12 French House and Techno Artists You Should Know

Beyond the Beat: The Rise and Resilience of Space 92

Riding the Cosmic Waves: The Meteoric Journey of Space 92

A Cosmic Collision: How Space 92 Conquered Beatport with 'Planet X'

6 Must-Hear POPOF Tracks for Any Diehard Techno Lover

A Look at Space 92’s Former Alias, Matt Minimal

Techno and Trance Don’t Mix? Space 92 Begs to Differ

Dramatically bursting onto the Techno scene with a signature sound that expertly blends trance, distorted percussion, acid elements, and a dash of 80s Sci-Fi nostalgia, Space 92 - known in private circles as Mathieu - has quickly established himself as a trailblazer in the industry. His journey from a young, passionate producer in France to becoming a globally recognized artist represents the relentless power of talent and ambition.



From his early days, Mathieu's fascination with music was undeniable. He began composing and producing at a young age, spending countless hours honing his unique sound identity. His love for vintage 80s Sci-Fi began to seep into his productions, adding an extra layer of intrigue to his work that would become a signature element of his style.



Mercury

In 2020, Space 92 made his debut with a string of successful releases that began with a remix for Hungarian duo Twins Project's "Bass in your Face". The track entered Beatport's Top 10 straight away, and Space 92's star started to rise. However, his breakthrough came in August of the same year when he collaborated with YellowHeads on "Planet X". The track sat at the Number 1 spot on Beatport's Techno chart for four consecutive months, making it the biggest Techno hit of 2020.



Space 92's ascent to superstardom didn't stop there. His 

 EP, released in 2021 on Reinier Zonneveld’s label Filth on Acid, topped worldwide Techno charts, further establishing his status as a leading Techno artist. The same year saw Space 92 remixing Eats Everything’s legendary classic "Space Raiders," adding another success to his growing portfolio.



In 2022, he continued his winning streak with another massive hit, 

EP, which charted Number One on Beatport's Techno releases. A collaborative track with POPOF and UMEK, 'Control', also topped the charts, further consolidating Space 92's status in the Techno world.



Tracklist : 

1. Space 92 - Colonia (Original Mix)
2. HI-LO, Space 92 - Mercury (Original Mix)
3. Anyma, Chris Avantgarde - Consciousness (Space 92 EDIT)
4. Space 92 - Gravity (Original Mix)
5. Kevin De Vries - Dance With Me (Space 92 EDIT)
6. Space 92 - Meteor (Original Mix)
7. Space 92 - The Door (Original Mix)
8. Space 92 - Cooper (Original Mix)
9. Yves Deruyter - Back To Earth (Space 92 EDIT)
10. Frankyeffe - Save Me(Original Mix)
11. Space 92 - The Game (Original Mix)
12. Eats Everything - Space Raiders (Space 92 Remix)
13. Space 92 - Reaktor (Original Mix)
14. HI-LO, Layton Giordani - Rabbit Hole (Space 92 EDIT)
15. Umek, Popof, Space 92 - Control (Original Mix)
16. Popof, Space 92 - Insomnia (Original Mix)
17. Astrix, Rising Dust - Universo (Original Mix)
18. Massano - The Feeling (Space 92 EDIT) 
19. Space 92 - Cyberspace (Original Mix)
20. Cirez D - On Off (Space 92 EDIT)
21. Adam Beyer, Bart Skils - Your Mind (Charles D EPIC MIX Space 92 EDIT)
22. Gary Beck - Ship Went Down (Original Mix)
23.  HI-LO, Space 92 - ID
24. Enrico Sangiuliano - Future Dust (Original Mix)
25. Space 92, Charles D - ID
26. Space 92 - Atlas (Original Mix)
27. Space 92 - Dune (Original Mix)
28. Julian Jeweil - Air Conditionné (Original Mix)

Space 92 - Ultra Music Festival Radio - 04-01-2023 by Space 92

One of the highlights of 2022 was the launch of the Live/Hybrid act Popof x Space 92 Present: Turbulences. The act debuted at the Ultra Music Festival – Resistance Tokyo and was subsequently invited to perform at several flagship shows the following year.



By 2023, Space 92 had become one of the best-selling Techno artists worldwide. His 

 EP, released in February 2023, shot to the top of the Beatport charts with singles "Gravity," "Reaktor" and "Cooper" ranking at number 1, 2 and 4, respectively.



Gravity

Today, Space 92 continues to dominate the Techno world, touring the globe, producing chart-topping tracks, and exciting his fans with upcoming releases. His dream of launching his own label is also in the works.



Mathieu's journey as Space 92 is a testament to his talent, hard work, and creative vision. As a young producer from Toulouse, he dreamed of sharing his music with the world. Today, he stands as a global Techno superstar, inspiring the next generation of music creators. The Space 92 saga continues, with every beat adding to the rhythm of his incredible journey.

France

Space 92

United States

Shay De Castro

Sam WOLFE

Crossbow

Saint Velez

Gray Area's new venture, "Debut," aims to bridge the international house music community by bringing established and emerging artists to cities they've never performed in. This initiative seeks to expand artists' fan bases and provide fans with fresh, exhilarating musical experiences. Having played a role in introducing major artists and brands like elrow and Awakenings to new audiences in the past, Gray Area believes in the magic of first-time experiences. By promoting artists in new venues and cities, they hope to cultivate a thriving, unified house music ecosystem. Debut is not merely a marketing strategy but embodies Gray Area's commitment to fostering collaboration, unity, and musical discovery.

Debut

Superior Ingredients Roof

Debut: Space 92 w. Shay De Castro & Guests

Sunbar

Debut: Space 92

Musica

Space 92 [3 Hour Set] w. Shay De Castro & Guests

999999999

AIROD

Switzerland

Adriatique

Germany

Ae:ther

Italy

Agents Of Time

Belgium

Ahl Iver

Milo Spykers

Alignment

Amelie Lens

Benin

AMÉMÉ

andhim

Anetha

Anfisa Letyago

Ann Clue

Boris Brejcha

Slovenia

Brina Knauss

United Kingdom

CamelPhat

Ireland

CiCi

Clara Cuvé

Curses

Dana Montana

Deer Jade

DJ Seinfeld

South Africa

Enoo Napa

Farrago

Fideles

Netherlands

Franky Rizardo

Nic Fanciulli

Franky Wah

Glowal

Helena Hauff

Spain

Indira Paganotto

JAMIIE

Joey Daniel

Joris Voorn

Joyhauser

Kevin de Vries

Konstantin Sibold

Ukraine

Korolova

Layla Benitez

Turkmenistan

Mahmut Orhan

Massano

Moritz Hofbauer

Paco Osuna

Pan-Pot

Paul Kalkbrenner

Reznik

SHDW & Obscure Shape

SONA

southstar

Denmark

WhoMadeWho

Finland

Yotto

Yulia Niko

Zakes Bantwini

Âme

Dixon

CINTHIE

Jasper Fioole

Rose Ringed

Extrema Festival, also known as Extrema Outdoor, is a renowned electronic music festival that originally began in the Netherlands and has since expanded into an international celebration of dance music. Founded in 1992 by Marcel Mingers, the festival started as a small gathering and has grown into a much-anticipated annual event, drawing attendees from all over the globe.

Initially held in Best, near Eindhoven, the Dutch version of Extrema Outdoor presented a blend of electronic genres, from techno to house, attracting established DJs and new talents alike. Its success led to the expansion of the festival format to other countries, including Belgium and Norway, each location offering a unique lineup and experience but maintaining the high energy and atmosphere of the original.

Extrema Festival is celebrated for its commitment to quality music and innovative stage designs, providing an immersive experience for festival-goers. The festival grounds are known for their picturesque settings, enhancing the auditory experience with visually stunning landscapes.

In addition to music, Extrema Festival offers a range of activities and performances, including art installations, workshops, and wellness activities like yoga sessions, embodying a holistic approach to the festival experience. This integration of various arts and community-building activities ensures that it is not just a musical event but a cultural gathering that celebrates creativity and connectivity.

The festival's adaptability and continuous evolution have helped it maintain its status as a leader in the festival scene, adapting to changes in music trends and audience expectations. As it continues to innovate and expand, Extrema Festival remains a pivotal fixture on the international music calendar, celebrated not just for its historical significance but also for its forward-thinking approach to entertainment and community engagement.

Extrema Festival (Extrema Outdoor)

De Plas

Extrema Outdoor 2024

Niteplan

Tale of Us

Lee Foss

Nima Gorji

Kika

Canada

Rezz

Luke Dean

Klangphonics

Chip E.

DJ Stingray 313

French DJ and producer Mathieu Mourareau, aka 

, exploded out of the gate in 2019 with a heavy arsenal of grinding, synth-laden galactic beats that quickly pushed him to the top of the techno charts and into sets of everyone from UMEK, 

, and Joel Corry. He quickly achieved unprecedented universal appeal in a genre that often attracts black-clad, chin-stroking purists due to his ability to fluidly bridge the gap between soaring trance-inspired melodics and warehouse-rattling rhythms. By the end of 2020, he was crowned the top-selling techno act of the year by Beatport, replacing long-time techno champion and friend UMEK.

Dispelling the myth that selling records is directly linked to touring, Mourareau hit his stride amidst a global pandemic. In his first year, he topped the charts three times with brilliantly crafted techno bombs that are dancefloor-ready and beautifully sophisticated. And in the short time since, he's become a sought-after artist collaborating with HI-LO on 2022's "Mercury," UMEK and 

, and dropping dozens of original works across labels like 

's Filth On Acid, Codex, and UMEK's 1605.

Growth like this is remarkable and a testament to how effortlessly he manipulates sound into emotionally drenched sonic soundscapes. And while it may seem like he came out of nowhere, guns blazing, his relationship with dance music goes back to his teenage years, even before he started producing under his previous moniker, 

. He discovered dance music much like anyone else in the late aughts through covert downloads loaded onto his iPod. Growing up in Carcassonne, France, he didn't even realize that the pounding rhythms of Stephen Bodzin were meant for the dancefloor, yet he was immediately transfixed.

We caught up with Space 92 to dive deeper into the years in between him initially falling in love with dance music and his rise to being one of techno's most potently talented and highly recognized artists.

So you started the Space 92 project fairly recently, in 2019, but you've been producing and putting out records for much longer. Can you tell us how you first fell in love with dance music?

Hey guys, thanks for having me! I fell in love with electronic music when I was a teenager. I mean, I was always a music lover, but one day I downloaded a bunch of stuff on my iPod, and in there was Stephan Bodzin. I immediately had a revelation. It's as if this type of music had always been inside my head, and I wasn't aware of it. I instantly knew I 

You've said you always had melodies in your head. Do you come from a musical family?

My parents enjoyed and still enjoy listening to music, but that's it. I did not grow up in a specifically music-oriented family background at all.

What were your parents listening to before you started to develop your own musical tastes?

Good old pop music and a few 'serious' French songwriters, pretty much like everyone else. I do, too; I like listening to pop music, indie bands, and French 

How did that influence your music, if at all?

Well, every [pop] song has a structure, a chorus, a beat, and a certain bass sound, so why should it be different for techno? Pop music has shown us how to make catchy choruses. The Bob Dylans and Jacques Brels of this world have demonstrated the importance of words. Hip-hop is built around the power of the beat. The sound of factory machines has perhaps contributed to the birth of techno music in Detroit. Every musical genre, every sound or noise, is an influence.

When you discovered dance music while BMX biking, what was so compelling to you?

I instinctively understood electronic music's physicality—the translation or conversion of a beat into body movements. BMX biking was another way to express what I felt while listening to these pulsating beats. Then I found out that people actually danced to that at parties [laughs].

#Hope

You started things off with the Matt Minimal project, but you've said you always were driven by the melodies of artists like Tale of Us. What was it about the minimal wave that caught your attention?

I guess it's a combination of several factors, but mainly minimal had a purity to it that I admired. Also, it was very big at the time, and, as a young producer, I was obviously influenced by what was going on. I must've been 19 at the time, so I kind of followed the trend.

You had a lot of success as Matt Minimal. What prompted the change in name and style?

Since I started producing at a young age, it took me a while to determine what I liked and who I was. It took me ten years to find my true identity. In this process, I learned that trends do not matter, that you should never try to please everyone and that you always have to stay true to yourself, no matter what. And, most importantly, you have to work like a beast, which I did since we were in the middle of COVID lockdown, and I really had nothing else to do.

Space 92 was almost an instant success. Why do you think it did so well, so quickly?

I am indeed so grateful and blessed because things happened almost overnight. I think the reason is because I stayed true to myself, worked hard, and made no concessions about what I wanted. Of course, I was lucky to meet the right people at the right time—my manager especially.

You had your first Beatport #1 at the strangest time in the world. What was it like having so much success with a genre meant for the dancefloor when no one could dance in the club or at a festival?

This was absolutely crazy. I remember the first articles about me being published and how almost all of them were amazed by the fact I had 

 played in front of a crowd, ever, as Space 92! And it was true. I had to wait for a year before finally being able to perform.

Having so much success without being able to play in front of a crowd drove me almost insane. I was dying from frustration. I did a couple of livestreams too, and they did super well, but man…The day I was finally able to play was the happiest day of my life! This is perhaps why I'm always so enthusiastic when I'm performing. I guess I'm afraid deep down that it'll be taken away from me, so I enjoy each show like it's my last.

UMEK told you weeks before being named the #1 best-selling techno artist of 2020 that it would happen. After looking up to him for so long, how did it feel to get such a prophetic message?

UMEK is one of my all-time heroes, and when he sent me a DM on Instagram telling me he believed I would be the next Number One, I thought I was hallucinating or something. Then, after I read and re-read his message, I felt so proud. His validation gave me so much confidence; it really boosted me. I will eternally be grateful to him for his encouraging words.

There's been a tremendous amount of crossover between the anthemic melody-driven techno and trance recently (and historically). You've received massive support from across genres. Do you think breaking down the barriers between genres ultimately benefits everyone in dance music?

Electronic music sub-genres, just like all other musical sub-genres, suffer from some fans' extreme gatekeeping, and I am not a fan of that. But yeah, I have indeed seen the lines between genres getting blurred these past years. Some EDM producers have been playing harder styles, while some techno artists have remixed popular songs. For me, it's all good. As long as people dance, I don't see the issue. Music is music.

You have a collaborative project with Popof, Turbulences. Can you talk about how that came to be?

Turbulences is a young project which was born last year. Popof and I were getting along so well on a personal and musical level we thought we'd try setting up a B2B for fun. It worked so well [and] the chemistry was so strong that we decided to take it up a notch and come up with a hybrid/live act that would include custom-made tracks and edited classics. Turbulences' global debut took place in Tokyo, on the Ultra-Resistance stage last summer. It actually worked so well we're due to perform on the 

Megastructure headliners' stage in March. In addition, [we're] headlining Ultra Resistance Brazil, playing at 

 in California, and more. We are super happy!

Besides having originals together, you also have re-edits of classics. Why is this sense of nostalgia so important to both of you?

For us, it's not so much about nostalgia as it is about playing beautiful music that appeals to all ages. This being said, it's nice to play those classics to our younger fans who weren't born back then. I wish I had been old enough to experience the Detroit Techno era.

What is that drink you're always drinking in your Insta videos?

[laughs] Everyone's asking! It's maté, a South American herbal drink.

French DJ and producer Mathieu Mourareau, aka Space 92, exploded out of the gate in 2019 with a heavy arsenal of grinding, synth-laden galactic beats that quickly pushed him to the top of the techno charts and into sets of everyone from UMEK, Oliver Heldens, and deadmau5 to David Guetta, Andrew Rayel, and Joel Corry. He quickly achieved unprecedented universal appeal in a genre that often attracts black-clad, chin-stroking purists due to his ability to fluidly bridge the gap between soaring trance-inspired melodics and warehouse-rattling rhythms. By the end of 2020, he was crowned the top-selling techno act of the year by Beatport, replacing long-time techno champion and friend UMEK.




Dispelling the myth that selling records is directly linked to touring, Mourareau hit his stride amidst a global pandemic. In his first year, he topped the charts three times with brilliantly crafted techno bombs that are dancefloor-ready and beautifully sophisticated. And in the short time since, he's become a sought-after artist collaborating with HI-LO on 2022's "Mercury," UMEK and Popof on "Control," remixing for Eats Everything, and dropping dozens of original works across labels like Reinier Zonneveld's Filth On Acid, Codex, and UMEK's 1605.






Growth like this is remarkable and a testament to how effortlessly he manipulates sound into emotionally drenched sonic soundscapes. And while it may seem like he came out of nowhere, guns blazing, his relationship with dance music goes back to his teenage years, even before he started producing under his previous moniker, Matt Minimal. He discovered dance music much like anyone else in the late aughts through covert downloads loaded onto his iPod. Growing up in Carcassonne, France, he didn't even realize that the pounding rhythms of Stephen Bodzin were meant for the dancefloor, yet he was immediately transfixed.




We caught up with Space 92 to dive deeper into the years in between him initially falling in love with dance music and his rise to being one of techno's most potently talented and highly recognized artists.






So you started the Space 92 project fairly recently, in 2019, but you've been producing and putting out records for much longer. Can you tell us how you first fell in love with dance music?




Hey guys, thanks for having me! I fell in love with electronic music when I was a teenager. I mean, I was always a music lover, but one day I downloaded a bunch of stuff on my iPod, and in there was Stephan Bodzin. I immediately had a revelation. It's as if this type of music had always been inside my head, and I wasn't aware of it. I instantly knew I had to do this.




You've said you always had melodies in your head. Do you come from a musical family?




My parents enjoyed and still enjoy listening to music, but that's it. I did not grow up in a specifically music-oriented family background at all.



What were your parents listening to before you started to develop your own musical tastes?




Good old pop music and a few 'serious' French songwriters, pretty much like everyone else. I do, too; I like listening to pop music, indie bands, and French chanteurs. I love music of all shapes and colors.







How did that influence your music, if at all?




Well, every [pop] song has a structure, a chorus, a beat, and a certain bass sound, so why should it be different for techno? Pop music has shown us how to make catchy choruses. The Bob Dylans and Jacques Brels of this world have demonstrated the importance of words. Hip-hop is built around the power of the beat. The sound of factory machines has perhaps contributed to the birth of techno music in Detroit. Every musical genre, every sound or noise, is an influence.






When you discovered dance music while BMX biking, what was so compelling to you?




I instinctively understood electronic music's physicality—the translation or conversion of a beat into body movements. BMX biking was another way to express what I felt while listening to these pulsating beats. Then I found out that people actually danced to that at parties [laughs].


You started things off with the Matt Minimal project, but you've said you always were driven by the melodies of artists like Tale of Us. What was it about the minimal wave that caught your attention?




I guess it's a combination of several factors, but mainly minimal had a purity to it that I admired. Also, it was very big at the time, and, as a young producer, I was obviously influenced by what was going on. I must've been 19 at the time, so I kind of followed the trend.




You had a lot of success as Matt Minimal. What prompted the change in name and style?




Since I started producing at a young age, it took me a while to determine what I liked and who I was. It took me ten years to find my true identity. In this process, I learned that trends do not matter, that you should never try to please everyone and that you always have to stay true to yourself, no matter what. And, most importantly, you have to work like a beast, which I did since we were in the middle of COVID lockdown, and I really had nothing else to do.


Space 92 was almost an instant success. Why do you think it did so well, so quickly?




I am indeed so grateful and blessed because things happened almost overnight. I think the reason is because I stayed true to myself, worked hard, and made no concessions about what I wanted. Of course, I was lucky to meet the right people at the right time—my manager especially.




You had your first Beatport #1 at the strangest time in the world. What was it like having so much success with a genre meant for the dancefloor when no one could dance in the club or at a festival?




This was absolutely crazy. I remember the first articles about me being published and how almost all of them were amazed by the fact I had never played in front of a crowd, ever, as Space 92! And it was true. I had to wait for a year before finally being able to perform.




Having so much success without being able to play in front of a crowd drove me almost insane. I was dying from frustration. I did a couple of livestreams too, and they did super well, but man…The day I was finally able to play was the happiest day of my life! This is perhaps why I'm always so enthusiastic when I'm performing. I guess I'm afraid deep down that it'll be taken away from me, so I enjoy each show like it's my last.




UMEK told you weeks before being named the #1 best-selling techno artist of 2020 that it would happen. After looking up to him for so long, how did it feel to get such a prophetic message?




UMEK is one of my all-time heroes, and when he sent me a DM on Instagram telling me he believed I would be the next Number One, I thought I was hallucinating or something. Then, after I read and re-read his message, I felt so proud. His validation gave me so much confidence; it really boosted me. I will eternally be grateful to him for his encouraging words.







There's been a tremendous amount of crossover between the anthemic melody-driven techno and trance recently (and historically). You've received massive support from across genres. Do you think breaking down the barriers between genres ultimately benefits everyone in dance music?




Electronic music sub-genres, just like all other musical sub-genres, suffer from some fans' extreme gatekeeping, and I am not a fan of that. But yeah, I have indeed seen the lines between genres getting blurred these past years. Some EDM producers have been playing harder styles, while some techno artists have remixed popular songs. For me, it's all good. As long as people dance, I don't see the issue. Music is music.




You have a collaborative project with Popof, Turbulences. Can you talk about how that came to be?




Turbulences is a young project which was born last year. Popof and I were getting along so well on a personal and musical level we thought we'd try setting up a B2B for fun. It worked so well [and] the chemistry was so strong that we decided to take it up a notch and come up with a hybrid/live act that would include custom-made tracks and edited classics. Turbulences' global debut took place in Tokyo, on the Ultra-Resistance stage last summer. It actually worked so well we're due to perform on the Ultra Resistance Miami Megastructure headliners' stage in March. In addition, [we're] headlining Ultra Resistance Brazil, playing at CRSSD Festival in California, and more. We are super happy!




Besides having originals together, you also have re-edits of classics. Why is this sense of nostalgia so important to both of you?




For us, it's not so much about nostalgia as it is about playing beautiful music that appeals to all ages. This being said, it's nice to play those classics to our younger fans who weren't born back then. I wish I had been old enough to experience the Detroit Techno era.




What is that drink you're always drinking in your Insta videos?




[laughs] Everyone's asking! It's maté, a South American herbal drink.

Space 92

Articles

Other artists