Italy

melodic techno

SOEL

Germany

melodic house

Ben Böhmer

munich electronic

Innellea

United States

deep disco house

house

latin tech house

microhouse

minimal tech house

minimal techno

Maceo Plex

tribal house

Victor Calderone

dark disco

Avision

electronica

hamburg electronic

organic electronic

pop ambient

Christian Löffler

italian techno

puglia indie

Giorgia Angiuli

german house

Henrik Schwarz

United Kingdom

Jaguar

tech house

Kevin Knapp

Konstantin Sibold

Lee Reynolds

Mikey Lion

detroit techno

ONYVAA

SHADED

SOHMI

progressive house

progressive trance

Spencer Brown

Alan Nieves

Francis Mercier

gardenstate

Avant Gardner

Cityfox Transcend Festival

pop dance

uk dance

Goodboys

afro house

organic house

Baron (FR)

Hannah Wants

afrobeats

afropop

amapiano

Sarz

Peru

Nicolas Caprile

ambient techno

Aurora Halal

latin house

bass house

Crusy

high-tech minimal

Ann Clue

lau.ra

Tati au Miel

SOEL's music reflects a rich sonic palate informed by a lifetime absorbing a multi-colored patchwork of sounds. Equally refined, emotional, dark, and cinematic. He is a master of twisting synths into gorgeous wavering layers of beauty. His moody, melodic techno has wowed acclaimed producers like Adriatique, Tale Of Us, and Recondite. And the list of labels he's released on is remarkable, including Afterlife, Siamese, 

Tangible Fear Of The Unknown

He often draws from his Arabic roots and the rich cosmopolitan culture of Milan for inspiration. He grew up a stone's throw from the temple of opera, La Scala. As a result, classical music influences his music heavily as well. Yet, his father had the most profound impact on his musical DNA.

"My father was collecting vinyl and cassette tapes and listening to a lot of blues and a lot of jazz. Louis Armstrong, Myles Davis, and Ry Cooder. So a lot of black music, a lot of soulful music."

Milan's proximity to so many iconic dance music cities meant that by the time he was old enough to go to the club, he rarely spent a weekend or holiday at home. "Every single time I had a break from school, or a weekend off or something like that me and my friends would just jump on a train or a low fare airplane and then just go."

He was obsessed with club culture and techno. "I did over 15 

. University festivals during the summers. There were huge enormous festivals in Spain. Even small clubs. My favorite was a Cocoon club in Frankfurt, which was owned by Sven Vath."

He was all about the club, his friends and, "just having fun during the weekends. That's it."

His move from the dancefloor to the decks was gradual, he says. Fascinated by dance music's culture of playing exclusive music, he spent hours digging for and collecting tracks. So before he even touched the turntables, he was already an expert curator.

The biggest draw to create has always been the peak dance floor experience. He still lives for the moments when you lose yourself in the beat. When the world seems to fade from view, all that remains is you, the music, and the lights.

It's almost visceral when he reflects on one of those moments during a Time Warp pre-party at Robert Johnson in Frankfurt.

AMBROSIA LP

"At 3 or 4 am, Ricardo Villalobos played this random singer from Iraq or Syria. And I knew that I know this kind of music. It was such a random thing, but such a surprise in a positive way. Because my friends and the people that were in that in the club back then, they didn't know what it is, but just went crazy. That's the power of the artist and the DJ."

He chases that feeling with every set he plays. The transcendence of his music is built for it. And as SOEL continues to build a massive library of music, he drifts further away from providing those moments as a 

 Instead, he believes that those moments are more impactful when he's playing his music.

"I produce so much music. So much music, that I think the only way to really express myself is by playing only live. I think it's the creative point of view, honestly. And sometimes DJ sets are not, something that satisfies me."

On Voyage 017, SOEL pulls you deep into his world of sound, a space where widely-reverberating, eerie chords, cavernous drones and sharp percussions swirl around an eternal pulse. The energy of the two-hour trip rises and falls with a masterful feel for progression, the warmth of the sound stays constant.

Afterlife Voyage 017 by SOEL by Afterlife

His catalog is tremendous, forty hours of unreleased genre-spanning music from ambient electronic to peak hour techno. His decision to play more live sets allows him to stretch, build a vibe, and build a narrative. Performing dance music in a live environment is an act of storytelling. SOEL wishes to enter himself into that legacy of artists who are our raconteurs. 

From Detroit to Berlin: How Techno Took Over the World

SOEL intends to make sure all of his work is out in the world for people to appreciate. His imprint Oracolo is part of that mission. Described as "A label where musical concepts and aesthetic boundaries are seen as a way to unify - not separate." 

 is the antithesis of his ethos.

Despite having no formal training, SOEL has established a unique musical footprint. The consummate creative, he says that he's been training for this his whole life. Creativity blossoms naturally when fed exposure to creative endeavors.

"Honestly, I think our brain is really a sponge. When you get exposed a lot simply because you're curious and you like something, I think this will come naturally. Nobody [can] actually teach you to be creative. So, think simply, let it come on naturally."





SOEL's music reflects a rich sonic palate informed by a lifetime absorbing a multi-colored patchwork of sounds. Equally refined, emotional, dark, and cinematic. He is a master of twisting synths into gorgeous wavering layers of beauty. His moody, melodic techno has wowed acclaimed producers like Adriatique, Tale Of Us, and Recondite. And the list of labels he's released on is remarkable, including Afterlife, Siamese, Mobilee, TAU and Plangent. 



He often draws from his Arabic roots and the rich cosmopolitan culture of Milan for inspiration. He grew up a stone's throw from the temple of opera, La Scala. As a result, classical music influences his music heavily as well. Yet, his father had the most profound impact on his musical DNA.

"My father was collecting vinyl and cassette tapes and listening to a lot of blues and a lot of jazz. Louis Armstrong, Myles Davis, and Ry Cooder. So a lot of black music, a lot of soulful music."

Milan's proximity to so many iconic dance music cities meant that by the time he was old enough to go to the club, he rarely spent a weekend or holiday at home. "Every single time I had a break from school, or a weekend off or something like that me and my friends would just jump on a train or a low fare airplane and then just go."

READ THIS NEXT: Gray Area Spotlight: Hannes Bieger

He was obsessed with club culture and techno. "I did over 15 Time Warps. Festivals in Germany, Italy, and then Holland. University festivals during the summers. There were huge enormous festivals in Spain. Even small clubs. My favorite was a Cocoon club in Frankfurt, which was owned by Sven Vath."

He was all about the club, his friends and, "just having fun during the weekends. That's it."

Cocoon Club's DJ Booth

His move from the dancefloor to the decks was gradual, he says. Fascinated by dance music's culture of playing exclusive music, he spent hours digging for and collecting tracks. So before he even touched the turntables, he was already an expert curator.

The biggest draw to create has always been the peak dance floor experience. He still lives for the moments when you lose yourself in the beat. When the world seems to fade from view, all that remains is you, the music, and the lights.

It's almost visceral when he reflects on one of those moments during a Time Warp pre-party at Robert Johnson in Frankfurt.



"At 3 or 4 am, Ricardo Villalobos played this random singer from Iraq or Syria. And I knew that I know this kind of music. It was such a random thing, but such a surprise in a positive way. Because my friends and the people that were in that in the club back then, they didn't know what it is, but just went crazy. That's the power of the artist and the DJ."

He chases that feeling with every set he plays. The transcendence of his music is built for it. And as SOEL continues to build a massive library of music, he drifts further away from providing those moments as a DJ. Instead, he believes that those moments are more impactful when he's playing his music.

"I produce so much music. So much music, that I think the only way to really express myself is by playing only live. I think it's the creative point of view, honestly. And sometimes DJ sets are not, something that satisfies me."

His catalog is tremendous, forty hours of unreleased genre-spanning music from ambient electronic to peak hour techno. His decision to play more live sets allows him to stretch, build a vibe, and build a narrative. Performing dance music in a live environment is an act of storytelling. SOEL wishes to enter himself into that legacy of artists who are our raconteurs. 

READ THIS NEXT: From Detroit to Berlin: How Techno Took Over the World

SOEL intends to make sure all of his work is out in the world for people to appreciate. His imprint Oracolo is part of that mission. Described as "A label where musical concepts and aesthetic boundaries are seen as a way to unify - not separate." Oracolo is the antithesis of his ethos.

Despite having no formal training, SOEL has established a unique musical footprint. The consummate creative, he says that he's been training for this his whole life. Creativity blossoms naturally when fed exposure to creative endeavors.

"Honestly, I think our brain is really a sponge. When you get exposed a lot simply because you're curious and you like something, I think this will come naturally. Nobody [can] actually teach you to be creative. So, think simply, let it come on naturally."

SOEL

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