The owner of the "Frequency Made Music" label and a beacon in modern techno, DESNA, is carving a niche in the music world by defying easy categorization. Recognized as one of Dj Mag's rising artists to keep an eye on, DESNA's craft is more than just music; it's a lifestyle philosophy. Multiple studies have explored how specific frequencies can address physical ailments and facilitate emotional shifts. Some tones are even believed to possess the power to affect our DNA at a cellular level. While we all have distinct musical preferences, seldom do we ponder the underlying "why" behind our choices.

Jugar - Original Mix

DESNA's journey into integrating 'healing frequencies' into techno was profoundly personal. The inspiration struck in 2021, following the passing of her stepfather, who succumbed to cancer. In his final moments, a western doctor, amid chemotherapy sessions, suggested he explore certain frequencies. The doctor believed that particular tones might alleviate pain and emotional distress. This advice lit the spark in DESNA to blend these therapeutic frequencies with techno, leading to the birth of her unique label concept.

United States

Desna

Australia

Juliet Fox

Colombia

The Consciousness

The Room at Superior Ingredients

Juliet Fox w. Desna & The Consciousness

France

deep minimal techno

french tech house

french techno

minimal techno

Popof

Medina

JSMN

The Roof at Superior Ingredients

MAYDAY presents Popof & Guests

United Kingdom

house

schranz

uk tech house

Carl Cox

South Africa

south african house

south african pop

south african pop dance

Black Coffee

Brazil

electro house

pop nacional

slap house

Alok

deep disco house

latin tech house

melodic techno

microhouse

minimal tech house

Maceo Plex

Sweden

dutch house

pop dance

progressive electro house

progressive house

Steve Angello

downtempo

electronica

indietronica

instrumental hip hop

jazztronica

nu jazz

trip hop

Bonobo

uk house

Sam Divine

uk dance

Hannah Wants

Germany

Patrick Mason

uk funky

Rudimental

Türkiye

Carlita

industrial techno

Kobosil

dark techno

deep euro house

hard techno

raw techno

Klangkuenstler

electra

Helena Hauff

Sara Landry

I Hate Models

melodic house

Francis Mercier

Franky Wah

Palestine

arab electronic

palestinian alternative

Sama’ Abdulhadi

Finland

finnish edm

Yotto

jazz house

Barry Can't Swim

SONA

Fiona Kraft

Airrica

Netherlands

MARRØN

 is a renowned summer music festival held annually at the Petrovaradin Fortress in Novi Sad, Serbia. Since its inception in 2000, the festival has grown from a student-led movement advocating for democracy and freedom in Serbia to one of Europe's most prominent music festivals. The event typically takes place over four days in July, drawing hundreds of thousands of music enthusiasts from around the globe.

The unique setting of the Petrovaradin Fortress, a historic structure overlooking the Danube River, adds to the festival's distinctive atmosphere. Exit Festival features a diverse lineup of artists across multiple genres, including rock, electronic, hip-hop, metal, and reggae. Renowned international acts such as The Prodigy, Arctic Monkeys, and David Guetta have graced its stages, alongside emerging talents and regional artists.

Beyond the music, Exit Festival is celebrated for its commitment to social and environmental causes. It has consistently used its platform to promote positive social change, advocating for human rights, environmental sustainability, and regional cooperation. Initiatives like the Green R:Evolution campaign, which aims to make the festival eco-friendly, reflect its dedication to sustainability.

The festival's vibrant cultural program includes workshops, art installations, and performances, creating a holistic experience that goes beyond music. With its rich history, stunning location, and progressive ethos, Exit Festival has earned numerous awards, including the Best Major Festival title at the European Festival Awards.

Exit Festival stands as a testament to the power of music and culture in fostering community and driving social change, making it a must-visit destination for music lovers and activists alike.

Exit

Serbia

Petrovaradin Fortress

Exit 2024

Musica NYC

Fox Fiction: A Production by Juliet Fox w. Desna & Medina

Spain

spanish techno

Coyu

Jay Roman

Quantum Brooklyn

Coyu & Guests

Analog Brooklyn

COYU [Suara] with DESNA / Jay Roman

Space 92

Marie Vaunt

techno

tech house

99 Scott

Space 92 w. Marie Vaunt

Fatima Hajji

Arcannos

Dalton Taylor

The Chocolate Factory

Fatima Hajji w. Desna & Guests

dutch experimental electronic

De Sluwe Vos

organic electronic

organic house

Bedouin

dance pop

moombahton

Diplo

disco house

LEFTI

Matt Sassari

Eden Prince

Eliza Rose

Switzerland

swiss pop

afrofuturism

detroit techno

Jeff Mills

afro house

Liva K

 artists to watch in 2019, DESNA has only continued to make an imprint on the world of techno. She first broke onto the scene in 2017 with a massive residency at the former Output club in Brooklyn, NY. Her unique brand of techno brings a fresh perspective to the genre, never becoming repetitive while also maintaining her futuristic industrial style. 

DESNA is an amalgamation of storied influences. From her breakbeat roots in Tampa, Florida, to the gritty underground house and techno scene of New York. She's found a way to marry her influences cohesively into something that unifies the raw grit of Brooklyn with the precision and 

Growing up near Tampa, Florida, what was your first exposure to electronic music and how did it influence your sound today? 

Breakbeats were really my first introduction to electronic music. I’d hear these cool beats on the radio (breaks originated in Tampa, FL) and we would have all these breaks remixes of pop tracks which to me always sounded better than the original.

Your career really began in 2017 when you created the DESNA alias and secured gigs in NYC. You cut your teeth playing at Verboten and Output, can you tell us about that time period? What did you learn, were there any challenges? 

Yes! I had a door open for me when I played a charity event at Verboten. The director of the club heard my set and gave me his info to have a meeting. He really helped me get some momentum going there and when the venue closed, I had enough credibility to go to Output.
I remember my first gig at Output. I had a four-hour opening set for Mark Knight. The place was completely packed/ sold out and it was rocking!! That was really the turning point for me. That gig gave me a taste of what it feels like to play at the best club in the world at the time, wall to wall packed. It gave me a sense of belief I could make this my profession.


About-Face

What is it about vinyl that you enjoy so much and do you ever plan to bring vinyl into your live performance? 

I love spinning vinyl more than playing on CDJs because you have to get into your body more. You can’t think your way through a vinyl set. The reason I don’t use records in my club performances is because the way I DJ live is a lot different (layering multiple tracks and using my drum machine) I have played records at after hours gigs which is something I’d like to do more of.

The timeframe you’ve been in New York is very interesting, the electronic and underground scene has changed tremendously. Both the clubs you came up in have new ownership and new vibes, and there are tons of new venues for better or for worse. Have you observed the scene change here and do you feel it’s in a better place than it was when you first arrived? 

There are things I liked about the scene before and now. When I came here in 2010, underground was really underground. warehouse parties were so much fun and Brooklyn was still raw and untouched by corporations. Now, there is a lot more structure but I do like seeing how popular underground music has become here, being able to fill these mega venues.

Do you believe that there is still a strong underground scene in New York or has it made way for the influx of bottle service clubs and large-scale venues?

I'd say that in Brooklyn, bottle service stuff is not really a thing. That's for Manhattan and to each their own. I don't frown upon that world, it's just not my thing. 

Become a Gray Area member for access to exclusive perks!

You have cemented yourself as one to watch in the world of techno. Techno, alongside most electronic genres, gets a reputation as being this singular sound and style. We often just think of high BPMs, hammering kick drums and dark warehouses. How do you try and make your sound stand out, and do you feel that the genre as a whole is in a good place creatively?

I am making techno around solfeggio frequencies now so that is my signature you can hear in my tracks. I am making my tracks around a pure tone which was challenging at first but now I have the hang of it and the music is coming out very cool. I wanted to add value to the music I put out and wasn't sure what that really meant for me until this year. This is a way to offer healing tones in music other than meditation.

Jugar

Do you have any pieces of hardware, or software plug-ins that you find yourself going to often with your music production?

I always use my TR8-S live in clubs and in my production. It comes with so many great samples and presets that it really helps my creative process on stage and in the studio.

Who do you find yourself listening to regularly, whether it’s other techno artists or other genres completely? 

I listen to a lot of frequencies lately and have been studying the medicinal effects they have. My go-to for working out or partying is usually minimal techno. I love a good Ricardo set playing in the background at one of my house parties.

You recently dropped your remix of "Techno Monkey." It has such a distinct feel to it and showcases your versatility alongside tracks like Insanity and the 'From Frou EP.' How do you approach a remix versus an original track, when it comes to making your style on the track being felt?

I always try to keep the meat of the original intact and not butcher it too much while giving it my own signature (like in the drop of this particular remix). I felt that the drum pattern was a nice layer to her track that made it my own while highlighting her original.

Techno Monkey Remixed, Vol. 3

What do you hope to accomplish in the next couple years with your career? Any venues or festivals you’re dying to play? Labels you’d love to release on?

I am going to start pushing out my frequency project in 2022. So by the end of this next year, everyone understands DESNA makes frequency techno. I'd love to play Exit, Tomorrowland, and Awakenings are probably my top 3 desires. As for labels, I've never been stuck on any labels. I just want to work with cool ones that like my work and have a nice platform. 

Named one of DJ Mag's artists to watch in 2019, DESNA has only continued to make an imprint on the world of techno. She first broke onto the scene in 2017 with a massive residency at the former Output club in Brooklyn, NY. Her unique brand of techno brings a fresh perspective to the genre, never becoming repetitive while also maintaining her futuristic industrial style. 

DESNA is an amalgamation of storied influences. From her breakbeat roots in Tampa, Florida, to the gritty underground house and techno scene of New York. She's found a way to marry her influences cohesively into something that unifies the raw grit of Brooklyn with the precision and power of Berlin. 

Growing up near Tampa, Florida, what was your first exposure to electronic music and how did it influence your sound today? 

Breakbeats were really my first introduction to electronic music. I’d hear these cool beats on the radio (breaks originated in Tampa, FL) and we would have all these breaks remixes of pop tracks which to me always sounded better than the original.

Your career really began in 2017 when you created the DESNA alias and secured gigs in NYC. You cut your teeth playing at Verboten and Output, can you tell us about that time period? What did you learn, were there any challenges? 

Yes! I had a door open for me when I played a charity event at Verboten. The director of the club heard my set and gave me his info to have a meeting. He really helped me get some momentum going there and when the venue closed, I had enough credibility to go to Output.
I remember my first gig at Output. I had a four-hour opening set for Mark Knight. The place was completely packed/ sold out and it was rocking!! That was really the turning point for me. That gig gave me a taste of what it feels like to play at the best club in the world at the time, wall to wall packed. It gave me a sense of belief I could make this my profession.


What is it about vinyl that you enjoy so much and do you ever plan to bring vinyl into your live performance? 

I love spinning vinyl more than playing on CDJs because you have to get into your body more. You can’t think your way through a vinyl set. The reason I don’t use records in my club performances is because the way I DJ live is a lot different (layering multiple tracks and using my drum machine) I have played records at after hours gigs which is something I’d like to do more of.

The timeframe you’ve been in New York is very interesting, the electronic and underground scene has changed tremendously. Both the clubs you came up in have new ownership and new vibes, and there are tons of new venues for better or for worse. Have you observed the scene change here and do you feel it’s in a better place than it was when you first arrived? 

There are things I liked about the scene before and now. When I came here in 2010, underground was really underground. warehouse parties were so much fun and Brooklyn was still raw and untouched by corporations. Now, there is a lot more structure but I do like seeing how popular underground music has become here, being able to fill these mega venues.

Do you believe that there is still a strong underground scene in New York or has it made way for the influx of bottle service clubs and large-scale venues?

I'd say that in Brooklyn, bottle service stuff is not really a thing. That's for Manhattan and to each their own. I don't frown upon that world, it's just not my thing. 

Become a Gray Area member for access to exclusive perks!

You have cemented yourself as one to watch in the world of techno. Techno, alongside most electronic genres, gets a reputation as being this singular sound and style. We often just think of high BPMs, hammering kick drums and dark warehouses. How do you try and make your sound stand out, and do you feel that the genre as a whole is in a good place creatively?

I am making techno around solfeggio frequencies now so that is my signature you can hear in my tracks. I am making my tracks around a pure tone which was challenging at first but now I have the hang of it and the music is coming out very cool. I wanted to add value to the music I put out and wasn't sure what that really meant for me until this year. This is a way to offer healing tones in music other than meditation.

Do you have any pieces of hardware, or software plug-ins that you find yourself going to often with your music production?

I always use my TR8-S live in clubs and in my production. It comes with so many great samples and presets that it really helps my creative process on stage and in the studio.

Who do you find yourself listening to regularly, whether it’s other techno artists or other genres completely? 

I listen to a lot of frequencies lately and have been studying the medicinal effects they have. My go-to for working out or partying is usually minimal techno. I love a good Ricardo set playing in the background at one of my house parties.



You recently dropped your remix of "Techno Monkey." It has such a distinct feel to it and showcases your versatility alongside tracks like Insanity and the 'From Frou EP.' How do you approach a remix versus an original track, when it comes to making your style on the track being felt?

I always try to keep the meat of the original intact and not butcher it too much while giving it my own signature (like in the drop of this particular remix). I felt that the drum pattern was a nice layer to her track that made it my own while highlighting her original.

What do you hope to accomplish in the next couple years with your career? Any venues or festivals you’re dying to play? Labels you’d love to release on?

I am going to start pushing out my frequency project in 2022. So by the end of this next year, everyone understands DESNA makes frequency techno. I'd love to play Exit, Tomorrowland, and Awakenings are probably my top 3 desires. As for labels, I've never been stuck on any labels. I just want to work with cool ones that like my work and have a nice platform.

Desna

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