A Sit Down With DJ Alok


Born to legendary psytrance DJ parents, Alok got his start in the industry at the tender age of 10 and two years later, was considered a professional among the elders. For his latest singles, “Me and You” and the Narcos-inspired “Fuego,” Alok manages to mix and match high tempos with alternative sounds.


"I always try to do something real. I never sold myself to something I thought people could accept better. I just did something I really believed in, nothing really commercial."


You just released the 5-track EP 'Alok Presents Brazilian Bass', featuring various artists. How did you create this?

The idea and concept of the EP came about after I realized how much potential was happening around me with the guys who I have proudly been working with. The results couldn’t be better and the EP is just mind blowing.  Sander Van Doorn is a living legend within the electronic music scene.  It's an honor to have him on board the EP and a bigger honor to have him joining us inside the Brazilian Bass movement.

Are there any American acts that you would like to work with?

I love Eric Prydz, Justin Beiber and Marshmellow as well. It’s crazy because I was following him when he had one thousand followers, and after eight months, he had 2 million! 

Do you plan on changing at all for your American audience?

Yea I mean I don’t know what I’m going to play tonight to be honest. I still haven’t even thought about it. But definitely it has to be different from Brazil, I think here, a lot of music that works well in Brazil wouldn’t work here. Over here people are more in to what’s happening at the moment, Brazil you can play old stuff and they like it.

When did you first realise you wanted to make music?

I first came to this realization when I was still 12 years old. The music was already able to drive me deep into places and thoughts. Music has always been really profound for me.

What was the production process for the Spinnin’ track “Hear Me Now,” how did that work?

I did it with two friends of mine Bruno Martini and Zeeba. We had a really nice energy in the studio and things went out quickly. Nowadays I’ve been making music on my laptop for about six months, I’ve always been on the road and I moved to a new place in Sao Paolo and I’m building up a new studio in my house.

How would you describe your sound?

My sound has been changing over the last year or so. If you listen to my tracks now and listen to the tracks one year or more back you will be able to realize that not only my music has changed but also has emerged into something more meaningful and expressive. That’s because the vocals and words have become crucial in my productions.

Which track would be your favourite from your work and what inspired you to produce that track?

There are a few favorites but I can only tell that some of them haven’t even been heard yet LOL I would say that never let me go , an upcoming track with IRO on the vocals called love is a temple and another unreleased track with Zeeba and Iro called Ocean that has a really profound and serious meaning to me. 

What aspects of your culture affect the music?

I think the groove. Brazilian people love “the fat.” You can see that in the Brazilian music as well—the popular Brazilian music. Yeah, I think it’s the groove.

How was the collaboration with Bruno Martini and Zeeba?

Let me start by saying that It is always special to work with both Bruno Martini and Zeeba. We seem to have a great chemistry in the studio and the results always end up talking for themselves. We basically worked in a similar methodology again and the production came up quite well and satisfactory for all of us.

A Sit Down With DJ Dirtyloud


Fllowing the footsteps of Felguk, Eduardo & Markus, aka Dirtyloud, have been unleashing a brazilian onslaught of Electro with a wobbly slant, much to the delight of our, and Tim Healey at surfer Rosa`s ears.


"Work hard, never give up and be honest."


How did you get into making music?

It was a natural progression from playing others music, as we understood what rocked dancefloors and we wanted to make tunes that did that too!

Describe the best moment from your career til now.

The best moments we can easily say were playing in Red Rocks in Denver and in Pretoria – South Africa, by far the best energy and crowd reaction.
Tell us about the Brazilian EDM scene. What music styles are popular in Brazil, and is the scene as a whole shrinking or growing?

Here in Brazil trance used to be huge, but is no longer popular. Nowadays you can see more low bpm artists performing at parties, and people want more of it.

Is there one type of sound in EDM you are really excited about?

Drum n Bass from now and we always loved Electro House.

When did you first feel that you had finally discovered your own specific sound?

It was a combination of doing our first track as Dirtyloud and the response we received for it, and then it was when we completed the Apes From Space remix we felt we had cemented the Dirtyloud sound.
Everyone wants to be a DJ these days. Do you think it`s getting out of hand?

Absolutely not. Of course nowadays it’s harder to get your own space as a DJ, but we now have the democratization of distribution, so you can reach your public easier than in the past. Good production is another thing that really adds value to your project, because you become exclusive. Also, if people want to see you perform in their country or city, they can contact you through social networks and the internet–much simpler.

Are there other DJs from the scene that really annoy you?

No way, we know tons of people all around the world and pretty much everyone are our friends.

What other producers are you inspired by?

The electronic music scene is always changing, and we try to make our own style, like a signature. When we started Dirtyloud we were inspired by artists such as Vandalism, David Amo & Julio Navas, Jon Gurd, Dirty South, Spencer & Hill, Dabruck & Klein, Deadmau5 and fellow Brazilians, Felguk. Nowadays we don't feel as influenced by other producers we just do our sound, but we really respect and admire Skrillex, Nero, Pendulum, Rusko, Dada Life and Tommy Trash.

Whats on your mind as you're looking onto a huge crowd going crazy to your very own tracks?

I can’t think of anything, I can only feel; and let me tell you, it’s a good feeling.

Is there a final thing you would like to say to our readers?

We wanna see you guys if possible at our gigs on this tour! We appreciate your support and look out for more new music coming soon.

A Sit Down With DJ Bombs Away


Bombs Away are a musical duo like no other in the Australian music scene; their longstanding career has earned them two platinum records for Super Soaker and Party Bass, gold for Big Booty Bitches, ARIA nominations, countless ARIA club chart top 10s, a #1 on the US viral charts, and have reached over a billion people with their music and videos online. However, it is now that Bombs Away are set to take the biggest step in their career to date, with the release of the first single Like You feat. Elle Vee, from their forthcoming debut album Fragments due early next year.

"Like You is a labor of love that has been a long time coming, we've included some familiar elements that will be recognisable to existing Bombs fans, but we've been working really hard to bring something that's been inspiring us lately to life."


What is your favorite part about being a Producer/DJ?

Making Music and writing songs is a way that helps us release expression. To be able to share that music with everyone and to get back positive responses is an incredible feeling. Like getting a message from someone on Facebook that tells us how our music helped them get out of a dark place in their life just inspires us and lets us know we are going in the right direction.

You guys have had huge success on your previous tours, both in Australia and overseas, what’s your favourite on tour memory so far?

When Creamfields, Future Music Festival, and Stereosonic were around those moments were always some of the best, but in general, we just like going to new places! We actually really love the regional shows we do around Australia, they always get really wild! We’re always on the road with friends so it’s just like one big party the whole time!

Moving forward what goals do you want to accomplish in the future?

Our goal is to shake up the EDM scene and to always give fans a great experience at our shows. We are starting to play bigger shows at larger festivals and that feeling is great. Next, we would love to start playing overseas and play some shows in Europe. We would also love to keep playing festivals in America like Coachella and EDC. Other than that we want to keep making great music and keep spreading the good vibes.

Have you guys ever had any issues traveling so much with your name?

Well, we used to have jerseys that said “Bombs Away,” and security would be all over us until we explained that we're not, like...crazy bad guys. But yeah, it's a thing that we're coming across a bit. As soon as people see that it's not like that, it's okay. But when they read it, it's different.

Do you prefer performing live or recording? 

Definitely performing live, there's no better feeling than having everyone party along with us!

Which is your favourite song to perform live and why?

"Move On Up"has been one of the most in depth songs to play so far when it comes to vocal range. 'Supersoaker' is always a party starter but I'm really looking forward to playing 'Like You' out live and hearing Elle's vocals shine! 

Any exciting new projects coming up that you can share with us?

Right now the album has taken so much of our life writing and producing, that it’s great finally being able to tour it and see people react to the songs in real life, it’s amazing so that’s our project right now, experiencing how the FRAGMENTS album and all the singles go.

What would be your dream collaboration?

I think with collaborations it's about just getting along with someone, ya know? There are some pretty cool people that we've worked with in the past, like...I'd say Potbelleez, but we've already done them. We actually have a track we're working on with them, it's gonna be huge! You have to take a lot of things into account. That's a good question, a really good question!

What/who was your inspiration to go into the music industry? 

Probably bands like Blink and Greenday, Offspring etc!


A Sit Down With DJ Dodge&Fuski


As of late, Dodge & Fuski have meandered from their dubstep roots and have begun to dabble with production at a slower BPM.  Kicking things off back in September with their single ‘Vice’, Dodge & Fuski sprung out of the gate and up the charts with their new glitched-out tempo. Since the release of ‘Vice’, the duo have kept their sound firmly planted at 100BPM and justifiably so; their next release, a glitch-hop remix of Pegboard Nerds ‘High Roller’ followed suit and climbed its way to #1 on Beatport.


"Having a cool vocal to work with always helps me come up with ideas for intros and drops."


How do you feel the sound of this latest EP speaks toward the D&F sound looking forward to the future?

It’s very representative of what I want to carry on doing. I’m gonna start working on an album this year and I’m aiming for about 50-60% 100bpm, some other hip-hop tempo tracks (85-110bpm) and probably the odd bit of Dubstep for old times sake on it. To be honest trying to predict what the next big thing is going to be is like gambling on the stock market so I’m just going to do what I like making and see how it goes!

How did you both learn to produce?

I’ve been making tracks for about 12 years and the game has changed a lot since then. When I started, there were no preset packs or YouTube tutorials so everything was a lot slower moving. I went to college, but honestly the people who were teaching me on the production side weren’t up to much. I mostly just learned sound engineering techniques on mixing consoles back then—how to mic up drums and stuff like that—so it’s been mostly a case of being self-taught on training my ears.

You’ve been getting a lot of heat for not playing at various places. Are you guy’s planning to tour again in the near future? If so do you think you’ll cover more states and or countries?

Everyone gets that – people in the internet have this weird notion that acts decide where they get booked. If we had control over that we’d be on nonstop tours around the Caribbean, so that is entirely in the hands of the promoters who decide to book us!

Is there a right way and a wrong way to go about constructing your own tunes?

I don’t think there’s a right or wrong way for anything. The end product is what really matters, but that said there’s a lot more satisfaction in making as much of the core elements as possible. I use preset packs as a way to get new approaches into what I do but I almost always modify them entirely from their original format. It’s just interesting to always have a different starting point.

You were making “riddim” long before it had a name. But once it had a name, it seemed like everyone wanted to jump on the train. Your EDCLV 2014 set was a huge inspiration on how to do dubstep right at a festival. What do you say to producers just now getting into the game and wanting to jump on the wagon?

I actually have been producing music for 17 years. I had a D’n’B moniker “Infiltrata” that I was producing under for about 8 years before I even played my first SMOG or heard of Dubstep. But back to the “riddim” side of things, I was heavily influenced by Mala, Jakes, Caspa, Rusko, and Skream when I was first getting into to Dubstep, but it wasnt until people like Subfiltronik, Megalodon and Badklaat, brought the old school style back recently, with a more ferocious intensity that I found myself digging for more artists that were creating the music in the same vein. From those guys I discovered an entire movement of “riddim” or “swamp” happening in my own backyard for years without me knowing. Shouts out to the Savage Society crew, Lower Levels crew, Dubloadz, Trollphace, Essence Audio, Sub.Mission crew, SMOG crew and Future Events for truly inspiring me as an artist.

In the past you mentioned that your forthcoming EP would feature a remix from one of Circus Records’ most exciting producers. Now that the cat is out of the bag, can you speak to the inspiration behind having The McMash Clan remix the title track of the EP?

When I heard their debut EP I immediately wanted to get them involved somehow. They’ve got a really original sound which has bags of energy and a proper festival vibe. A friend of mine Culprate has taught them a lot of mixdown tricks and it definitely shows in their music, it’s really creatively arranged and brilliantly executed.

What has been your biggest learning experience this past year?

Probably not to try and keep up with constantly changing trends at the expense of quality. That’s not really a past-year specific experience but it’s a lesson often forgotten in this industry.

What’s the most important advice you can give?

That is a very open-ended question that requires a very long answer. I guess that’s the purpose of the seminars!

Its clear lately that the EDM scene is changing rapidly along with the styles and tastes of electronic music lovers. What are you guys doing to keep up? Do you ever see yourselves (god forbid) parting from dubstep?

I made music under a few different aliases which gives me a lot of room to experiment without having to break away from the scene each act is associated with. In terms of D&F, in my mind it’s always going to be at its core a bass music act of some description.

A Sit Down With DJ Andy Moor


Grammy-nominated Andy Moor is an icon in the electronic dance music industry. Undeniably one of the most respected producers in the genre whose substantial talents and work ethos have earned him a catalogue of accolades. Recently nominated for the 2009 DJ Awards, Andy is currently rapidly scaling the DJ Mag’s Top 100 @ 15th. Named Best Trance Producer and Best Trance Track at the 2004 Trance Awards, Best Dance Record at the 2006 International Dance Music Awards, Andy received his Grammy nod with a magical remix of Delerium-Angelicus in 2008.


 "I think that it is going to be hard to be the next big thing in this genre, due to the way that other genre's now seem to dominate things. You need to do more than make + play good trance music to be the next big thing in my opinion, its a shame, but its reality."


Tell us a bit more about Andy Moor, before every big name DJ in the world knew your name?

When I was young I was encouraged to play musical instruments, and started playing the piano, the recorder was compulsory at school, and then the Bassoon, so I developed an understanding of music theory from a young age. But my real passion was this electronic music that I was hearing, like Jean Michelle Jarre etc. I was desperate to know how to make those synth sounds and as I grew older was frustrated by an M1 keyboard at school that nobody knew how to use, so I started to sequence that from an atari.

Many consider you a pioneer of the progressive side of Trance. Who would you give credit to motivating you into producing this amazing subgenre of Trance?

I was into Trance as a kid, and then when I got into production I was friends with all progressive people, so naturally I went this way. Eventually the progressive I loved went more minimal and that just wasn't for me so I went towards the Trance end (receiving much mockery from the prog guys along the way). So I would have to give credit to whoever made progressive go more minimal. Now though prog is getting more complex and interesting again, and trance now has a wider variety of sub styles so I'm always debating which way to take each track.

You’re bio contains an impressive list of accolades – including Grammy nominations, Best Trance Producer and Best Dance Record, amongst others. How does one go about making something new without those facts dangling over your neck?

I don’t worry about those facts. I always think about the future, and the past doesn’t affect my decisions. I try and stay true to the sound that I love – that is the only important thing.

You’ve always been focussed on pushing the rhythmic aspect of your own music towards other cultures, assimilating beats…

Yeah absolutely! I think rhythm is the first thing you need to get together as a musician or a band… If you have good tunes but a shit drummer your not going to get far…and there are many bands where I like the music but the beats can really let it down. So many drummers seem to immediately choose for old heavy rock beats even today,.and it baffles me. Also if you can play a good rhythm on a guitar then the melody will find its way…

What do you personally consider to be the incisive moments in your artistic work and/or career?

Forming the band Volunteer Slavery & Dog Faced Hermans in Edinburgh in 1986 and in 1988 seeing The Ex live for the first time in a pub in Sheffield in 1988 and joining the Ex in 1990. Playing with Tom Cora and The Ex was also a great shifting moment for all of us. Equally when we started a  project with Ethiopian saxophonist Getachew Mekuria. Hearing and seeing Big Flame, Sonic Youth, Don Cherry, Art Ensemble of Chicago, the Birthday Party, Han Bennink, Konono No 1,  DJ Rupture, John Butcher, Anne-James, Chaton. All of these concerts changed me fundamentally - on a musical level anyway. Discovering Ethiopian, Ugandan and Algerian music and Rebetika from Greece were also big moments in my musical life and working with Yannis Kyriakides was a big change in direction for me.

Can you offer insight into some of your musical inspirations?

I get inspired by all sorts of music, and also by situations that are non music based. I’m instantly attracted to music that is deep and has meaning. I am also heavily inspired by the production of some music, good and bad production are like day and night to me, so extremely good production on any type of audio inspires me a great deal.

Your remixes are some of the most sought after in the world, what is your approach as far as remixing is concerned?

The main thing I do is analyze the original track, find which parts I want to use as they are, and then find other interesting ways to be creative with it, such as how to manipulate various parts in other ways. Also if there is a theme to the track, then find a creative way in which to be creative with the theme yet keeping it recognisable.

How was your experience collaborating with other artists in this album? And who would you like to collaborate with in the near future?

It was fantastic to work with the artists on the album. They are all really easy to work with, and they all motivated me dramatically whilst working on the music. It is always a positive experience for me to work with others, vibing off them and receiving a differing opinion to my own.

What's the weirdest thing you've ever experienced?

Being abducted by Aliens! That was weird…. No, really the weirdest thing is actually having a normal life at home then having to adapt every week to being on stage with thousands of people looking at you. I'll never get used to that.

What's your favourite food?

I'm a proper foodie and love all food. If I had to choose, it would be South East Asian food.

A Sit Down With DJ Paco Osuna


With a career spanning more than 20 years, Paco Osuna is one of the most renowned artists in the industry. As a DJ he is lively, intelligent and sophisticated, with a deep awareness when it comes to sound aesthetics. For Paco, all sessions are important and it is a requirement of his to invent and renew every time he steps onto the stage. Musical monotony has never been an option. He has also been recognised with several of the most important awards in Spain: Best Artist, Best Techno DJ and Dj of the year (Vicious Music Awards, from 2011 to 2014); Best Producer and Best Remix: Plastikman-Ethnics (DJ Mag Sp 2011).


"I feel very proud of my country and its music scene, and if this derives to the idea that my style is associated with Spanish sound, that’s great."


You’re probably the largest Spanish ambassador for techno. Do you a Spanish techno “sound” has developed, like the “Berghain sound” or New York sound? 

I have never felt attracted to label things, so I don’t like to define my music as Spanish Sound. I feel identified with the music I play. The quantity and variety of music nowadays is so that the best option is to take a little bit of everything you like and build your own sound.

How have you evolved as a DJ from when you first started? 

I've changed like I changed my life. Just like 20 years ago, we were watching TV with a VCR -- music is the same. You have to follow the new sounds and get ready for what is coming to you. Otherwise people will forget about you. You cannot play the same music you were playing 10 to 15 years ago. My original sound was more techno, but with the new movement that's happening right now with all the new music like minimal, house, and tech-house, you can listen to my sets and hear a hard techno track and then a deep house track. But one thing about me is that all the tracks I play have to have a funky bass sound. That is something I must have -- always. 

Technology has made it possible to stretch ideas without limiting one’s imagination.  Tell us about your new hybrid DJ/Live set up and how it allows you to translate your ideas to produce dynamic sets?

I don`t know, my dj sets always depend on the crowd and the atmosphere. Sometimes I do sets where I focus more on the music than on the effects and sometimes I do sets creating crazy effects all the time.  It depends on the crowd but I always try to use the technology for the maximum possibilities, because for that it was created and I like not to be obvious and to surprise people with new things.

The Techno scene has been in a grow spurt the last few years, the digital movement has developed new ways to perform through products as Traktor, Ableton, Serato etc. What do you think about this development? How do you manage to ‘stand out from the crowd’?

Well, I think the technology is in our hands for use. But sometimes, in the case of the vinyls, I miss going to the shops each week a lot to find new records. At the same time I love to play a track right after it’s finished, so I totally recommend and support the new technologies.

And what if we talked about people who contributed more to the formation of your musical personality?

Without doubt the first was Raul Orellana, the one who made me want to play, he made me fall in love with this profession. Subsequently, as a DJ, there are two people who have deeply marked my style, one was obviously Richie Hawtin and the other Marco Carola. Actually, I think they make up fifty-fifty of the influence I've had. Then, without a doubt, Hawtin is the one that most of all taught me to personalize, to make mine what I played. From him I learned how to use fifty effects on a single loop and make it different every time, he really led me to evolve in production, as a person and also as a DJ. It has always been one step ahead of everyone, and it is not something that is said so much to say, it is not a sentence made, it is the truth! Whenever I play with him I learn, always. I do not copy, but I learn, that is different. And every time I learn something, the next time I learn another..

You started by playing at Amnesia back in the 90s. What was it like performing there during that decade? Has anything changed since then?

Many things have changed in Ibiza. The techno scene in those days was at a minimum, you could count with the fingers of one hand the clubs and promoters supporting techno. Nowadays the music and the scene has evolved and is bigger, there are a lot of styles on the island but I believe the techno is now the sound with the greatest presence. The 90s in Ibiza were about trance, house or Balearic sounds. Today Ibiza is totally techno within its different variants, more soft, more housey, or harder, but the main sound is techno.

Are there any Dutch producers you would like to work with?

Of course with many of them, starting from Speedy J and Steve Rachmad, or more recently Kabale Und Liebe, Daniel Sanchez, Olene Kadar, etc… love his sounds. 

Do you get the chance to relax and have time off in Ibiza much? What do you like to do with time off there? 

It really doesn't happen so often, but for two weeks every season I like stay with my girlfriend and my dogs, catch up with friends and make my famous paella!

How was your first gig there - did it live up to expectations?

It was awesome! Actually I never put expectations because then I don’t expect anything, and everything I live is positive. But the truth is that I was a little nervous to come back to the Main Room of Amnesia after so many years, nervous because I wanted to give my best for Marco and to the Music On team for their trust in me. The result couldn’t be better, the first 30-40 minutes I was testing and observing the public reaction not just in the dance floor but also in the tables and I connected with them so quickly – it was a big party!

Does the dance music scene in Barcelona have its own unique flavor and vibe? Or is it miming the action over in Ibiza and the Balearic islands? What are your favorite things about being a DJ in Barcelona?

The scene in Barcelona is always unique and different, at least from the rest of the cities in Spain. The sound there is more underground, and has its own personality. I cannot compare it to any other city. The thing I like most about DJing in Barcelona is that I feel free to play what I want -- anything from deep to mainstream.

A Sit Down With DJ Zatox


Zatox his a house hold name when it comes to the harder styles. Hardstyle and other Hard dance genres got a spot light shined on them in 2017. While many traditional fans were a bit annoyed that it took main stream artist incorporating hard dance elements into their arrangements to help the genre gain traction stateside, hard style is going through a reconnaissance of sorts. Zatox has dropped his Freaqshow 2017 anthem in a formal release and demonstrates that hard dance is doing better than every.


"I am in the middle of different styles. That is why celebrations keep booking me. And I'm pretty happy about that."


You recently started your own label called Unite Records. Can you tell us a bit more about it?

The concept of Unite Records is created around the new Italian talents emerging in the hardstyle scene, just to mention a few: Vamper, Kronos, Atom and Eretik. I have chosen all these artists because they have an incredible passion for hardstyle and their skills are rockin! Some of them already created some amazing tracks. 

You are one of the pioneers of italian hardstyle sound. Italian sound was always described as more melodic and more reverse-bass based. Do you think this still applies?

Everything has changed. There's not so much kick and bass anymore, and it really was a signature of the Italian sound, but over time things changed, especially with a big integration with the Dutch scene. I think lately hardstyle has become a bit too schematic, and if someone wants to make a track with a kick and bass... feel free to do it. If you want to do it with a phat kick, then do it. 

You are definitely one of the most prolific producers within the hard dance scene. Do you have a steady regime with regular studio hours, or do you hit the studio whenever you feel like?

Making tracks takes a lot of work and time. So yes, I pretty much spend most of my days in the studio making new music. It also often happens that while working on a track I discover a new sound that I can use for another new project, so ideas bring forth new ideas and it never stops.

How is american crowd if you compare it with european ? Whic country is the best to play for a hardstyle DJ?

I've been to so many countries around the world, and I've noticed in countries like Australia, America, Belgium, the UK... you can REALLY feel the enthusiasm, especially because it's a really new experience for them. I would say each country has it's good points! Holland has the dedicated crowd and it's the heart of the genre and it all starts there. I think the rest of the world also has some great points too: it's a really new experience for them, and sometimes they're seeing a DJ they've listened to on the internet for the very first time. So there is no "best" country to play, I think.

How would you describe your own style? 

Oh, my sound is completely weird . People can immediately hear that I am when they listen to my music. I have my own style, I like that. This way I can make what I want. I am really an open-minded producer.

Besides your own label, which newcommers are worth keeping an eye on ? What would be your advice for new producers?

Well, there is an upcoming producer called "The Heretik", a very new talent I have signed to my label, and of course Vamper, The R3belz... Of course, I have to promote my own label and artists! But I would say if you want to enjoy a dark atmosphere, or miss the kick and bass, or want some really hard hardstyle I would suggest checking out artists on Spoontech, and also the Theracords label .

Who is currently the best hardstyle DJ in your opinion? 

Haha, wow. There are a lot of big names. Frontliner, Noisecontrollers, Code Black ... I find it hard to choose one, they are all good! '

What do you plan to do in the future?

I just want to do my thing. I don't like to make plans, but I would continue just making music -- hardstyle, of course! As always, I'll make mainstream stuff, and then I'll make some underground/raw stuff mixed in there too.

A Sit Down With DJ Dub Fx


Benjamine Stanford, aka Dub Fx, is one of the most complete artists in the world. He is a beatboxer, a mc, an excellent musician and producer, as well as an excellent entertainer. His rhythms and rhymes have struck the attention of millions of passersby on the street, from where he started his amazing live career.


 "I aim to come and just give you my sound and my spirit on stage, that's all I'm here to do."


What exactly does your logo mean?

It has different meanings in reality. I wanted something that symbolized eternity, an eternal loop. They are three symbols that come together, and represent the three tracks of my live performances: a track for bass, one for drums and another for harmonies. In addition, if you look at it for good, you will notice that those three symbols look like a D, a U and a B: Dub.

Your music is empowering , do you see music as a political tool?

I see music as expression.. Politics to me is just giant puppet show.. I don’t by into that over manipulated, over intelectualised crap.. None of it makes sense to me.. The fact is, if I had grown up in a rich and powerful family I too would be capable of ruthless selfish acts to forward my greed.. We all have that ability to be evil and justify it… We all do it on small levels every day.. So I use music to paint a picture of how I see the world.. If that inspires you then my work wasn’t useless.. If you like the song but not the lyrics I’m equally satisfied because harmony and rhythm means more to me then subjective opinion…

When was your first proper breakthrough into the music industry? Tell us about your journey from the beginning. 

Street performing. Before that, I was playing in different bands in pubs and clubs around Melbourne, but I never quite found my sound. Having to compromise my ideas with other band mates also slowed down my creative process. As soon as I started street performing, I discovered who I was and what my potential as an artist was. Now that I’m fully self-aware of my limits, collaborating with other people is super easy.

How do you describe your music?

It’s just a mish-mash of all my ideas thrown together with technology basically. I’m at the mercy of the technology but that’s good because it gives me ideas. I write a song on guitar, I pull it apart and put it into the loop station, maybe make it drum and bass or make it reggae or make it hip-hop or whatever, and that’s basically what it is, I take ideas from everything that I like listening to.

Using your voice with this pedal, you must have some fun playing around with weird sounds. Is that part of your process, just making noises until you find something new you like?

Not really. I have a clear idea about what I want to do and then I make it. Sometimes I get a bit carried away, but I try not to waste time making unusable noises. The human voice on its own can already do so much, all I need is a bit of compression, EQ, reverb and delay. I do sometimes get a bit experimental with bass sounds but my focus is getting a clear punchy sound and more importantly making sounds that my vocals can sit on top of… less is more!

How does the dynamic of a street performance inspire you? 

On the street my focus was clear and simple, sell as many CDs as I can as quick as possible without getting shut down by the police. I would look around and see what type of people were in front of me. If they were older people I would sing up beat melodic tunes like "Love Someone" or "Soothe Your Pain." If the crowd was young and grungy I would do dirtier heavier tunes like "Step on My Trip." I adapted my songs and genres to the city I was in. It taught me to be flexible and how to present myself in any situation.  I also spent a lot of time refining my sound and experimenting with different ideas on the street. So once I was getting paid to perform in front of crowds at festivals I had already made all the mistakes possible. 

What was the most impressive show you did on this tour, so far?

Sometimes it's not just the biggest ones that are impressive, sometimes it's the smaller ones that touch me the most. We did a few shows in Poland that were great, and then we did Budapest, Praha, Vienna, and Bratislava, those were really great shows, and then we went straight to Germany. Look, every show has been amazing, we've been selling out pretty much every venue!

What do you bring in your music that’s special?

I don’t think about it too much. What I picture when I sing, when I play my music, I picture that I’m channelling music, I’m channelling energy from another dimension and I feel like I’m just pulling from that. That’s kinda what I try to do.

Are there any Reggae artists you would to collaborate with?

There are heaps of artists I would like to collaborate with, in fact I have already collaborated with a few of my heroes! There are plenty more… I don't really want to say who they are because I don't wanna jinx it. The thing with me is, I am more interested in collaborating with producers, more than anything else, like I love… singers are great, but collaborating with producers is more my thing, electronic producers in the Drum'n'Bass world and the Dub Reggae world. Peter Fox for example, he is an amazing German producer I'd be interested to see what I could come up with him.

What have you been up to lately with your projects/creations and your album ‘Theory of Harmony’?

I have literally just been in the studio making the album.. I pretty much do everything my self from writing to recording and producing each tune.. It takes me a long time because I lose sight of what’s a good performance or not.. I go from using one side of the brain to using the other in a matter of seconds and switching back again.. Being creative and technical at the same time is super hard when you are your own boss…

A Sit Down With DJ Erick Morillo


Erick Morllo's long and storied history within house music could have set him up as this sort of cloistered star, but the reality of talking to him was far more welcoming. The New York-born DJ and producer comes across lively and open-hearted, willing and ready to talk about anything—from addiction and rehab, to rediscovering his love of dirty, funky house music. High up in his home studio in the Hollywood Hills, the Colombian-American DJ—whose biggest hit, "I Like To Move It," has captured a new generation of kids via its use in the Madagascarmovies—has undoubtedly lived the good life.


 "I think the most difficult thing I ever did in my life was overcoming my ketamine addiction."


When & how did you first fall in love with house music?

Growing up 15 minutes outside of New York City, I spent countless nights listening to the best House Music DJs of the early 90’s. It was their sound that inspired me and allowed me to cultivate a love for house music and DJ’ing. The clubs were my sanctuary during my late teenage years. I would literally venture into nightclubs on school nights and enjoy the sounds of the likes of Louie Vega, Junior Vazquez, Danny Tenaglia, David Morales and others. I would just spend hours studying them, taking mental notes of how they worked the room, the vibe they created and when and how they played a certain record. It was easy for anyone during that time to fall in love with house music.

Do you prefer the old way? Or do you embrace the new paradigm?

Honestly, one of the best things I did, which was like a prayer being answered, was joining forces with Armada. They have been doing this for a while! I was out of the game for a minute but this was like going back to school. Now, I know the main guy at Spotify and our song with Kryder just got on Sirius. You need to embrace all the new media and you need to know the people who can help. I have never done anything half-assed. Everything needs to be done full on. Armada is like a new mentor. They are teaching me all the tools needed to manoeuvre in this new landscape. I am all in right now! There is nothing else I should be doing!

You’ve announced a series of remixes of classic Subliminal tracks from artists like Pirupa, Nic Fanciulli, The Martinez Brothers, etc. How did you select the artists and what made you release those remixes now? 

Kolsch did a really good remix and Pirupa and all these guys. I thought it was important to re-introduce a lot of the classics. Why shouldn’t the younger DJs and the younger generation that were not in the scene back in the day not have an opportunity to hear these records that touched so many people in the '90s and the early '00s? That’s what we’re doing by bringing in some of the younger generation guys that people like at the moment.

Do you think there is a difference between the sound of Subliminal now and the sound it used to have?

Absolutely. Before we were very focused on filtered disco house. We took chances, we did techno records, a lot of different things, but we were definitely known for the disco filtered vocals. I think now we're quite melodic, tech house, techno at times, but quite a way from that disco sound. 

Coming to the Festival you have fans coming from all over the world that are very knowledgeable about House and Techno, when you`re building out your sets do you take that into consideration in comprasion to your larger club or festival sets?

Absolutely. I take everything into consideration. But I don’t really like – I’m one of the few DJs that doesn’t prepare because y’know all I do is I listen to music and I put it together, I have my own arsenal of music but I know coming here that this is known for underground techno. I think it’s only been the last couple of years that they’ve been kinda letting house kinda move into this thing which I’m really excited about. But I definitely think about it when I’m headed to the gig. But I definitely prepare mentally for that. And I’m really excited about it, to be honest, I played here but it wasn’t a sanctioned party for BPM many years ago and I played at a club at the time was called Pink Elephant. Great party, it was rammed, such a great vibe. But I’m really excited now to come and kinda do a BPM party and be part of the whole thing because, y’know, I’ve sort of been at a place in my life now where I’ve been sort of switching my sounds to what I used to do back in the day. And I’m really excited about it.

Other than Ibiza, where is your favorite place in the world to play?

I love playing anywhere in the world where the people are really into the music and give me as much energy as I give them. When the energy and the vibe are right, it does not matter where I am performing, those nights become unforgettable. Having said that, if I had to pick a favorite place, I truthfully can’t just pick one place. I have had some amazing nights in Brazil, Greece, Italy, Spain, France, UK and of course at home in Los Angeles, Miami and New York.

What is the sound that inspiries you these days? What gets you excited about making music?

For me, there isn’t a face for house music at the moment. There’s a lot of tech-house guys, there’s a lot of techno guys, but as far as house there really isn’t. And I kinda wanna become that, but still encompass all that stuff. Because really at the end of the day, isn’t it? All of it’s house music. But what’s turning me on right now, I like that melodic, y’know, atmospheric kinda deep sound but I wanna bring in some really cool vocals. Nothing diva-ish, nothing poppy, more like Björk-y kinda melancholy, kinda vocals.

What have you got coming up in the foreseeable future in regards of the label and your own productions?

I have a record called 'Gone' with Junolarc, Chris Child and Ora Solar that's just come out. Danny Howard just premiered it on his show the other Friday. I hope it's going to be a big summer record in the clubs. I have another record with Andrew Cole featuring Kylee Katch 'Cocoon'. I have two vocal records coming out this summer with a girl called Bella Hunter, the first is a Latin thing. There's a lot of records plus the relaunch of Sondos and the relaunch of Subliminal Soul, so no shortage of projects. 

What are the future goals for Subliminal?

We have three labels and one that we will relaunch again next year. We have Subliminal, that encompasses any style; Subliminal Soul, which is for Deep House; SONDOS, which is our Techno/tech-House/Tribal imprint; and then Subusa, which is a little more mainstream. For me, it is still about quality music and continuing down that path to be a label DJs go and check because they know the quality is good. I also want to mold younger, up and coming talent as well. We are really focusing on that next year. Then, we will have a bigger presence at events again, and in Ibiza.

A Sit Down With DJ Neelix


Hamburg based artist Henrik Twardzik, better known as Neelix started to produce music in the early 1998. After DJing for some years he finally decided to create his own sound. Untill now Henrik has released 3 albums and many singles. The third album “Same thing but different” is already released on Millennium Records. Besides Henrik also belongs to the founders of the hamburg based label Glamour Studios.


"Only listen to the people who are like you want to be. Not to those who are like you do not want to be. And do not be afraid to write to someone you want to know about."


What do you think it is about the music you play that resonates with people on such an emotional level?

It’s emotion. I really put a lot of emotions in the music. People can relate to this. I am slightly sad inside and in my music as well. It is not on purpose. It is just happening. When I was a kid, I hated my glasses and destroyed them all the time. I had a sticker on one glass and was always the weirdo with these glasses on. So I didn’t like them. Now I made my glasses my brand. It’s my way of making my peace with it. I also put my beliefs in my music like saving the planet, stop eating meat, even the voice of my brother who died when I was 20 years old is in a lot of my tracks. It is my way working with these topics. Art as a way of therapy. I think this is just authentic and real. And real is awesome, and fake is weird.

Have you ever thought about experimenting with genres other than Progressive Trance or Psytrance under a different alias or even just with your current productions?

I did already but no one knows. I make music for myself. My scene is underground and the thing with underground and hippies are that they are the most conservative people in the world. They are not free and relaxed. They may say no to pain killers because they’re ‘bad for your body’ but then they ask for LSD?! They always try to teach you how to live but you can’t tell them what to do.

How would you describe this feeling on stage when you play in front of thousands of people?

It is a feeling that differs constantly. Sometimes I feel so good and sometimes I'm really nervous. Most of the time fortunately, it's a very good feeling! If people are having fun and smiling, then me too. But it works the same way in the other direction.

Electronic music is becoming more and more mainstream every year, do you ever think its going to get to the stage where every show on normal national around the World has at least two straight up electronica tracks in every hour?

I think not. What we listen to and what I do is still underground music. I had once a track called “voices” which was really successful, they played this song on the German radio and on the television in some daily soaps but only because this track was in a famous german movie and the soundtrack of this movie includes this track. I would love to hear some progressive trance tracks on radio but in the near future but it will not happen.

Apart from the Trance, what other genres do you usually listen to on a daily basis? Jazz for example? 

Yes! Something like that, Stevie Wonder . Or even Hip Hop. But I do not really listen to electronic music in general. I do not have a favorite track. To be honest, I do not really like House. I do not know why but .. I think it's these vocals, I do not understand this "Oooh Yeah, come on .." What is it? Twenty years that lasts! 

Do you still enjoy being involved in the electronic music scene? Having said that you don’t really enjoy the genre do you still take pleasure in live performances?

Yes I do. I don’t know how to explain it, in every artist there is a point where you are not sure if you’re doing it right or playing what people expect. This pressure and fear is always there and is part of the flow of creativity. Imagine a picture in black and white and I show you the picture. I ask you “Is the upper 50% or lower 50% more white?” You wouldn’t need a second to tell me because it’d be obvious. If you ask 100 or 1000 people, they would all get it right. But if you repeat the experiment with another group of people and tell them that they would get $1000 if they got it right, a lot of people would get it wrong and it would take 3 minutes for them to decide. It’s the fear that you can lose something, which can take the fun out of it. When I play now it’s good because before I had a moment where I thought I needed to do something different. So you just need to have no fear.

How long have you been an unbelievably awesome and totally gifted dj for?

I started DJing in 1996 but honestly only for two gigs… then I decided already to produce my own music. I started seriously to produce music in 2001, I bought my own computer and my first keyboard. Since then I try to produce every day. It’s a kind of a drug for me. I really can relax best when I produce music.

What artists and what music inspires you? 

I am inspired by artists such as Daft Punk and Michael Jackson, Simon & Garfunkel. I don’t like to get my inspiration only in the gerne I produce for. Turning your head and brain off is very important. So you make sure that you not only copy things from other artists of your genre or scene. I love to get inspired by movies or commercials, too. By moods. And when you found inspiration you could not stop producing. I even can’t sleep and have to finish tracks in the middle of the night when inspiration hits me. Great feeling. Always.

What advice would you give to those who would like to work in the world of music? 

You need to be authentic. You know the songs I've done that have been most successful, there's my brother in .. And he died 15 years ago. So you can hear "It's my life there" there are my friends in there, quantum physics, all my life is in it. And for example at the moment I found very good vocals: a guy who sings and I put the song on my song and it sounds really good. Then I discovered it was Charles Manson. I can not use it, it does not!

Ð?аÑ?Ñ?инки по запÑ?осÑ? interview with dj neelix

A Sit Down With DJ Nina Kraviz


At this point, the Nina Kraviz story is well known to just about anyone who's been paying even a modicum of attention to dance music over the past few years. Born in Siberia and trained as a dentist, Kraviz worked her way into the electronic music circuit and eventually became one of the world's most recognizable DJs.


"I believe that if a DJ that doesn't dance, I have to think if I like him. There should be something wrong if they don't." 


What is techno to you?

Great historical and cultural phenomenon, a musical genre, animal instinct, communal feeling, no sugar added, abstract art form with no rules and absolute freedom of expression.

One of the main features of your approach as a DJ is to both entertain and educate an audience. Does the environment you are playing in – like a festival versus  a small club – make this goal more or less difficult to achieve?

Not at all. I always play what I feel like playing. I don’t plan my sets all that much – I prefer to just feel the moment and feed off that.

When writing music, do you always start with a specific idea, or do you just experiment until you find something you like?

It comes across in a very unpredictable, spontaneous way, with my inspiration as a central point. Normally I feel like my muse comes to me, then I connect everything quickly, hit the "record" button, and start fooling around with a melody or an idea in my head. Then my synth will suddenly do something crazy and I deviate into a totally different direction. In the end, out of an hour of live recording, I only leave the best mistakes, authentic-sounding sporadic moments in between wonky harmonies that sound the most interesting.

Speaking of finding music, you grew up in the Siberian city of Irkutsk before the Internet made things readily available everywhere. How was it for you sourcing music?

That’s a really good question. It was not easy. Even though Irkutsk is culturally quite vibrant, and in fact has developed jazz scene, there were almost no record stores that focused primarily on electronic music. So buying music was tough. I would usually need to go to bigger more general music stores to buy CDs and mixed compilations. At that time I worked for a radio station and did some work as a music journalist. The radio station was great for finding music. I could get access to the CDs that the radio station would buy, and bolster my collection with music from friends, and even where necessary pirated material such as burnt CDs, cassettes that had been recorded from radio, and MP3 compilations. I know lot of people are very anti-piracy, but I’m honestly not that strict about it, because back in the days it actually provided me with a great opportunity to access electronic music in a place where it was hard to do so.

How would you describe your sound from an artistic point of view?

My sound is constantly evolving but I always liked music that sounds as if it was made as a result of a coincidence of unplanned creative sparkle. Such music is made for the right reason-no reason.
I like it when music isn’t too obvious but rather understated.

You lead a very intense life; how long do you think you can keep it up at the current rate?

I hope I can release another 10 albums before I even start to think about it.

Do you have any vision or personal predictions about music evolving in the future and that its position in the world?

Like one of my Russian colleague Anton Kubikov once said “ B ??????? ?????? ????? ??? ????? ???????”
“In Future Music will be booming as it normally booms” or something like this. In Russian it sounds really dope.

What is the hardest thing you have learned since becoming a full-time artist?

To stay awake when I should have been in bed a long time ago.

What was the last thing that made you really laugh and why?

My boyfriend's refusal to marry me. It's hilarious.

What can we expect from you and ???? in the future?

More awesome music.

A Sit Down With DJ Stephan Bodzin


For many years, the Bremen-born musician and label head—widely recognized to be a hugely influential figure in the global techno scene—has been acknowledged for his production work, an endeavor of his that can be traced back to his earliest years where he dabbled in the studio with his father before releasing his critically acclaimed debut album, 2007's Liebe Ist. As for his DJing, it has always been perceived as the secondary part of Bodzin’s artistic repertoire, something that is perhaps understandable given the quality of his production—and the fact he didn’t even get behind the decks until after his 36th birthday, over nine years ago.


 "I've been living with and from music for as long as I can remember. I just can't imagine another kind of life."


A little birdy told us you’re working on a live show for the summer. We see you’ve got gigs coming up across Europe and Australia – what can we expect?

You can expect me standing exposed in front of the booth, manipulating music in real time on a crazy crazy custom made 600 LEDs prototype-style controller which is reacting with light on every little knob I turn to let people experience a true live performance. It also comes with amazing slow-mo visuals by the outstanding artist Daniel Rossa who based on the album artwork, actually the album artwork is based on the visuals. This guy already light up the Sydney opera a few times, so expect something super nice. For the big shows I´ll bring one or two moogs of course.

Things have been quite quiet from you on the production front over the past few years, was this a conscious decision? 

I’ve been travelling so much, and felt that I wanted a good long break from production. After so many years and so many records, I felt that it was a good time for me to travel the world and enjoy different things besides producing...but I’m back! I’ve got a collaboration with Marc Romboy in the pipeline, which we’ve just finished, half of my album is done, which I’m optimistic to have finished in the summer, and I’ve got a nice remix out there, which is working very well for the Super Flu guys.

What can you tell us about your current setup?

I work manually with CDJs and SD cards and use some classic, external Delay and Echo effects by Boss. Making it simple, playing some good music. My new live set will be a lot more fun though! It's supposed to be finished until my album tour in June. The guy who also put together the famous Abbey Road mixing console at the Riverside Studio will build a completely crazy controller for me. Custom-made, full of LEDs. It almost seems like its glowing when it lights up thanks to the Perspex case. I'll use it to control VSTs in real time and as a step sequencer. A neat little device!

You have an emphasis on authenticity and an ear for sonic perfection. You once said “Without it, everything would appear to be nothing more than a hollow shell”. How does that statement resonate with you today in regards to the direction house and techno has taken?

I don’t give a sh*t on any directions any genre takes at any time. I’m doing music from the bottom of my heart and find it kind of difficult to recognise a direction these days as everything turns around 180 degrees a day later. I like the fact melodies and deepness came back to techno over the last 3 years. Pretty sure it will disappear again and come back and so on…so, reflect yourself, stay true, focus on your emotions.

What’s your favourite city to play in, and why?

London, of course –  The crowd going totally nuts!  Seriously I have had so many huge nights in London at Turnmills , the amazing Lightbox and my favorite one and everybody’s darling: the one and only Fabric.

How do you find the balance between your deep sense of dancefloor and your emotional strength? 

It's true that sometimes it's difficult to listen and dance at the same time. I get quite varied reactions when I play the tracks of my album Live. I believe that the public no longer seeks to let off steam as before, that it wants to be more in the feeling of the music, the sharing and the introverted experience. I love to see the smiles on the dancefloor. 

Is your new music the result of a new kind of hardware-based producing?

Before, I exclusively did computer-based work. I did work on a lot of percussion-stuff with the system 100 by Roland. But I'm rather building my own samples to work with. I'm not running a chain of MIDIs on my Sub 37, I recorded a lot of my own stuff on there too. Internally, it's all based on Ableton, Steffen Müller did the mastering.

What kind of music were you listening to when you were growing up?

I was definitely listening to early electronic stuff between five and ten years old. My father was a big fan of Kraftwerk, Tangerine Dream and Klaus Schulze and all that stuff in the seventies. He had a big studio with all these original synths and analogue stuff, all the Moogs and the Arp modular systems. So that’s what I grew up with. I was turning knobs when my friends were playing football. My father showed me everything about those synths. In a way I feel that I’ve come full circle back to that situation, you know?

A Sit Down With DJ Sean Tyas


New York’s Sean Tyas burst onto the scene in 2006 after releasing his debut single “Lift” on Discover Records, which immediately hit #1 on Beatport—a great start and a sign of things to come shortly after Sander van Doorn selected him as the winner of the “Punk’d” remix contest. Around the same time, Mixmag & Beatport named Sean “Best New DJ” and “One to Watch,” marking the beginning of a rapid rise to fame within the cooler ranks of the trance fraternity.


"Forget what your friends tell you is hot. Decide for yourself. See through the hype, the media and the bullshit."

You are originally from New York. What made you decide to move to Switzerland when you did?

I was chasing love of course. Actually I had moved to Germany first, to do studio work only, in 2004. I met my wife while I was there, visiting her friend in Cologne. After a while of long distance dating we decided to live together in Switzerland, which is where all her family is.

Who are your inspirations?

Early on, artists like Prodigy & Moby then later as I became more interested in specific sounds, definitely Paul van Dyk was my main inspiration and muse.

Is there anyone you hope to collaborate with in the coming months?

I’ve already started a collaboration actually with my idol, Paul van Dyk! I am so completely excited about that. He’s got all of the stuff that I’ve done; now I’m just waiting for his part to come back to me. I don’t know if I’m going to have to do some more work on it. I’m content to let him run with it at this point because I’ve done my part. It’s for his ‘Politics of Dancing 3” compilation and I’m really excited to see what it’s going to sound like. He is someone I have wanted to work with since I threw down my first kick drum in my first production ever. For 2014, I would like to do another collaboration with Giuseppe Ottaviani or Tomas Heredia, but I’m really going to be working really hard on my first album. But I’d love to have Ottaviani on the album, so we’ll see.

You dropped a few spots this year, but you are still on the DJ Mag Top 100 list. Does that list mean anything to you as an artist, or do you forget about lists like and that focus on your music?

Oh now I certainly can forget about it. This year more than ever it was really noticeable how sad an underground scene of electronic music now depends on this 100 person list with data assembled by who has a greater media reach. I don’t want this to affect what I am doing in the studio and how good I do it. Disappointment and frustration do not help one out in the studio, and to separate myself from caring will be liberating, and much better for my output.

What’s your opinion of DJs who do sets in Europe then do a show in America as a completely different style?

I think it’s good, because at least it shows they’re not playing a pre-recorded set, or at the very least pre-planned set. I’m all for that. I think if they’re playing to the crowd — that’s amazing. Markus Schulz& Armin are actually ones who do that pretty well. These are DJs that modify their set to be custom to the crowd, or at the very least, what they think the crowd wants to hear in these places. It’s nice because people are getting what they paid for. For example, if my parents go to a Rolling Stones concert, they get pissed off if the Rolling Stones only played their new shit. If they come back and say they played all their classics, then they say that’s an amazing concert. It’s a balancing act for a band or even a DJ to balance, the familiar stuff with the unfamiliar stuff.  It’s the same for me; I  prefer to play all new stuff, but you can’t do that, there needs to be a balance.

You recently brought out a track with Armin van Buuren, called "Intricacy". How's that one doing now?

It's not a single, but strictly for the album. They may actually releasing it as a single. There's a remix coming up, so there's more to come.

Your highest ranked track on Beatport is “Arcobaleno”. Which other tracks of yours would you recommend to someone that is not yet familiar with your music?

I would of course recommend them to check out Lift, as it was the most popular track I have had, it actually didn’t chart well because it leaked months before release, quite brutally as well. Other tracks of mine I’d recommend would be Tingle, Seven Weeks, Zahi and Banshee.
What about your Swiss fanbase? Do you have a solid fans community in there?

To be honest, I don't play that often in Switzerland. They're not so "trance" - the scene is big for hip hop R & B and believe it or not, also for minimalism. That's kind of shame because a decade backwards you used to have this great trance scene in Germany, Switzerland, Austria...You know. People used to say trance was the symbol, the scene of German-speaking countries. But some DJs released some bad trance tracks a few years ago and somehow people just got sick of it. So I mostly play outside Switzerland around the world, as far as Latin America, and yeah I would say my fanbase is international.

Electronic dance music has never been as popular as it is right now. But it is still more popular overseas. Do you find yourself playing more shows outside of the US because of the scene?

Outside of the US has always been my strong point. In other years, of course my BPMs were much higher, and many countries such as Holland, Argentina, and Australia for example, seriously embraced these crazy tempos. These days, the world of dance music is slowing down a lot, and I don’t mind at all. It’s finding a new middle ground, where people can dance their ass off but not leave a sweaty disgusting mess.


A Sit Down With DJ Anja Scheider


Anja Scheider has been a permanent fixture within Berlin's clubbing fraternity for over 20 years. In that time she's seen it all, the Love Parade years, the legendary techno clubs like E Werk and Tresor, the gargantuan spaces afforded by the fall of the Berlin wall utilised by the city's artistic youth. She came to Berlin in the mid 90s, inspired by the rave scene that was happening in the capital. A driven and constantly optimistic person, she wanted to become a part of it and found a niche.


"The deeper you become involved in this business, the further you get away from music."


You've been involved in electronic music since the early 90's, what changes have had the biggest impact on your music career?

Ffor me personally for sure it's changing from playing vinyl to  cd. I'm still waiting for the next change to play finally with Traktor.

Are there any really embarrassing DJ moments you would share with us? Or if not what is your worst DJ scenario?

Too many to mention I'm sure. But I hope as I get more professional I'm getting better at my “cool face” when I mess up or play the wrong track—it happens to the best of us. I think my most embarrassing moments (and probably with alcohol involved) are when I think I'm dancing in a super cool way, when in fact I'm not and it's up on the internet the next day for all to see. Social media is a curse for this.

Were there any obstacles in the beginning of your DJ career?

Of course I had problems when I started, because I wasn’t a pro directly, so of course I had a lot of really bad gigs, especially when the sound system is not right. I had to practice in my living room quite a lot; I used to be really nervous and sometimes I still am. But I think I was always kind of lucky, because there were always the really good gigs as well.

You entered into the world of DJing through a quite unusual route, first through radio production then through presenting. What advantages and disadvantages do you think taking that route had for you compared to the route others have taken?

I don't think it was too unusual to come from that background because some other DJs started like I did. For me it was all quite natural and organic. When I started the radio show I was playing techno and electronic music and so I soon started to get requests to play in clubs. At the start it really was quite hard. When I started the show, radio had a completely different position, it had way more listeners than nowadays, but it was easy for me because I couldn't see all those people. This was my first problem when I started as a club DJ, seeing the people and seeing the direct reaction. I was super, super nervous and of course I made really bad mistakes in the beginning, but going out to play my music in the clubs was one of the best decisions I ever made.

What is your favorite part of this job?

It definitely isn’t traveling. Don’t get me wrong, I love to travel and to discover new countries and meet different people and I feel blessed that I get to do this, but the time wasted in the airports and on planes really starts to get annoying. I love my job but if there’s one thing that I could change it would be that.

Scarily to some people, I know you have a life outside of techno too—what's your favorite non-techno thing to do in the world?

A life outside techno! Of course I have to have life outside of this—I am a mother of a three-year-old boy, so a lot of my time is spent far away from techno. We like to hang out in the playground, play football, and our favorite time is in the morning at breakfast and our dance experiments together in the kitchen—best party ever.

What is your best gig ever, if you can recall a particular one?

Had so many good gigs and intense times. It’s always very difficult for me to pick one. But for sure the best moments are mostly when we are all together — Barcelona rooftop moments are always ones to remember.

You travel a lot with your work - is this as big a blessing as it looks to us non DJ's?

To be honest, it must seem to be a lot of fun, but the traveling itself is a nightmare. You waste so much time at airports in crazy security queues (and most of the time they treat you really badly),  

you play a big part in destroying our environment, you are far from home etc.Although at the end you have the opportunity to meet the most incredible people all around the world, which really opens up your own  


How does the music differ that you get to play on the radio compared to what you select to play in a club?

On the radio you can go much more wild and weird. And you can play some more pop-y songs. The last gig I had was in Ibiza, at one of the closing parties and there it was just 'BLAM BLAM BLAM', so you can't do that kind of thing there. The radio gives me a lot more freedom. Also, because I have so little time these days, the radio really gives me the opportunity to listen to a record properly, from beginning to end. That sometimes really helps me decide what is really going to work for my DJ sets. T

Tell us about your new label Sous Music and your coming EP ‘Prosperity’.

‘Prosperity’ is the most ‘techno’ EP I’ve ever done. I have loved this style since the beginning of my career and have always had a big love for Detroit and old school sounds. But of course you have to be really careful nowadays because techno seems like the new EDM and not everything is to my taste. For my label Sous Music I’m very strict and happy that I have this imprint that allows me to do exactly what I want. I’ve still got a lot of music waiting to be released.

A Sit Down With DJ Matt Darey


Matt Darey is a producer of many genres of electronic music with writing, producing and remixing both underground club tracks and the occasional top 10 pop chart hit. Matt kicked off 2016 so far with two top 5 UK club chart hits “Keep Talking” and "Lubeno" under his “Lost Tribe” big room alias.


 "I love my thrash stuff – I just ended up getting caught up in the whole trance scene – but I’ve always had a weak spot for it."


You've been active in the dance music scene for a long time, but can you tell us how you got involved into music?

I came from a musical background. Everyone in my family, my two brothers and my parents played an instrument. I wasn't into the idea of being a classical musician, just wanted to be in a rock band. At the age of eleven, it looked like they had a lot more fun. I started as a singer in a band at the age of fifteen, then later on I went to my first EDM event and had a lot of fun, so much that I changed genres overnight and started making drum & bass. That led me onto getting a six album deal with Warner Brothers and Sire Records. 

You are a producer, DJ, radio show host and founder of Your own label (Nocturnal Global). How do You balance all these responsibilities without comprising one or another ?

I think the main thing is to get the balance between these things and your personal life. It’s always a juggling act and there’s never enough time to do everything you want to do but the label, Dj-ing and the radio show all go hand in hand so it’s not too crazy. I have some good people on the team that you don’t see out there in public without whom I would never have a life of my own.

If you were to name a particular country which will be the new hot favourite place to go for dance music where do you think it would be and why?

Funnily enough, from what I hear china could be that country.  I have to see it with my own eyes .  Also E Europe is growing on the club scene and I have a lot of touring planned there also. 
When you're making music, is there any ritual you gotta perform, I mean, like a certain ambiance you must have, a special mood?

Not really, just lock myself away and start playing on the piano to get a good melody, everything else goes out from there.

What's the worst club you've ever been to?

I think probably when I was in a band, We used to tour the universities all around the UK, we played some dingy clubs, but still had fun.

You have been running your regular radio show nocturnal. How has this supported your career and developed your name worldwide?

I suppose it has.  I t started as an internet show back in april 06 and now it goes out weekly to over 70 FM stations in many countries.  I wanted to do a show because there was no one playing all the great music I was hearing from across the many genres of dance music.  I love breaks, electro, progressive , trance, house and so much more.  Someone needed to bring it all together and expose the best of what Dance has to offer so I thought I’d take up the challenge.  We also bring in some of the worlds best DJs each week to play a guest set.  

You have launched your own record label - Mash Up Tunes.   Is this going to release your own work or will you be looking to sign new talent?

Mostly my own work and this will be in association with other labels like Incentive and Liquid Assett who released From Russia with Love.   When I have got all these records out into clubland I will be looking to take on talent from outside..There is a lot of great stuff out there that I would love to take on but I need to get established first.

You have proven to be a chameleon of sound and have produced a variety of releases from Breaks to House and from Trance to Progressive all the way to Rocktronica. So You are not going to be pigeon-holed for a distinctive style. Is that correct ?

Well, I guess people know me a lot more for Trance than anything else, I was there from the start of that genre and still make some big Trance records. However as a DJ, my styles are so diverse as most listeners to my show or live sets will tell you. I’m always just going to play music I love no matter where that takes me.
Trance is identical with drug-use. Do you expect your crowd to be able to enjoy your music without any help from special substances, or do you have any other views about it?

Yes, maybe a few drinks to loosen up. I find that I see less and less of people in the crowd out of their minds. I think if the music is cool and as a DJ you create the right atmosphere interacting with the crowd all the time, you can have a lot more fun when you have a clear head.

A Sit Down With DJ Fresh


DJ Fresh is one of those talented producers who manages to be versatile while still maintaining a distinct sound. Like everyone in the Oakland rap scene, DJ Fresh has made a ridiculous amount of music. There are well over twenty volumes of The Tonite Show featuring everyone from Yukmouth to Raekwon. But unlike most of insular Oakland, Fresh has his roots on the east coast.


"I decided that if I’m gonna die I want to die with music behind me that I’m proud of, not just trying to reach high up the charts."


Obviously the charts have been completely dominated by dance music over the past few years, where do you see it going in the next two to three, or even four years?

To be honest, coming from a label and looking at the history of what’s been going on, the charts go in cycles and that’s always been the way with music in general. So, it would make sense at some point in the future that things are going to go back to a more acoustic and instrumental way whether it’s rock or that sort of live feel. Things can get saturated and people want to hear something new; there’s only so far you can go in one direction before it feels like it’s time to go. I’m always trying to do that with my music, after a while I try and find something else and go off in a slightly different direction and I think that’s going to happen with me with the album after this one. I think there are tonnes of different types of dance music and especially bass music, you know, it’s only just starting to get taken seriously in the mainstream and the more seriously it gets taken, the more opportunities there will be to break through with new music.

Why’d you decide to move to LA?

I felt like I got to a ceiling in the Bay Area. I literally worked with everyone more than once, more than twice, more than I can count on one hand. I’m never gonna forget The Soil but the only way I felt I could expand and make a better business out of my brand is to come to LA.

What is the sort of process that you have to go through to sort of fine tune? What do you look at?

It’s just re-adjusting your mental configuration because when you work at another station, another format, you know, you rewire your brain to adjust to that. So for me, it’s just re-wiring the way I think, the way I do things. The system is different, for instance, the music is slightly different. It’s another team now, um for instance, you know where ads sets, clocks are different and all of that.

How your music has changed of late?

I find it a bit irritating because I did 15 years of some of the biggest tunes in drum & bass. It's annoying hearing kids who have probably only been into the genre for a year telling me I've sold out. I really care about that sound, but right now I want to do something different. I feel like I'm in a place where I can make whatever sort of sound I want.

We’ve heard you are currently working with amazing artists such as Tinie Tempah and Icona Pop, what can we expect from your future music?

Definitely more of a return to club bangers, I’m working with some great singers/rappers who I’m fortunate to now know and have relationships with, but I’m always pushing them out of their comfort zone. Watch this space!
You've been making trap recently. Is this a new direction for you or just an experiment?

I make literally everything. I want my sound to transcend one genre. So far I’ve already had three top tens in the UK with different genres. I’m pretty sure that’s a first!

So you were like a generation after Q-Bert and the Invisibl Skratch Piklz?

Yeah definitely. That was my brother’s generation … Q-Bert, Roc Raida—RIP Roc Raida! His generation was that but also Craze, DJ Babu. My generation was like DJ Klever, DJ Relm, those guys. I went far in battling but only for like two years. In ’99 I placed 3rd in the USA and I placed 2nd in the DMC in Washington, DC. 99/2000 was my biggest battle years and right after that I went on tour with Nas.

What surprises can we expect?

There's a project that I'm involved in that might be used, which MIA's also involved in. There's some instrumental stuff, and the album is going to be not so much of an album, but kind of a compilation. The great thing about that is I can release some music that isn't necessarily aimed at being avant music - it's more playable.

Recently you've masterminded some very popular remixes, what is it that makes a track stand out enough for you to remix it?

It's got to have a good hook, and something that will fit into the sound I'm pushing at the moment. I've been using remixes as a chance to experiment with the new future jungle sound I'm pushing.

How are you feeling about performing as a live band? You yourself are actually playing keys now!

Yeah I love it mate. It’s something that I’ve always wanted to do since I was a kid, much more than DJing. Being a DJ was something that I was asked to do when I started making tracks and I only took the name DJ Fresh when I was on pirate radio. Some of the guys said I needed to come up with a name and they scratched this record which said fresh and said to me, ‘Why don’t you call yourself DJ Fresh?’ It was never a statement about the artist that I was, even though the stuff I’ve always been doing has been dance music. I’ve always been someone that is into playing instrumentals and I’ve wanted to set up a band for years so it’s kind of my dream to be honest. I’m really, really enjoying it and it’s going really well. The last couple of tours have been sold out and momentum building with a really cool fan base. It feels like we’re bouncing off them so it’s really exciting.

A Sit Down With DJ Third Party


In a world of hype, fads and overnight success, Third Party has let the music do all the talking. Childhood friends turned accomplished studio outfit, a reassuring level of respect has met Jonnie Macaire and Harry Bass’s journey from the unsuspecting backdrop of Essex into the forefront of electronic music.


 "So it’s like as soon as you start chasing another genre for the sake of business, you’ll go down a bad path."


How was collaboration with Martin Garrix?

It was great. He's the most down to earth guy so for us it was a pleasure working with him. The track flowed naturally into a festival banger, then we spent a few days in a London studio nailing the vocal with a super talented songwriter.

Where was your first show?

Our first show was for an 18th birthday party in our local town. Our first real show as Third Party was in Miami which was a pretty crazy start to our career.

What do you dream of doing as a DJ? If you’ve done it what was it?

To headline a big festival and to play at a Size Matters pool party of course!!

Give us some insight on the new album ‘Hope’. How did the idea for the album come to life and what is your vision and story behind it?

We came up with the title of Hope as we felt this represented what we wanted the message of the album to be as a whole. We want people who listen to the album to be inspired the way we were inspired by music we listened to growing up. Also from a human level, music has the power to create Hope for someone in any aspect of their life, so if any of the songs can motivate/inspire/help anyone in anyway we will feel it was all worth it!

You’ve worked with and remixed some of the biggest names in dance music. Who would you like to collaborate with, but haven’t yet?

It’s probably said a lot, but acts like Daft Punk and Coldplay. Those artists that have the ability to create that magic and originality that very few people in the world can do.

How do you get the inspiration from when producing music?

We're most inspired when we surround ourselves with positivity. Whether it's in the studio, on tour or at home. If were positive and enjoying what we're doing the music flows naturally. It's not a job this way. We want to sit down and take things on a journey and enjoy doing so.

How does your music stand out from the rest?

We like to think our music stands out because it mixes quite a few different musical inspirations. The main core of our sound is progressive house, but you could say there is a bit of everything in the productions. One of the main things we like to do is sample old vocals into our music. We really like the fusion and vibe they bring to the music that slick vocals just can’t bring!

Favourite recent gig, either played or attended and why?

SHM at Brixton…it felt like a rock concert, they tore the roof down!!

It seems like these days you guys are the ones keeping the progressive house we all love alive. How are you guys doing it? We’d expect it to be a challenge to keep up given the current influx of Flume/Chainsmokers-style of tracks.

Progressive house has always been our first love coming into the industry so why change what you love? I think if anything the influx of similar sounding tracks trying to follow trends has made our vision and direction even stronger.  If you fall into the trap of following trends it becomes very difficult to create your own identity which is very crucial to have longevity in this industry.

Do you have any advice for anyone starting out in the industry?

Just stay true to yourself. We’ve really tried to make a stand with this album and say you don't need to make radio music or follow trends to follow your DJ dreams. Just make what you love and make it the best sh*t out there, even if it’s not what’s trendy or in fashion! Good music always shines through in the end. You just have to be patient sometimes. Hopefully that reflects in our music, and even if it inspires one fan then we’re happy.

A Sit Down With DJ Roger Sanchez


Roger Sanchez a.k.a. S-Man has been conquering the dance music circuit since the late 80s riding the wave of creativity, passion, and major success. He’s collaborated with a plethora of music icons including Michael Jackson, Janet Jackson, Madonna, Maroon 5, One Republic, and No Doubt. He is a four-time winner of the DJ Awards ‘Best House DJ’, has produced countless chart-topping hits including ‘Lost’ which reached #1 on the Billboard dance chat, AND he won Grammy for his remix of No Doubt’s ‘Hella Good’ in 2002. His name is known and respected across the globe with residencies in Ibiza’s finest clubs for nearly two decades.


"Everything has a foundation and the track is a construction. The skeleton frames, the beams are the bassline, and you build it up around that. I treat every track as a problem that I have to solve."


 Your so busy with your career, how do you relax?

I love taking downtime and hanging out at the beach in summer or going to the movies. I’m getting back into the gym lately and my martial arts - sometimes you have to just disconnect. I love chillin.

Which DJs are in your crew now? Who are you tight with? Who do you see socially?

Carnao Beats, Huxley, Cocodrills, Man Without A Clue. Darius Syrossian's pretty cool. I tend to bump into people at airports and hang out with them in places like Ibiza. 

Roger Sanchez and S-Man – explain the difference....

S-Man has always allowed me to experiment with darker sounds.  As Roger Sanchez, the house sound has always been more traditional and uplifting.  But now specifically?  S-Man is allowing me to explore sounds from the UK bass scene as well as some deep techno roots.  It’s a bass-driven thing, which actually takes me back to the S-Man stuff I was doing in the Nineties...only it’s even grittier.  As for Roger Sanchez, I’m still about those vocal, uplifting records...very soulful and maybe with some Latin elements.  It’s proper house music.

You’ve played at almost every club in Ibiza for over 15 years, and now you’re joining the ranks of beach parties at La Plage – tell us about it?

I wanted to do something different with my label Stealth rather than just fold it into a night at Release Yourself; I wanted it to be focused on other artists rather than myself. A beach party is a lot more relaxed, more chilled and a different vibe. I’ll be there hanging out, which is a big change for me, because normally I’m behind the booth…

What are some of the best/must visit spots in Ibiza?

If you’re talking club-wise, you definitely want to check out  which is the re-done Space. They did an amazing job refurbishing the space. I also think Pacha is a must visit, especially when Solomun is playing, he’s got a great night there. Find out when the Elrow parties are going on, I believe they’re doing it at Amnesia this year. Those parties are always fun. I also like this party called WooMoon that they do in Cova Santa which is really reallly interesting. Very interesting vibe, different kind of music and a really cool crowd.

What is your favourite aspect of performing at the new Hï Ibiza venue and why?

I confess that the main room at Space Ibiza didn’t hold as much attraction for me as the Terrace did, but the new main room at Hï Ibiza is next level. This main room feels comfortable and epic at the same time. I think they did it right.

Being many years into your career you have experienced a slew of summer schedules. As this is always a particularly busy time, how do you prepare for the rigors of the summer? Do you have a certain protocol to maintain health and mindfulness?

One thing I do is try to set up some time for the gym whenever possible, get as much rest as I can and drink LOTS of water. When the summer is in full swing all the flying can take a toll and the way I cope is to manage my rest time very carefully.

It's a boring to debate the pros and cons of vinyl/digital sources, but for you specifically how do you think the switch has altered your style, if at all?

When I did switch over from vinyl to CDs I did it for two reasons, that it enabled me to bring a LOT of music on the road with me. The weight restrictions and the physical difficulties of taking a lot of vinyl on tour... Then there was the fact that I could do things that were a lot more interesting if I went digital, in terms of loops, acapellas... Every now and then I still do a vinyl set, but I'm able these days to bring a lot more newer music on USBs. 

What do you think of the current house music scene in NYC? Can we still dance?

You can dance, of course you can! The thing is that New York had it rough you know first there was the Mayor trying to build a platform for his career by ‘protecting’ the kids who were dying in our nightclubs by closing them. It was very political and clubs were a scapegoat to politicians for a while so it was all misunderstood and that hurt the scene. 9/11 really brought New York down too but there’s a slow resurgence now in New York’s nightclubs. Many of the kids are into hip hop and if they’re into house it’s the harder end stuff so seemingly the older crowd don’t want to go where these young kids are. House music is more adult, so venues have to cater for that maturity, plus the kids who’re growing into house music later too!

A Sit Down With DJ Fake Blood


Theo Keating, the once mysterious man behind the Fake Blood alias, has been twisting and mangling beats for almost 20 years now. Across his lengthy back catalogue, from the Wise Guys and the Black Ghosts to his Fake Blood remixes over the last few years, Keating’s certainly demonstrated an ability to change with the times, keeping his music up to date whilst still drawing on the sounds of his past. Cells, his debut album as Fake Blood, is no different.


 "Styles change, and the cloud of bullshit and PR has increased – but it’s basically the same animal."


How did you get in touch with electronic dance music in the first place?

I first heard house music as a teenager, listening to pirate radio here in London. That was the pipeline to everything that was happening musically in and around clubs etc - the latest tunes from Chicago, Detroit, NY, Europe, and of course right at home in the UK. An incredible source of music, especially for those of us who were too young to actually go to clubs!

We’re loving the new remix for Totally Enormous Extinct Dinosaurs. Is re-imagining other people’s work something you see as essential to what you do? How does the experience differ from writing your own music.

I’ve always enjoyed doing remixes, as it gives me a chance to try out ideas and sounds. It’s a great outlet for ideas that may not be right for the tracks I’m making for myself at that point. Plus you’re given a set of components right from the start, rather like being given ingredients and then told to cook whatever you like with them. There are many possible outcomes, but having those building blocks from the original song is what can start the creative process flying off in one direction or another. Whereas with one’s own tunes, you have a completely blank page to fill. Both are enjoyable and challenging, and I think both are great exercises in learning how to produce and advance. One hand washes the other!

What was the best and the worst gig you ever played and what was the funniest thing ever occurred during any of your performances?

I'm terrible with this question! I've always found it impossible to single out one specific gig as being "the best", as there are so many factors involved. Although it's probably more likely to be a mad sweaty basement party than a huge event. That's the acid house in me talking! As for bad gigs, I tend to forget them unless something really terrible happened.

You also have your own record label, Blood Music. Was the inception of Blood Music primarily for the release of Fake Blood material, or did you always want to sign and release music from other artists?

I didn’t put out any of my own music until the 28th release! It was always meant to be a platform for me to give wider exposure to artists / tracks I was sent or discovered, rather than something that was self-serving/self-promoting. But fuck it eh – why not put out one’s own tunes! 

How has the process of marketing music changed for you since the start of your career? Have you noticed a difference?

Big question. The obvious answer is that the artists is now more in control of, and responsible for, their own publicity and profile. This can make things more “direct from the artist’s mouth”, which people usually prefer to being fed comments and pictures have been filtered through a public-relations net. But it can also lead to a slapshot effect, where everyone is just posting any old shit, hour after hour, in a bid to maintain things like “engagement” and “reach”. So pictures of your breakfast become some sort of marketing commodity. But having gone this far without any PR or management, I have a pretty ambivalent attitude about all this stuff!

You travel a lot. What are the essential things you need to have with you at all times and what are the things you miss when you are on tour?

I often travel with a small portable turntable, as I will go and hunt for old vinyl on days off. And I never travel anywhere without a book. The best escape for the mind is in books, and you can never be bored. I miss London when I'm away - the place itself - and also people I know; but never "things" as such.

With all the social media outlets that exist today, there is a lot of room for shameless self-promotion. Any tips for young up and comers?

Well firstly I’d say don’t use me as an example! I had no management, no PR, no label, nothing. It was just me and the tracks I had made. But the thing blew up incredibly fast, and all without any engineering by myself. I avoided all questions, photos, attention, and let people fill that void themselves – hence the weird blogs and sites where people speculated on who I was etc. I just sat back and enjoyed watching it happen. But I don’t know that it would work a second time for anyone else. It was a very specific set of circumstances, at a particular time. However it taught me that you don’t always NEED all the media and contrived hype. If you have the music, then it can work naturally, by people finding out themselves, and making up their own minds. Many people buy this kind of coverage, and it works, but to me it always smacks of desperation. There’s a fine line between letting people know you’re out there and have good music, and begging them – or even worse haranguing them – to listen to it.

How would you say the current electronic music scene compares to the late 90s/early 00’s era that saw acts like the Wiseguys rise to prominence?

There are differences of course, but the core of it is still the same. People want to dance to music, and there are all kinds of places from big events to tiny parties for just that. Styles change (or come back), and the cloud of bullshit and PR has increased – but it’s basically the same animal. Although now we do have a particular breed of artist/DJ who are basically cut from the same cloth as city traders.

What advice could you offer to anyone looking to delve in to the world of music production?

Don’t obsess on the above. Experiment weirdly and leave in your mistakes. Thicken your skin. Take nothing personally.

A Sit Down With DJ Lange


After 10 years in a business that has earned him a legion of fans, counting among them the trance elite, Lange shows no sign of slowing down; he has carefully honed his music style into a cutting edge blend of raw and filthy Electro baselines and angelic melodies, resulting in some of the most original and characteristic trance records of recent times.


 "I like to have an idea or a feeling or place that I want to portray; but of course I’m always influenced by the sets I’m playing and the music of other, certain sounds that really get me excited."


What are the best crowds you have ever played to? 

I've played some amazing events from Godskitchen’s Global Gathering to the Zurich Street parade which attracted some 800,000 people. I often prefer the smaller venues though as it can be a much more intimate experience. One place I really enjoy playing time and time again is on a small island in the Western Isles of Scotland. I was invited up there some 7 years ago and have been going there ever since. The club is very small and holds only a couple of hundred people but I’ve had some of my most memorable gigs there!

We Are Lucky People is an amazing album, how long did it take you to put that tougher?

Thank you very much; the album took me about a year from conception to finish. I released singles along the way and I did a few new twists and things to the final project in the end which took an extra month or so. 

How have your musical outlooks and ideaologies changed over time? Are certain aspects of music more important to you now than they were 10 years ago?

Music has always been important to me, (that will never change), but you do approach it a little differently as your career progresses.  It’s a constant learning curve and as a producer, you’re always striving to make the ultimate track, but never quite achieving that. I love a wide range of music from big, epic music to groovy techno.  I certainly think as times gone by I have a much bigger respect to those producers who manage to keep their tracks so simple and minimal, yet can create such an impact.  That’s something I strive for more now in the studio. ‘Less is more’ as they say.

Your first major success was the remix of DJ Sakin – Protect Your Mind. How did you become involved with the project?

I was signed to Positiva who were releasing it and I had been doing a few remixes for them. Originally the track was going to be a smaller Additive release but the remix went down so well it got a full Positiva release and made it to No. 4 in the UK. As you can imagine it was an incredible time for me.

What is your opinion about the new generation of trance producers? Which young trance producer is your favourite?

There’s some really great new talent out there and the production quality keeps on rising. Unfortunately more than ever, a lot of producers tend to be cloning the big tracks but every now and then you get something really unique. My favourite from the new breed include Stephen Kirkwood, Tangle, Mateusz, Anske and Craig Connelly.

Why do you think there are hardly any ‘pop’ music that experiments with trance sounds?

Actually I hear a lot of ‘trance-edged’ elements in house and have noticed some cropping up in pop, although my exposure to mainstream music is pretty minimal. Can you really define what trance music is anymore anyway? I’ve said it before, I think trance music is less of a specific style or sound and more of a community of people who love to dance and be touched by music.

What’s one of the wildest adventures you’ve been on during your travels?

I’ve had plenty of trips that have gone wrong… lots of missed flights, that sort of thing. Sometimes it’s been my fault, but not usually – I’m actually fairly well behaved on tour! I’m pretty responsible!

What’s the most insane thing you’ve done to create a unique sound?

To be honest I can’t really thing of anything off the top of my head that’s totally insane. I’ve definitely had some funny experiences, such as getting the cops called on me by scared parents because I was recording the sounds of their children in a public park with a shotgun mic - and without their permission of course. Ha! Typically I start my sound design process with recordings I make, and they could literally come from anything from field recordings to taking a screwdriver to an electric guitar, to taking a cello bow to various metals. I’m really attracted to organic, modulating sounds, so that’s why I pretty much always start there. After that it could be any litany of processes. I love granular and spectral based processing of course, but even simple stuff like straight pitch shifting , or using very short delays can be a ton of fun.

With your continued success, how do you keep your music sounding new? How do you stay on top of your game?

Tough one! I guess every track I approach with a fresh idea, I’ve been told I have a certain sound by people but I try not to approach tracks in this way, which probably means I give myself extra work!! I like to have an idea or a feeling or place that I want to portray; but of course I’m always influenced by the sets I’m playing and the music of other, certain sounds that really get me excited. I’d like to think that this approach is hopefully allowing my music to always offer something different to my previous release.

When it comes to Djing, how do you select the tracks to play? Do you play promo copies of third parties or do you also buy tracks? And do you consider music from new comers or you rather opt to play it safe and only play music from known artists?

I get a lot of promos sent to me. I still go through them looking for new artists – if none of us did, we would never find those hidden gems and new talents. I occasionally buy extra tracks but in all honestly, the few hundred tracks I get a week keeps my ears pretty busy!

Do you have any tips for aspiring producers, both technical and musical?

Write for yourself and enjoy. That’s what makes you an artist, when you believe in what you’re doing. Of course, the temptation is there to just copy what’s popular into your own tracks and if popularity and fame are your sole motives, then go do the latter or just pay some other producer to do it for you!  Marketing is obviously hugely important these days. Get the word out on everything you do and give your fan-base the attention it deserves.

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