living out the dream in Ibiza, splitting his time between Defected at Pacha, a Mixmag takeover at Amnesia, and Pantheon’s open-air nights at Cova Santa. Add to that a global festival calendar and the launch of his own label, Those Nights, and you get an artist defining his lane with house music as his compass.

“It was always a dream of mine to base myself on the island for the summer while touring, and this was the year we made it happen,” he says.

“Ibiza is really where you hear what’s next, so going to parties like Circoloco at DC-10, Paradise at UNVRS, and Solid Grooves gave me a lot of inspiration, which I fueled into my shows and into the studio.”

FULL CIRCLE AT PACHA

For Carter, playing Defected at Pacha was more than just a booking; it was a return to where it all began.

“I started my DJ career in 2012 at the now closed Pacha NYC,” he recalls. “They would host Pacha U18 teen nights, and I would sell tickets to my friends just to perform. Being able to play at the original Pacha in Ibiza was a huge full-circle moment for me. Additionally, being given the opportunity by a brand like Defected was a huge honor. I ensured that my set paid homage to the label while incorporating my own sound. I definitely hope to do more with Defected in the future.”

At Amnesia, the challenge was different but just as meaningful. With Armand Van Helden headlining, Carter leaned into the timeless energy of house.

“Opening the room is a fun challenge. At first, you’re playing slower to a handful of people wandering between the dance floor and the bar, and then suddenly the room is packed and you have the opportunity to bring up the energy. There’s nothing like it.”

Cova Santa, meanwhile, gave him the chance to channel Ibiza’s natural magic.

“I was playing just as the sun was setting, so I built my set around that energy. The crowd reflected it, and I was able to go more melodic towards the end. It was one of my favorite nights of the summer.”

A SUMMER ON THE FESTIVAL CIRCUIT

Beyond the White Isle, Carter’s schedule was stacked with festivals across Europe, Asia, and the US, Parookaville, Mysteryland, Ultra Korea, Family Piknik, Elrow Marbella, and more. Each gig taught him something different.

“Stateside, my experience with Breakaway has been incredible. They bring a top-tier festival experience to underserved markets, so the fans are always super excited, even for up-and-coming artists like myself. Elrow Marbella was another massive milestone. A few years ago, I changed my sound, and this was my first booking from such a big brand in the house music industry. It hasn’t always been easy, but receiving that support showed me I was doing something right.”

Clubs, though, remain where he feels most free.

“In clubs I can freestyle, which is honestly more enjoyable. Since I’m playing for two hours or more, I’ll have a huge playlist ready and go from there. At festivals, I usually have only an hour to 90 minutes, sometimes less, so everything is more carefully planned. But in both, I always feed off the energy in the booth. The crowd feeds off that energy too.”

One of his most memorable club moments this year was The Surf Lodge in the Hamptons, where he played direct support for ANOTR and Mita Gami.

“The vibe there is really special. It’s rare to see artists of that caliber in such an intimate venue, and it’s also a place I grew up visiting, so I’m always surrounded by friends. I even had the chance to bring my Those Nights party for their afterparties, where the energy was wild. We even had Francis Mercier jump on the decks one night. It was definitely one of Those Nights.”

DEFINING HIS HOUSE

Carter admits that 2025 has been about leaning fully into house music, shaped by the contrast between Europe, Asia, and the US.

“Performing in Ibiza and Europe really taught me what it means to be a house DJ. In the US and Asia, playing songs the crowd might know is a higher priority, but in Europe, the crowd tends to feed more off the groove and the vibe. That taught me a lot, but I see the US and Asian crowds becoming more educated as the house grows worldwide. I’m proud to take what I learned in Europe and bring it home.”

That education will carry into the next phase of his career, both in the studio and with his label, Those Nights.

“I have a remix for Oxia’s classic ‘Domino’ that’s been making the rounds with support from Mita Gami at Burning Man and clubs worldwide.”

“My next release, ‘The Answer’ with my partner Daniel Lerman, will serve as the launch for the Those Nights label. After creating a successful party in New York, expanding to Miami, Amsterdam, DC, and even South Korea, launching the label was the logical next step. I’m excited for more records as we continue building the brand.”

Looking back at 2025, it’s clear that Ares Carter’s rise has been anything but accidental. His Ibiza season set the tone, but the momentum carried across the global circuit. Festivals like Parookaville, Mysteryland, Ultra Korea, Electric Love, Family Piknik, Ypsilon, and Machac weren’t just line-up credits; they were tests of versatility, each with its own crowd language. Where Mysteryland demanded scale and spectacle, Ultra Korea pushed him into high-octane delivery, while Family Piknik and Electric Love rewarded groove and patience. Carter absorbed it all, demonstrating his ability to seamlessly transition between cultures and continents without losing his identity.

That identity has been hard-earned. As he admitted when reflecting on Elrow Marbella, the decision to shift his sound into a more house-driven lane wasn’t always easy. For a while, it felt like swimming against the current. Bookings slowed, risks mounted, and the temptation to chase what was popular was always there. The Elrow booking was more than a big night; it was validation. Proof that sticking to his instincts would pay off, and that one of the most iconic brands in house music could hear what he had been working toward.

The same ethos powers his work in the States, especially with Breakaway Festival. Carter views their mission, which is to bring top-tier experiences to underserved markets, as mirroring his own path. Just as Breakaway gives fans access to world-class festival production in unexpected places, Carter wants his music to do the same. He shows the ability to reach beyond the obvious hotspots, tapping into new energy and new audiences. It’s not just about playing the “big” cities anymore; it’s about growing the culture everywhere.

All of this funnels into Those Nights, his own project-turned-label with Daniel Lerman. What began as sold-out parties in New York has expanded to Miami, Amsterdam, DC, South Korea, and now includes its first run of releases. Starting with the “The Answer,” Carter is planting a flag that goes deeper than his DJ sets. It’s a platform for the house identity he has carved out, one informed by Ibiza grooves, American hustle, European discipline, and years of refusing to cut corners. If 2025 was the year Carter proved himself to the world, 2026 looks like the one where he starts building his own.

From Barcelona to Lisbon GERMAN HIGH FIDELITY

Backline ProDj doubles down on sound excellence with Voice-Acoustic, teaming up with VTècnics en Ruta, and kicks off a new chapter by expanding into the Portuguese market from Lisbon.

Barcelona connects with Lisbon at full volume

Barcelona-based Backline ProDj has integrated a full system from the prestigious German brand Voice-Acoustic, distributed in Spain by VTècnics en Ruta. This strategic move not only boosts their technical arsenal but also marks the beginning of their international expansion with Lisbon as their operational hub—strengthening their role in the Iberian clubbing ecosystem.

An alliance built on experience

Veteran CEO Hugo Quintanilla has been working alongside VTècnics en Ruta for nearly a decade through a joint venture that has successfully brought German precision into the local market. Now, with a firm step into Portugal, both companies are setting new standards for clubs and festivals across the peninsula.

The VTècnics en Ruta team — led by Narcís Solé (CEO), Francesc Güell (Systems Director) and Josep Maria Serra (Import Product Manager) — has built its reputation on quality, design and sonic precision, three elements that are now essential for any top-level clubbing experience.

The system: power with detail

The newly acquired setup blends premium passive and self-powered technology, designed for both DJ monitoring and full-scale PA rigs:

• PA System: a compact Ikarray-8 line-array delivering controlled, coherent coverage for midto-large venues, paired with next-gen Paveosub-118 subs for deep, efficient low-end punch at high SPLs.

• DJ Monitoring: two versatile configurations — compact and large format — guaranteeing precision and adaptability in the booth, regardless of the setting.

Voice-Acoustic: German engineering for Iberian club culture

Iberian clubbing is experiencing a moment of expansion and global recognition: from Barcelona’s underground spots to Lisbon’s cutting-edge venues, the demand for world-class sound has never been greater. And today, the sonic experience isn’t just part of the package — it’s the core of the night.

Made entirely in Germany, VoiceAcoustic systems are engineered for natural, uncolored sound. Their approach combines state-of-the-art technology, high-grade materials, and close human support, offering promoters and artists the tools to elevate every event. Because in club culture, DJ talent matters — but the sound quality is what turns a good night into an unforgettable experience.

ALBUMS

Autor: Bruno Garca album@mixmagaegroup.com

FAITHLESS CHAMPION SOUND FAITHLESS

I can’t help it — I still catch glimpses of Maxi Jazz’s charisma around this project that was born in the mid-’90s. Faithless continues without him — he sadly passed in 2022 — and to me, that magical, shadowy essence has faded. The project’s philosophy is more collective than ever. Alongside Rollo and Sister Bliss are L.S.K., Suli Breaks, Amelia Fox, Bebe Rexha, and Nathan Ball. None of them quite tear through or deliver those goosebump-inducing breakdowns. That said, ‘Champion Sound’ is by no means a bad album. It’s accessible, balanced, and will surely delight the thousands of fans who keep selling out shows. The show must go on!

YOUSEF

I OPERATE IN PURPLE CIRCUS RECORDINGS

Thirty years of birthing house music — easy to say, hard to live. It’s a long road in an industry that, as most of you know, is ruthless and will run you over at the slightest slip. This fifth LP bursts with variety across house’s wide spectrum. From fresh Latin and Brazilian vibes (‘We Love You Felix’ makes it clear), to funky-disco (‘Intuition’ with Baby Girl), to deep, gospeltinged moments (‘Higher Place’). There are more electro-leaning and analog techno experiments too, like ‘In My Shoes’ with Bodacious Thang. Piano jams to raise your arms (‘Round & Round’, ‘Daybreak’), or white-party-ready anthems (‘Loving is Living’). Faithful, sincere, and still building.

REEKO CRYPTOPHONY SAMURAI MUSIC

Though it may sound odd, this new Reeko album had me glued from start to finish, the same way Pina’s ‘Transit’ or Mulero’s most contrarian works once did. I mean I didn’t just get hooked on a couple tracks — the entire progression pulled me in. Seven ultra-magnetic cuts. A techno ritual with atmospheres as hallucinogenic as they are brutal. Mostly built on a sturdy, danceable 4/4 pulse, with eerie post-punk shadows creeping in. Using depth to its fullest, Reeko crafts a dark, dimensional electronic experiment that’s highly successful. The result is spacious, bubbling, powerful, transformative. ‘Cryptophony’ is both piercing and transcendent.

TOM TRAGO IGNORANCE MEGATRON

Time for a “Trago” in this month’s superb harvest. If we could spotlight another album, this would be the one. Without doubt. Tom has just delivered a sublime long-player that, across eleven tracks, plunges us into the guts of pure, dynamic electro (‘Fast Talking’), Kraftwerkian echoes (‘Sadari’), and nostalgic house rooted in the sound of machines (‘Clairvoyance’ is a candy-filled wire bundle, ‘The Garden’ a shelter in the night). Special mention for ‘Champagne’, where I think he outdoes himself. The way he arranges bass, melodies, and that curious pitch-shifting vocal sample… This is music, and it’s art. Human, analog art. Fans of Fatima Yamaha, DMX Krew, or Legowelt — here’s your fix.

OXIA

AELLE

DIVERSIONS MUSIC

A true delicacy has just been served, a bocatto di cardinale for lovers of sophisticated, elegant, timeless techno and house. The melodies fly and flow across the 12 stops French producer OXIA lays out on ‘Aelle’, his third studio album. Productions carried by an intensity that’s subtle yet deeply evocative. At times it borders on pure reflection, electronic music with its heart wide open, especially in tracks like ‘Calling The Sun’ (with Hen Wen) or ‘Saisons’. But fear not, dancefloor anthems with a good pinch of uplift, always building in gradual waves, also have their place here: ‘Run’, ‘Special Day’ or ‘Colors of Life’. The recipe, in any case, is delicious and intoxicating. Timeless sounds that never overwhelm — only delight.

ALBUMS

Autor: Bruno Garca album@mixmagaegroup.com

CAPTAIN MUSTACHE LUZ MOBILEE

I’ve always had a soft spot for Captain Mustache. First, because his sound is clean, powerful, and timeless. Key labels like Kompakt or Permanent Vacation know this well; now it’s mobilee’s turn to pin the medal. On ‘Luz’, the producer shows his love for the album format, delivering ten tracks full of creativity and free-spirited energy across volatile, combustible sounds designed to make us dance. Electro, EBM, ’80s/’90s/’00s house, even robotic techno, all make an appearance. Hard to pick just two or three standouts, but fine, I’ll risk it: ‘Vertigo’ with Third Culture, ‘La Nuit’, ‘Black Light’, and ‘No Retreat’ with CS Rucker (the latter is a real surprise).

KERALA DUST AN ECHO OF LOVE PLAY IT AGAIN SAM

Oh yes — and with good reason — this British band sneaks into the list. Born out of late-night confusion and countless London club sessions, Kerala Dust set out to charge dance music with rock, Americana, and shadowy blues (think Alabama 3, or at times Death In Vegas). With tracks like ‘Bell’ or ‘The Orb’, ‘TX’ they do it brilliantly. ‘The Love In The Underground’ is no slouch either. But the dinosaur capable of tearing a dancefloor to pieces is ‘I Remember You Are A Dancer’. The rhythm, the vocals, those synth stabs and melodic flourishes — pure stomp. This demolition fuses desert and neon. You won’t be left indifferent.

LORD PARAMOUR DOOM STEREOPHONK

No, he’s not a gentleman with a mustache and bow tie. This is an uninhibited duo, one that mixes musical love (beats and oddities) with beers and football. ‘DOOM’, their second full-length, comes from DJ Marrrtin — graffiti artist, beatmaker, and label boss — and Ajax Tow. Together they wander unpredictably from sluggish breakbeats to cinematic ’70s krautrock to Bollywood-tinged flourishes. Dig into tracks like ‘East Color’ or ‘Shambarik Khanolika’ and you’ll be swept into a psychedelic, spacey, funk-driven world. A treat for fans of David Holmes or Indian Ropeman. Hard to classify, but pure freedom in composition.

SUPERPOZE SIÈCLE GRAND MUSIQUE

Not too long, not too short — just right for a reflective pause. French producer Superpoze releases his most ambitious work yet. He debuted in 2015 with ‘Opening’, if you need a reference point. This is a genre-defying record, blending electronics and classical touches with both synthetic and acoustic textures. ‘Siècle’ unfolds with an expressive, cinematic sound, refined and immersive. Downtempo and piano chords stand out on ‘Mue’ — with hints of dub — and ‘Ravenne’, ‘1321’, which carries a Moorish feel. The title track itself is pure elegance. On ‘Obsession’, synths take center stage, growing and growing, as sensations deepen with each listen.

REVIEW CLÁSICO

LUNATIC CALM METROPOL MCA RECORDS

Rarely have I had the chance — though not the only time, I confess — to find myself in the middle of a crowd, sweating, giving it my all, in front of true musical icons. Just weeks after having my mind blown by ‘Leave You Far Behind’ in The Matrix’s martial arts flight scene, I stumbled upon them live at a wild party. There’s even a photo, but I remember nothing else. What I do remember is how ‘Metropol’ marked a before and after in the risky art of fusing rusty broken beats (Big Beat, Hard Hop) with industrial touches, distortion, rock, and tempo changes. Tracks like ‘Roll The Dice’, ‘It Evolves On Its Own’ and ‘The Sound’ were pure madness. Simon Shackleton and Howard Saunders — architects of good and evil. Masters of small but powerful hymns. Goosebumps in the dark

DRUM AND BASS

Autor: Olga Casas

drumandbass@mixmagaegroup.com

AARON PAYNE HURTING VANDAL RECORDS

Canadian producer Aaron Payne returns to Vandal Records with his first EP on the label. Make Sense EP is a polished three-track release, featuring the unmistakable vocals of Frank H. Carter III on one of the cuts.

This month, our spotlight is on ‘Hurting’, the darkest and most immersive track of the EP. Here, Aaron takes us into an intense, shadowy space, building an atmosphere that evolves with layers of tension. The result is a track that reveals the artist’s deepest and most powerful side.

AZOTIX, HUGH HARDIE, SOULDR!P SECOND GUESS HOSPITAL RECORDS, QUITE LUCKY

The LP Echoes is the result of a very special collaboration between Hospital Records and the Romanian collective Quite Lucky. More than just a release, this project was born out of a writing camp at Alter Acoustic Studios (Romania), where members of the Hospital family worked alongside fresh local talent. The outcome: six tracks written entirely there, a true cultural exchange and celebration of shared creativity.

Among them, ‘Second Guess’ stands out, signed by Azotix, Hugh Hardie and SoulDR!P. The track perfectly blends Hugh Hardie’s melodic touch with the freshness and personality of the Romanian sound, resulting in a piece full of sensitivity and elegance. A track that embodies the collaborative essence of the project, showing how joining forces across scenes can push the boundaries of Drum & Bass

TOKYO PROSE, SINGR KLONDIKE FOOTNOTES

With Seams, his new EP, New Zealand’s Tokyo Prose returns to Footnotes, the British label that has been an important part of his career. This release marks a deeply personal chapter for one of the most respected names in Liquid Drum & Bass, with three tracks showcasing his mastery of the genre through his signature melodic finesse.

Our pick this time is ‘Klondike’, a collaboration with Singr, where he ventures into darker, deeper territory. Tokyo Prose’s trademark sensitivity fuses with Singr’s nuances to deliver a hypnotic, enveloping track. A piece that highlights the artist’s range and his ability to explore new sounds without losing his identity

BCEE FUNNY HOW SUNANDBASS RECORDINGS

Bcee continues to shape his signature sound with a new EP on SUNANDBASS Recordings. Inspired by the iconic Sun and Bass festival in Sardinia, where he’s been part of the lineup multiple times, this release radiates soulful, uplifting energy, capturing both the artist’s essence and the festival’s captivating spirit. This month we’re highlighting the title track, ‘Funny How’, a moving and atmospheric piece built on carefully crafted and layered samples. The track transports listeners straight to the festival vibe—an event Bcee openly calls his favorite place to play

REVIEW CLÁSICO

ARTISTS: ICICLE, SP:MC TRACK: DREADNAUGHT

LABEL: SHOGUN AUDIO

Back in 2011, Icicle and SP:MC joined forces to create one of the most iconic tracks in modern Drum & Bass: ‘Dreadnaught’. Released alongside ‘Arrows’ as a teaser for the LP Under The Ice, which followed a few months later, the track perfectly captured the state of the scene at the time, diving into minimalist sound design and heavy low-end pressure. Its precision and meticulous construction stand out: Icicle’s weighty basslines intertwine with SP:MC’s razor-sharp bars, creating a track full of intensity and atmosphere.

Over the years, ‘Dreadnaught’ has appeared on several legendary compilations including Drum&BassArena 20 Years, Shogun Audio Presents: The Classics (2004–2017), and Shuriken Series Vol. 3, cementing its timeless status. Nearly 15 years later, it’s still revered, proof of its lasting mark on the Drum & Bass universe.

And for those who enjoy official videos, the one for ‘Dreadnaught’ is a must: it combines scenes from the Gundam anime universe with the track’s raw intensity, making for a striking audiovisual experience

ELECTRO

BABY ROLLÉN & OLLIE RANT WORTHLESS SLUMP RECORDINGS

It was hard to pick just one cut from this record, as it delivers four magnificent tracks blending electro, breaks, and acid. The A1 stands out with its mysterious, acidic vibe, held together by a solid electro beat. What really shines here is the impeccable mixdown—crafted to be fully immersive on the dancefloor, capable of inducing hypnosis and forging a deep connection between DJ and crowd. Distributed by Subwax, grab your copy at your local record shop.

This is far from just another review: Adam Curtain drops a stellar electro record, crowned by a remix from Mr. Ho that’s nothing short of essential. From the very first moment, the bassline gives you goosebumps. The lead track is tailor-made for that moment when the floor needs a breather after a barrage of bangers: a killer break paired with a vocal that’s playful yet commanding. Another Subwax-distributed release you definitely don’t want to miss.

MICH ORDEN OUTSIDE IN RECORDS

Straight out of Buenos Aires, my good friend Mich makes his debut on Outside In with an EP that blends electro, house, progressive and groove to perfection. Every track feels timeless—a record that will still sound fresh years from now (unless you lose it at an afterparty). The B1, ‘Orden’, is a standout: a groovy bassline and flawless use of harmony make it shine in any crate. And to top it off, there’s a remix by Sohrab, one of the underground’s most solid names, who turns the track into a future electropop classic. Available now via Outside In Distribution.

TIME SYNTHESIS (DAN PIU & ESTIMULO) STROBES / REMEMBER THE FUTURE EP MOTO MUSIC

What a stroke of luck to come across this record from two legends, Dan Piu and Estimulo, released on Moto Music. Every track carries a special alchemy: a bit of electro, touches of deep house, maybe even a hint of bleep… crafted without concern for genres, just like it used to be. The A1 is my personal favorite— perfect for a special moment in a set, smooth and dreamy with delicate textures and truly magical pads. Available at OTG Records.

REVIEW CLÁSICO

ALCHEMIST DREAM & FUTURE TALES MOTO MUSIC

Here’s an album you won’t be able to escape. Created between 1995 and 1999 by Swiss producer Bigeneric (Marco Repetto, ex-Grauzone), ‘Alchemist Dream & Future Tales’ is a perfectly preserved collection that fuses Techno, IDM, Deep, Ambient, and Electro with remarkable coherence. The best way to experience it is straight through: the record tells a story across the grooves of the vinyl, from the hypnotic techno of ‘Edger’ to the cosmic ambient of ‘Zodiacal Light’. Every detail breathes authenticity—analogue textures, organic imperfections, and melodies surfacing like memories from a future that never happened.

An essential time capsule that bridges the visionary spirit of the ’90s with the electronic music of today. BIGENERIC

HARD TECHNO

Autor: Alejandro Serrano hardtechno@mixmagaegroup.com

YOU MAN DOWN THE BLACK HOLE LBJ RECORDS

The French duo You Man returns in full force with ‘Down The Black Hole’, the lead track of their new self-titled EP released on LBJ Records. True to their unclassifiable style, they deliver an immersive cut that blends the tension of dark disco with cinematic synths and a hypnotic tribal pulse. ‘Down The Black Hole’ unfolds in a space of restrained intensity, where every element feels carefully measured to generate a sensual, mysterious, and deeply evocative atmosphere.

The rhythm moves forward with elegance, while sonic layers unravel with surgical precision. It’s a track that doesn’t seek instant explosion, but rather emotional trance — another glimpse into the sophisticated sound world You Man has been crafting over time.

The result is a work as danceable as it is introspective, equally suited for a shadowy club or for focused listening on

PAUL RENDER Y LEOPOLD BÄR ISLAND OF FAVIGNANA DZB RECORDS

Leopold Bär and Paul Render make a striking entrance onto the scene with their new EP, reaffirming themselves as a duo capable of encapsulating the purest essence of underground techno. This work is a raw and forceful experience, where every kick drum and every texture are crafted to shake the dance floor. The production, flawless in execution, balances toughness with a hypnotic groove that grips from the very first bar. Each track displays absolute mastery of structure, with layers of sound evolving with precision and without compromise.

The intensity can be felt in every second, forging a direct connection with the most authentic spirit of club techno.

This EP doesn’t settle for just being loud — it builds dense, electrifying atmospheres. And as its undisputed jewel, the title track ‘Island Of Favignana’ condenses all the force, mysticism, and identity of the release.

V/A

HOW DEEP WOULD YOU DIVE IN BE YOUR OWN STUDIO

Be Your Own Studio celebrates its fifth anniversary with a very special release: a double compilation bringing together 14 artists from different corners of the world. This Vol.5 upholds the label’s annual tradition, but with a more ambitious and commemorative approach. The result is a diverse and eclectic sonic journey, spanning from melodic progressive to harder, more driving proposals. The selection reflects the label’s creative diversity, featuring producers from Madrid, Málaga, Italy, Vancouver, Austria, and Argentina — a body of work that makes it clear why Be Your Own Studio has established itself as a true independent benchmark.

A standout moment comes with ‘How Deep Would You Dive In’ by OCKTIVE, the most powerful and vibrant cut of the entire compilation. Deep atmospheres coexist with energetic grooves, showcasing the breadth of his musical vision and highlighting one of the strongest tracks of the release. Great LP!

UNDER THE FX Y JFERNANDEZ DESFASE CIRCULAR

SAY WHAT

Ramon Tapia’s label Say What? presents ‘Diferencia Horaria’, a collaborative EP between Spanish/Chilean producers Under The FX and JFERNANDEZ, where rhythmic precision fuses with deep emotional weight.

In ‘Desfase Circular’, the opening cut of the new EP on Say What?, the Spanish/ Chilean duo explores hypnotic, meticulously crafted techno that plays with the perception of time. Looping sequences, ever-shifting percussion, and syncopated low-end generate a spiraling tension that never returns to the same point, while expansive atmospheres swell and retract like waves of energy. It’s a track designed to trap the listener in a circular journey, where each turn brings new nuances and sensations.

In parallel, JFERNANDEZ recently appeared on a VA for Tutú Records (Edgar de Ramon), receiving strong support from artists such as SLV, Chloe Lula, and Adam Beyer — a release that paves the way for his upcoming solo EP on the same imprint.

REVIEW CLÁSICO

K.MARTIN WEAPONS

1994 RECORDINGS

K.Martin makes his debut on 1994 Recordings with Warriors, a four-track EP that distills pure, uncompromising techno. Each cut is an exercise in rhythmic force and precision, built for the dance floor and shaped with polished, no-nonsense production. With years of experience across some of the most demanding clubs in Spain and Europe, the artist showcases his mastery of tension and pulse.

His techno is raw yet controlled, powerful without excess, and underpinned by a narrative layer that connects it to his new creative chapter. Straddling Detroit and the south of Spain, K.Martin is also MÆRKIN — an alias under which he explores introspective, elegant, slow-groove house. This parallel project adds an extra dimension to his musical identity, reflecting his versatility and his interest in different tempos and emotions. On Warriors, however, it’s all drive, darkness, and kinetic energy.

The standout track is ‘Weapons’: a hypnotic, razor-sharp cut that combines crushing basslines, meticulous percussion, and a progression that grips from the very first bar. It’s the piece that condenses the essence of the EP — one destined to be etched into the memory of the dance floor.

Autor: Marian Ariss

melodictechno@mixmag.es

MELODIC HOUSE & TECHNO

LEHAR REVERSE CODE DAYS LIKE NIGHTS

Listening to Lehar is like embarking on a journey where intuition and emotion guide his creative process, resulting in compositions with an almost improvised feel.

The Italian artist often delivers intensely emotional, spontaneous, and passionate sets, designed to breathe life into his musical concepts. With his debut EP Sargas on Connaisseur Recordings, Lehar broke into the modern electronic music scene, presenting a true artistic manifesto: soundscapes full of drama, intimate basslines, and melodies as suggestive as they are immersive. Lehar now returns to DAYS like NIGHTS with an EP crafted to conquer the night at its most intense. In ‘Reverse Code’, we hear a thundering bass and hypnotic arpeggios that set the pulse for a dark, enveloping sonic journey. Released on Eelke Kleijn’s label, this new work from Lehar brings rawness, drama, and depth, reinforcing his ability to transform every set into an immersive experience

BESWERDA

Originating from the Netherlands, Beswerda is a producer and DJ who fuses minimal, indie dance, and melodic techno into a sonic journey filled with emotion. After debuting on Tronic and establishing himself on labels such as Infinite Depth and WEITER, he reached a pivotal moment in his career with Turmoil on Afterlife, featured in Tale of Us’ compilation Realm of Consciousness Pt. V. Today, his music resonates across the world’s leading clubs and festivals. Released on Adana Twins’ TAU imprint, Beswerda delights us with ‘Pain’, an energetic track built on a strong rhythmic foundation. From the very start, it hooks the listener with a powerful, dynamic bassline, accompanied by bright synthesizers that illuminate the journey. In this track, Beswerda tells a musical story through a series of shifts, each revealing a new and captivating chapter.

COLYN DANCING ON MY OWN THIS NEVER HAPPENED

A key figure and essential name in the scene, Colyn crafts soundscapes brimming with nostalgia and emotion, blending atmospheric textures with euphoric grooves. After years of dedication, he gained worldwide recognition with his track ‘Amor’ on Afterlife, supported by Tale of Us, Joris Voorn, and other top-tier artists. His EP Resolve cemented his position in the scene, echoing through festivals and clubs around the globe. After being played worldwide and long awaited, Colyn finally releases ‘Dancing On My Own’ on Lane 8’s renowned label This Never Happened.

A track full of sensitivity and emotion, as is characteristic of the acclaimed and established Dutch artist. Personally, he is one of my favorite producers, and I had the pleasure of sharing the booth with him.

DEER JADE HYPNOTISM TAU

Deer Jade joins the TAU label with her Catch Me EP, showcasing the essence of her style: a melodic and emotional sound inspired both by culture and mythology as well as the spiritual energy of the dancefloor. The multifaceted artist, with releases on Innervisions, Kompakt and Diynamic, has brought her music to renowned stages such as Burning Man, Space Miami and Fusion Festival. ‘Hypnotism’ is a track with a stronger techno edge, featuring dense basslines and hypnotic layers that build up to a vibrant climax. With this release, Deer Jade reaffirms her ability to transform every set into an immersive experience, bringing her “melodic desert energy” into the TAU universe.

REVIEW CLÁSICO

PACHANGA BOYS TIME

HIPPIE DANCE

‘Time’ by Pachanga Boys (the duo formed by Rebolledo and Aksel Schaufler, better known as Superpitcher) is much more than a track: it’s a hypnotic experience that has become a true classic of electronic music. With its more than 15 minutes of duration, it breaks away from conventional club structures and proposes a long sonic journey, perfect for getting lost in. The track unfolds gradually, with a minimalist, steady groove that sustains the entire trip. On top of this foundation, shimmering synths and enveloping melodies appear progressively. The vocal mantra of ‘Time’ serves as a reminder that time never stops, and music is the means to dissolve it. The greatness of this track lies in its ability to transform the dancefloor. It doesn’t seek immediate impact, but immersion: it’s music for letting go, for entering collective trance. Its expansive and emotional character made it an timeless anthem, still present in DJ sets across the globe. ‘Time’ is a modern classic, a true spiritual journey in the form of a track.

HOUSE

Autor: Francisco Pérez

house@mixmagaegroup.com

BUSHWACKA! JACK THE GROOVE NU GROOVE

Bushwacka! makes his mark once again with House Sounds, Vol. 2, the continuation of his series on the historic New York label Nu Groove. This fourtrack vinyl confirms why the Londoner remains one of the most respected names in the underground. On the A-side, ‘Jack The Groove’ sets the tone with a pounding pulse and infectious bassline, while ‘Middle Channel’ unfolds hypnotic polyrhythms that connect Nu Groove’s classic heritage with Bushwacka!’s forward-thinking vision.

With this release, Bushwacka! not only honors the weight of his legacy but also reaffirms his role as a tireless craftsman of house music—a producer capable of bridging past and future without losing a single ounce of groove

JNJS

SHURI PIRKA RECORDS

Spanish duo JNJS return with Feeling Positive, a new vinyl on Pirka Records that reaffirms why their name is gaining more and more recognition within the micro house universe. Across four tracks, they transcend pure technique and groove to create an emotional language—transforming minimalism into a vibrant, intimate experience.

One of the highlights comes with ‘Shuri’: a journey of rhythms and textures that move between delicacy and playfulness, anchored by a solid, infectious bassline. Immersive effects and French vocals add a veil of mystery, hypnotizing the listener and pulling them into an atmosphere that feels both personal and charged with tension.

Feeling Positive is a 12” full of nuance and character, a record that reflects the essence of JNJS and the forward-thinking vision of Pirka. A release made to dance, to collect, and for those who know that behind every beat, there is also soul

ALEXIS CABRERA NONCHALANTLY PERSONALITY DISORDER MUSIC

Personality Disorder Music returns with the signature of one of the most versatile and respected producers in the scene: Alexis Cabrera. Known for his ability to move between styles without ever losing his identity, Cabrera delivers a record that reflects both his background as a multi-instrumentalist and his ever-experimental approach to minimal house. On this special vinyl edition, he blends jazz elements, retro textures, and rolling basslines with the warmth of modular synths, creating a sound that feels at once classic and futuristic.The finishing touch comes from Sweely, who takes ‘Nonchalantly’ and reimagines it with his unmistakable style: lively percussion, unexpected turns, and the kind of freshness that has made him one of the most followed names of the new wave.

The result is a remix that not only complements but also expands the record’s narrative, pushing the track into more intense, club-driven territory. With this release, Personality Disorder Music reaffirms its vision: to curate music with character—crafted for vinyl collectors and DJs alike who seek unique cuts for the dancefloor.

NTFO DEFINITIA FANTASTIC FRIENDS

With ‘Definita’, NTFO delivers a track that breathes depth from the very first second. A hypnotic groove holds the structure with flawless precision, while layers of immersive textures rise delicately, building a tension that doesn’t burst abruptly but unfolds slowly, like a restrained sigh. On top of this foundation, ethereal vocals cast their spell, capable of captivating even those who never set foot on a dancefloor. What makes this track special is its contagious harmony, able to move without relying on artifices: the power lies in subtlety and in its ability to create a journey that aligns body and mind in perfect sync. ‘Definita’ is a reminder that electronic music is not only for dancing—it’s something to feel, to breathe, and to keep resonating long after the last beat

REVIEW CLÁSICO

HARDSOUL FEAT. RON CARROLL BACK TOGETHER (MAIN CLASSIC MIX)

SOULFURIC RECORDINGS

Hailing from Chicago, Carroll’s journey began in church choirs, where his soulful voice first awakened. Born in 1968, he found his true calling in the underground house scene of the late ’80s and early ’90s. Known as “The Minister of Sound,” Carroll’s preacher-like vocals turned songs into spiritual anthems. For more than three decades, his voice defined iconic tracks such as ‘Lucky Star’, ‘Back Together’, and ‘What A Wonderful World’, leaving an indelible mark on the heart and spirit of dance music worldwide.

‘Back Together’, the centerpiece of this tribute, delivers a contagious groove that holds the track’s essence—rooted in house, where congas converse with an orchestra of violins and a piano that tells a story of purity and nostalgia. The song reaches another dimension thanks to his vocals, capable of transporting us into a universe where harmonies shine with hypnotic presence. This great producer and vocalist leaves behind an unforgettable legacy in the history of electronic music. An eternal classic that will remain in our hearts. Rest in peace, maestro

UK GARAGE

Autor: Borja Comino

ukgarage@mixmagaegroup.com

SHAKING PRESSURE POINT NIGHTMODE

LA-based producer SHAKING keeps pushing US garage into increasingly serious territory. His Nightmode debut, ‘Pressure Point’, opens with a collage of sirens and dub echoes that collapse into a frantic groove, driven by taut percussion and an M1 slicing like a scalpel. A chopped vocal repeating “take the lead” twists through filters and reverbs, acting as an anchor for a rhythm engineered for club chaos. With nods to classic UK rave and a modern, muscular finish, SHAKING delivers a heavy-hitting cut that works equally well in warehouse sets and on festival stages. A track that confirms why his name is rising fast in LA’s garage resurgence.

FREESTYLERS & GREENFLAMEZ

FEELS REAL SPEAKER FREAKER

Speaker Freaker flexes once again with ‘Feels Real’, a collaboration between breakbeat veterans Freestylers and Greenflamez, one of Spain’s emerging voices in the scene. The result: cavernous basslines, tense syncopation, and a ghostly vocal hook slicing through the mix. Sitting between raw rave grit and an organ-stained breakdown, the track embodies a duality of heritage and future. The London crew brings their decades-shaped, bass-driven stamp, while Greenflamez asserts himself as an architect of the new wave. A collaboration that lands as heavy in warehouses as it does luminous in festival slots.

BURIAL COMAFIELDS / IMAGINARY FESTIVAL HYPERDUB

If there are two undeniable geniuses in electronic music, they’re Aphex Twin and Burial. The latter returns to Hyperdub with ‘Comafields / Imaginary Festival’, his first solo drop since 2022. On the A-side, ‘Comafields’ drifts into a trance-like journey of slow arpeggios and ascending pads, exploding into a restrained climax that feels somewhere between Orbital and the echoes of a distant Creamfields. The B-side, ‘Imaginary Festival’, revisits the Untrue palette: ghostly vocals, crumbled 2-step, and spectral trance textures like distorted memories from another era. As always, there’s no album—yet each 12” plays like one, encapsulating Burial’s unique way of turning nostalgia and rave into pure electronic emotion..

JESSY LANZA SLAPPED BY MY LIFE HYPERDUB

Jessy Lanza has always thrived on the tension between lightness and depth. ‘Slapped By My Life’, the title track of her new EP, shows exactly that: shimmering keys, playful percussion, and a catchy vocal line that gains extra weight once its backstory is known. The Canadian wrote it for her husband and collaborator Winston Case while he was undergoing cancer treatment, and that duality—the pop fun on the surface and the emotional gravity beneath— is what makes it devastating. Co-produced with Pearson Sound, the track adds to a prolific chapter for Lanza, following Love Hallucination and collaborations with BAMBII and Yaeji. A radiant cut, yet pierced by an uncommon sincerity on the dancefloor..

REVIEW CLÁSICO

ARTFUL DODGER FT. MS. DYNAMITE

DY-NA-MI-TEE PUBLIC DEMAND

In the early-2000s UKG canon, few tracks capture the club-to-mainstream crossover better than ‘Dy-Na-Mi-Tee’. After breaking out with So Solid Crew, a young Ms. Dynamite teamed up with Artful Dodger for a single that became an instant anthem. The beat is minimal—snappy percussion and a bouncing bassline leaving all the space for her voice: sharp, agile, and with a flow that foreshadowed grime’s arrival. The track climbed charts, but more than numbers, it cemented Ms. Dynamite as one of UKG’s defining voices and opened the gate for a generation of MCs pushing the genre into new territories. Two decades later, it still sounds urgent and fresh, holding the same tension that made it a classic.