The world of nightlife and entertainment is poised for a game-changing moment as elrow, the legendary event production brand, teams up with Ibiza’s [UNVRS], the world’s first “hyperclub,” for an unforgettable residency in 2025. This groundbreaking partnership promises to reshape the way we experience clubbing, combining cutting-edge technology, spectacular stage design, and immersive storytelling.



elrow at [UNVRS]: The Next Frontier

Starting June 7th, 2025, elrow will bring its legendary themed parties to [UNVRS] every Saturday night until October 4th. Known for its immersive shows and jaw-dropping productions, elrow will elevate its experience even further with the help of [UNVRS]’s state-of-the-art facilities. The lineup includes four reimagined themes—Hallucinarium, Kaos Garden, Nowmads, and Sambowdromo—each promising to deliver a sensory overload of creativity and spectacle. A fifth surprise theme will cap off the season during the Closing Party.



What Makes [UNVRS] Unique?

[UNVRS], led by Yann Pissenem, the visionary behind Ushuaïa and Hï Ibiza, is not your typical nightclub. It’s a “hyperclub,” a space that merges advanced technology, stunning architecture, and large-scale production capabilities. The venue is designed to break away from traditional club formats, offering an environment where every corner contributes to the narrative. From aerial acrobatics to animatronic characters, [UNVRS] transforms a night out into a fully immersive journey.



The Themes: A Deep Dive

Each elrow theme has been supercharged for [UNVRS]:

Hallucinarium: A cosmic, psychedelic trip inspired by Alex and Allyson Grey’s art. Expect kaleidoscopic visuals and mind-bending effects that dissolve the line between reality and imagination.



Kaos Garden: A colorful, chaotic reinterpretation of Bosch’s Garden of Earthly Delights, brought to life by artist Okuda San Miguel with vibrant sets and interactive elements.



Nowmads: A fusion of cultural diversity and intergalactic exploration, featuring tribal influences, animatronic performers, and ever-changing landscapes.



Sambowdromo: A Brazilian carnival-inspired spectacle with kinetic sculptures, jungle vibes, and samba rhythms creating an electric atmosphere.



The Global Announcement



The partnership was unveiled in Barcelona with a cinematic trailer that played to a packed audience of 500 industry leaders and media figures. Produced by creative studio Codea, the trailer starred elrow’s founding family and Pissenem himself in a whimsical interstellar adventure, setting the stage for their collaboration.



Following the screening, elrow founders Cruz and Juan Arnau joined Pissenem for a panel discussion, where they shared their excitement about taking the elrow experience to the next level. The Arnau family, whose entertainment roots stretch back over 150 years, emphasized that this collaboration is the culmination of their Ibiza journey, which began in 2012.

A Historic Moment for Nightlife



With this residency, elrow is set to redefine what a clubbing experience can be. Attendees can expect a mix of the world’s top house music talent, cutting-edge technology, and epic visuals. Tickets are already on sale, and demand is expected to be sky-high.



This partnership between elrow and [UNVRS] marks the dawn of a new era in nightlife. Whether you’re a die-hard partygoer or someone seeking a one-of-a-kind experience, summer 2025 in Ibiza is shaping up to be unmissable.

For more information, visit elrow.com and unvrs.com.

The Birth of Ibiza’s First Hyperclub: elrow Announces 2025 Residency at [UNVRS]

KILIMANJARO, a Zambian-born DJ and producer with a background in modeling and design, started building his sound through residencies in Glasgow and Edinburgh. Moving to London proved to be a pivotal moment, creating opportunities that helped him step into the spotlight of the music industry. His Boiler Room London set has become legendary, with over 1.5 million views and counting. Personally invited by Fred Again.., KILIMANJARO stepped into the Boiler Room with one mission: to go BEAST MODE.



From the opening track, the room lit up with the energy only KILIMANJARO can bring. Known for blending Afro House, Amapiano, and sped-up classics, his set had an unpredictable yet seamless flow that kept everyone jumping and swiveling their hips. The mix wasn’t just music—it was a full-throttle experience, with rhythms that felt like they were pulled from every corner of the globe.



As the night rolled on, the crowd became more than an audience—they were fully in sync with him, the true meaning of a Boiler Room set. KILIMANJARO’s selections felt like they were made for this exact moment, tracks that hit harder with every transition, turning the room into a dancefloor nobody wanted to leave. And then came that moment—shirt off, sweat pouring, and the crowd going absolutely crazy behind him. It was pure chaos in the best way.



The set was a perfect mix of house, Amapiano grooves, Afro-inspired drums, and a few unexpected classics thrown in for good measure. Each track brought a fresh wave of energy, making it impossible not to move, playing some of his own music as well. By the time he wrapped up, the vibe was still immaculate, leaving the crowd buzzing and wanting more.



KILIMANJARO’s Boiler Room set is one of those performances you have to see to believe. It’s raw, unfiltered, and showcases exactly why he’s become a name to know in music.


From the Tracklist Legend in the Youtube comment section:

1: &ME - Cape Coast

2: Francis Mercier, Magic System - Premier Gaou

3: Hyenah, Mr. V - 3rd Eye

4: Rami Ali - 50 Pence Genc

5: Melé - Groove La Afrika

6: Lubelski - Soothing Rhythms

7: Hammer & KILIMANJARO - Muleña

8: Hammer & KILIMANJARO - Step It Up

9: KILIMANJARO & Third Son - Mukiti

10: Les Petits Pilous - Russian Forest

11: Tessela - Hackney Parrot

12: Kelis - Millionaire (feat. André 3000)

13: TNGHT - Higher Ground

KILIMANJARO’s Boiler Room Takeover: A Set for the Ages

No one's influenced the global sound of D&B and jungle quite like MC Chickaboo. She’s the first female jungle MC, and has been fighting for the mic since day one. As one of the most instrumental players in the growth and boom of D&B worldwide, she reflects on her long and fruitful career, the early days, the golden eras, and her part in the latest resurgence of the genre.




Chickaboo's Contribution to Jungle and DnB




Chickaboo is a name synonymous with the evolution of jungle and D&B. Born to a Jamaican dad and an Irish mum and raised in Birmingham, her early experiences with jungle came through free rave and soundsystem culture.




“I was just obsessed with music as a kid, I’d buy records and play at my local youth club from the age of 13 or 14,” Chickaboo says.




She started playing records at house parties and then joined a sound system that played reggae and soul. “Kids in the area started asking me about rave music and I said I wasn’t into all the bleeping,” Chickaboo says. “But I started playing some rave music and the kids would jump around and go nuts.”




Chickaboo didn’t connect with the acid house played at raves, but when her sound system played hardcore, she started messing around on the microphone.




“That’s what you do in sound system culture,” Chickaboo explains. “You have a selector, a person on the microphone, the operator, and you all swap and change. It’s a collaboration of like-minded people.”




One day, a promoter heard Chickaboo's whip-sharp MC skills and invited her to perform at his party.




“It was a club in Birmingham, and that’s where I met G.E. Real,” Chickaboo says. “He asked if I would MC for him, so we went and did a gig and it just went crazy.”




After that, Chickaboo and G.E. Real became an unstoppable team. G.E. Real was often mixing on three decks and Chickaboo wowed crowds who’d never seen a woman MC before. They were invited to play at some of the UK’s biggest raves including Fantasia, Dreamscape and Jungle Fever, but in 1996, just as their careers were taking off, G.E. Real became unwell, and passed away a few months later.




Chickaboo's Early Career




Crushed with grief, Chickaboo was unable to leave the house, let alone perform, but their agent Tanya convinced her to get back out on the stage. The following year, Chickaboo moved to London, and started MCing for jungle’s biggest players including Bryan Gee, Aphrodite, DJ Zinc, and Shy FX.




Chickaboo’s galvanizing vocals featured on some of jungle’s most loved tracks, gaining her global respect not just for her versatile vocals, but for her ability to wrestle the mic off all the men.




“It would get physical getting the mic,” Chickaboo says. “But I’m quite brave, so I’d get in there, grab it and then be so good they’d be too intimidated to take it back.”




In 1999, Chickaboo got a call from Knowledge Magazine in the USA, who invited her to MC on their tour. “We had British and American DJs coming in and out and I did the whole 6 weeks,” Chickaboo says. “So I exploded there, and then DJ Dazee and I became a team, and we were in the US every two weeks.”




In 2002, Chickaboo teamed up with Timo Maas to sing vocals on his track “Shifter.” The song became one of the seminal tunes in deep house music, hit number one on the Billboard Hot Dance Music/Club Play chart and has gone down in history as one of the most influential tracks of the era.




Chickaboo and Soul II Soul




In the early 2000s, Chickaboo received a phone call with a familiar voice on the line. “I knew exactly who it was,” Chickaboo laughs. “He said ‘it’s Jazzie B from Soul II Soul’, and I said ‘I know!’”




Jazzie said he was looking for a MC, so Chickaboo invited him to her gig that night. “I was so nervous I was shaking, and the next day he called and said he had a gig for me this Friday,” she says. “So suddenly I was on stage looking at Jazzie B and Rose Windross in front of 2000 people, and I’m like fuck. I’m on stage with Soul II Soul. Little Chickaboo from Birmingham!”




That led to a long and fruitful partnership for the next 12 years, brushing shoulders with the likes of Debbie Harry, Alicia Keys, Nile Rogers and James Brown. “So I left Drum & Bass and Jungle because I was so busy,” Chickaboo says.




Returning to Jungle




In 2018, Chickaboo had to take time off her music career after an accident led to a botched knee surgery which left her house-bound for several years.




“When lockdown happened, I’d spent the last three years on the sofa,” Chickaboo says. “So it wasn’t so bad because I was already in a lockdown.”




Then DJ Mantra, DJ Flight and Sweet Pea formed EQ50, a collective of women working towards fairer representation within drum and bass. Chickaboo shared her unparalleled energy on their live streams, reminding everyone why she’s such a historical figure in the genre. “I was the busiest MC,” Chickaboo says. “I was just doing all the streams because I'm quite an excitable person.”




Chickaboo had a successful knee surgery, and as the world emerged from lockdown, so did she – just in time for round three of Drum & Bass. Chickaboo’s phone started ringing off the hook, with the new wave of D&B artists wanting Chickaboo’s old school energy on the mic.




“Oh my gosh – the DJs that emerged during lockdown,” Chickaboo says in disbelief. “Everyone was sitting at home doing streams in their bedrooms, and it’s amazing that so many of them are women. I feel like a proud auntie.”




Although Chickaboo won’t be touring anywhere near as much as she used to, she’s regularly playing gigs across the UK, either with her OG jungle crew or with new talent. “My absolute dream is to see more people in the scene like me,” she says. “After that, maybe I can retire.”

Drum & Bass in Focus: MC Chickaboo

For fans of house and techno, Watergate has been more than just a club—it’s been a home. Perched along the River Spree since 2002, its legendary two-story dance floors, floor-to-ceiling windows, and intimate vibe made it one of Berlin’s most celebrated venues. But come the end of 2024, this cornerstone of club culture will shut its doors for good.

The announcement didn’t come with anger or bitterness—just the sobering reality of financial strain that’s caught up with so many of Berlin’s iconic venues. Inflation, the energy crisis, rising rents, and changing clubbing habits have left no room to breathe, even for a venue as deeply ingrained in the city’s nightlife as Watergate.



A Club Like No Other

Watergate’s magic was never about size or hype; it was about creating moments. Whether you were watching the sun rise through the panoramic windows or bouncing to a DJ set so perfectly in sync with the room, the club always delivered that unmistakable Berlin feeling. It didn’t try to be Berghain, and it didn’t need to be. Instead, it thrived as a smaller, unique space where the energy was always just right, and you felt like part of something special.



For years, Watergate has brought in both underground favorites and globally renowned DJs, always staying true to its roots while drawing an international crowd. Its Waterfloor—a room suspended over the river—has hosted sets that stick with you long after you’ve made the hazy trek home.



Berlin’s Identity at Risk

But the closing of Watergate isn’t just about one club. It’s a reflection of a bigger problem facing Berlin. This is a city whose identity has been intertwined with techno for decades. Clubs aren’t just nightlife here; they’re cultural institutions. Spaces like Watergate have long been meeting points for music lovers, artists, and wanderers from around the world—a shared understanding of freedom, sound, and movement under a single roof.

Yet Berlin’s reputation as the “club capital of the world” is looking less secure. Watergate’s co-founder Ulrich Wombacher pointed to the growing popularity of large festivals, where massive crowds flock for weekend experiences. These events pull attention—and money—away from traditional clubs, leaving smaller venues struggling to survive. Add in inflation, soaring energy bills, and landlords demanding higher rent, and you’re left with a scene that’s gasping for air.

In a statement, Watergate’s management didn’t sugarcoat it: “The days when Berlin was flooded with club-loving visitors are over, at least for now, and the scene is fighting for survival.”



It’s a gut punch for those who know how much these spaces mean—not just to Berliners but to anyone who’s ever come to this city in search of its famed club culture.

The Bigger Picture

Since the pandemic, venues have struggled to bounce back. Renate, another beloved club owned by the same landlord as Watergate, shut down last August after 18 years, citing similar financial struggles. It’s no longer enough to have a loyal crowd or an iconic space—when the numbers don’t add up, even the most important cultural hubs can’t keep their doors open.



Berlin’s clubs have always been more than nightlife. They’ve been places where people from all walks of life come together, where music is the language spoken, and where creativity thrives. Losing Watergate feels like losing a piece of what makes Berlin, Berlin.

Going Out in Style

Watergate’s team has made it clear: they won’t let the party end quietly. The club kicked off its farewell series in October, with events running through the end of the year. Now, as New Year’s Eve approaches, they’re preparing for one final blowout with a stellar lineup that includes heavyweights like Alan Fitzpatrick, Charlotte de Witte, Sven Väth, Richie Hawtin, Chris Liebing, Henrik Schwarz, and Recondite—a fitting sendoff for a club that has meant so much to so many.



For now, all we can do is show up, dance hard, and appreciate what Watergate gave us over the last two decades. Because if there’s one thing Berlin has taught us, it’s that every party, no matter how good, must eventually come to an end.

But still, the music plays on—somewhere, somehow.

The End of an Era: Watergate to Close After 22 Years

Croydon-based Enta has exploded onto the UK’s underground in the last few years with his high-octane, face-melting brand of D&B. With releases on Souped Up, Hospital Records, Biological Beats and more, Enta is well on his way to becoming a huge name in British Drum & Bass. Today, we caught up with Enta to chat about his journey into production, how Croydon shaped his music taste, and his unique Jump Up/Neuro Funk hybrid productions.




From Video Games to Drum & Bass




Born and raised in Croydon, Liam Harrison AKA Enta first heard Drum & Bass through video games. “Games like Sonic would have Drum & Bass and breakbeat in the soundtrack,” he says, chatting from the London Metropolitan University where he works as a music technician. “That sparked my interest to go on YouTube and try to find more of that music, and that led me to Pendulum, Chase & Status and a lot of the big names at the time,” he says.




Soon, Liam discovered dubstep, garage and bass music. Croydon was home to pioneers like Skream and Coki, which inspired Enta to delve deeper into the scene. “I felt like there was a musical heritage there for me to explore,” he says.




Liam played drums as a kid. He’d put on dubstep and D&B mixes and drum along to them for hours, but it was only when he heard a track called “Infected Headphones” by Tyke that he felt inspired to learn how to produce. “It really grabbed my attention because of the way it took the Jump Up formula and twisted it into something weirder and darker,” Liam says. “It kind of challenged me, and that led me onto Playaz and Drum & Bass Arena and all of a sudden I heard this melting pot of different Drum & Bass styles.”

The Creation of Enta

Liam studied music tech at college and simultaneously went to squat raves and free parties in and around London, always gravitating towards the heavier, darker corners of D&B.




“In one of our lessons we studied Goldie’s Inner City Life,” Liam says. “The music tech teacher was a very angry man but I respect that he introduced us to this important part of the UK’s musical history.”




That’s when he knew music had to be his full-time career. “I was always plugging away, making beats,” he says. “They were terrible but I really enjoyed the process of creating music.”




Liam went to university in Bournemouth where he connected with people with similar music tastes, and soon started playing Jump Up sets around the city under his old alias Fluxy. Then he teamed up with another artist to create the Jump Up duo Flexxa, and the pair became successful in Europe, but Liam found it hard to juggle college and his own projects so decided to go solo in 2016. “I wanted to follow my own path, focus on myself and make stuff that's a bit darker, a bit more honest, a bit more complex,” Liam says. "And that's when I decided to have a rebrand and change my name to Enta.”




Enta's Evolution





With the Enta project, Liam knew exactly the direction he wanted to go in. “I started producing more techie Jump Up fused with Neuro,” he says. “Artists like DJ Hazard inspired me to play a mix of tracks and make them sound consistent just through mixing.”




Enta’s breakout release came in the form of his 2019 EP Hanging in the Balance on Young Guns Recordings. “I saw that DJ Randall and DJ Brockie were playing the tunes from it, and I thought maybe this will go somewhere,” he says. “That motivated me to pursue this weird hybrid techie Jump Up/Neuro sound a little bit more.”




His instincts were right. More huge Drum & Bass artists started playing out his music, and Liam was soon releasing on massive labels such as Hospital Records, Audioporn, Souped Up, Soulvent, Eatbrain and Run.




This year has been Enta’s biggest to date. He played Beats for Love Festival in Czech Republic, Hospitality in Toulouse, and his closing set at Virus Recordings x Eat Brain in London’s Steel Yard sparked a mosh pit. He’s getting continuous support from Dillinja, Ed Rush and DJ Hazard and this year alone he’s released on Soulvent, made a remix for Play Me Records and released his If You Like This You’re a Prick EP on ThirtyOne Recordings. “It feels like I’ve finally found my place in Drum & Bass,” Liam says.




And he has some of his biggest projects to date coming up in 2025. “Next year is where things really start to heat up,” he says. “I have an EP coming out on Trendkill Records, an EP for Neuroheadz, and another EP for Biological Beats and Eat Brain. So lots and lots and lots of Neuro is coming.”

Drum & Bass in Focus: Enta

Bora Uzer is a Turkish-born artist whose rare mix of live instrumentation, soulful vocals, and DJing has made him a leading light in the international music scene. With more than two decades of experience, Bora has mastered the art of forging deep connections with his audiences and it has taken him to some of the world’s most famous stages, from the playa at Burning Man to Red Rocks Amphitheatre in Denver to Ushuaïa Ibiza and Tomorrowland Brazil. Coming off of a successful 2024 residency at Ibiza’s iconic Pacha nightclub, where he headlined the legendary Flower Power party, Bora shares insights into his path, love for music, and the simple joys that keep him grounded.




Beyond the decks, Bora brings a rockstar energy that’s both raw and bold. He’s not just a performer but a storyteller, connecting with crowds through a powerful, interactive style that transforms each set into a blissful experience. Whether it’s playing in his current home city of Miami, with its unmatched vibe of sun, beach, and energy, or engaging audiences worldwide, Bora adapts to every crowd with precision and heart.




But Bora’s story isn’t just about the stage. He’s a family man who cherishes simple moments—whether skateboarding, relaxing on the beach, or spending time with his daughter. His sound is rooted in connection, and he thrives on creating spaces where people can let loose and feel uplifted. In this interview, Bora talks about his creative pathway, the big moments in his career, and how he juggles music, family, and life offstage.




If you weren’t a DJ/Producer, what would you be?

I’d probably be a Michelin Star chef. I love cooking.

What’s the most memorable moment of your career?

The last night of my Pacha residency in Ibiza this year. It was incredibly emotional looking back at the journey and thinking about all the crazy things that have happened. Bringing Flower Power to Pacha was an incredible experience.



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

I don’t have a favorite. I love playing in every city. I love going in and reading the crowds everywhere and making sure they are having a great time. But if I have to pick right now, Miami. It’s home, and the crowd here gets me. Plus, the vibe is unmatched—sun, beach, and endless energy.

How would you describe your sound in three words?

Vibrant, hopeful, uplifting.



What’s one non-music-related thing that makes you happy?

My family.

What’s your favorite non-music-related hobby?

Definitely skateboarding, but I don’t have enough time to do it in between shows, music, and my family—so not something I do very often. But I love it!



If you weren’t touring or in the studio, where would we find you?

Probably relaxing. I like to make sure I have downtime for myself and mine. At the skate park or chilling on the beach with my daughter.

What is simple that makes you smile?

People. I love people and connecting with them, hearing everyone’s stories, and sharing mine.



When do you feel at most peace?

On the stage. There is nothing I love more than planning and playing a set for a crowd and watching them have the time of their lives.



What are some things you forget but feel better when you are reminded about?

To live in the moment. It’s easy to get caught up, but life is happening now.

What personal prison have you built out of fear?

When you’re creating a song, there’s so much that goes into it. It’s sometimes overwhelming—the thought of letting it out into the wild if it’s not perfect. So you can get stuck in that rut. But I always remind myself that if I vibe with the song, then my people will vibe too.



If you could compliment yourself, what would you say?

I’d say I’m good company? I think people enjoy being around me, at least I’d hope so.



What is your favorite set time and duration?

I like to play any hour, really. But I also love sunrises because the energy, the light, and the people—it’s just magical.

If you had the power to erase and abolish one musical genre—which one would you abolish for all eternity?

I wouldn’t abolish any musical genre. Live and let live. Everything serves a purpose, and there is value in all art.

Living the Moment: A Conversation with Bora Uzer

Art Basel isn’t just about gallery hopping and admiring art—it’s also the perfect excuse to dive into Miami’s unbeatable party scene. With the city buzzing for the week, some of the best names in house and techno take over Miami’s top venues, throwing epic label and brand parties and DJ sets that keep the energy alive long after the art fairs close.

For those here to dance as much as they are to soak in the art, we’ve got you covered. From techno-thumping warehouses to spacious outdoor venues with multiple stages—like a massive 6.3-acre lot under the Miami sky—these six parties are where you’ll want to spend your nights during Art Basel. Let’s get into it.




Joseph Capriati b2b Louie Vega @ Jolene Sound Room 12/05

Set in the basement of the historic Julia & Henry’s building in Downtown Miami, Jolene Sound Room hosts an iconic back-to-back set featuring famed Italian DJ and producer Joseph Capriati and legendary American DJ Louie Vega. This rare pairing promises a night of expertly curated music from two of the industry’s most renowned names.

Event Details on RA



Domicile X SESH Label Basel Week at TBA Venue 12/05



Miami’s top techno club Domicile teams up with Berlin’s SESH label for a special night featuring Boys Noize and Clara Cuvé. Boys Noize brings his cutting-edge sound from Berlin, while Clara Cuvé delivers a set inspired by Europe’s underground scene. This event bridges Miami and Berlin’s techno culture in an intimate setting.


Event Details on RA




Francis Mercier: Deep Root Tribe @ Toe Jam Backlot 12/06



One of this year’s standout events is the Deep Root Tribe party at Toe Jam Backlot on Friday, December 6th. Headlined by Haitian-born DJ and Deep Root Records founder Francis Mercier, the event features a stellar lineup including MoBlack, Peace Control, Alan Dixon, Joezi, Saraga, Luna Mar, and more. Perfect for afro house fans, this party promises a night of rhythm and talent.



Event Details on Gray Area




Time & Place Art Basel w. Roger Sanchez, Cocodrills & more @ Mad Club Live 12/06



Experience top-tier visuals and sound at MAD Club Live, featuring a stellar lineup including Roger Sanchez, DJ Sneak, Cocodrills, Cris Ocaña, Ben Finx, Drea Carolina, Tony Shades, and Kyle Linco at Mad Club in Wynwood. Don’t miss this night of incredible music and talent!



Event Details on RA




Circoloco Miami @ Factory Town 12/07

Circoloco at Factory Town is back for Basel 2024, bringing a stacked lineup to Hialeah’s expansive outdoor venue. Known for its inclusive vibe and commitment to South Florida’s creative scene, Factory Town invites everyone to dance, explore a community marketplace, and connect with the local arts scene.



Lineup Highlights: ANOTR, Bedouin, Dixon, Joseph Capriati, Luciano, The Martinez Brothers, Seth Troxler, and more. Dance from sunshine to starlight in one of Miami’s most dynamic spaces!

Event Details on RA




elrow Closing Party @ Factory Town 12/08



Get ready for a one-of-a-kind Art Basel finale as elrow brings its immersive Hallucinarium concept to Factory Town. Inspired by the visionary art of Alex & Allyson Grey, this multisensory event blends music, art, and performance for an unmatched epic cosmic journey. 



Names to look forward to are Paco Osuna, Ilario Alicante, SYREETA, Hugel, Francisco Allendes, Oden & Fatzo, Max Styler, Tini Gessler, Monoky, and more. Don’t miss this surreal closing party that promises to be a Basel standout!

Event Details on Gray Area

Art Basel After Dark: 6 Parties You Can’t Miss

The music scene has its own dictionary—full of hilarious, random, and oddly perfect words that just make sense. Over time, this lingo has evolved and spread across countries and cultures, from the UK to Australia to the US. Somehow, we’ve all met in the middle with these phrases, picking them up from SoundCloud edits, YouTube sets, comment sections under track releases, and word of mouth.

These words and phrases make us laugh, help us communicate, and perfectly capture those indescribable moments only the dance music world understands. It’s one of the few things that unites us as a global scene. If you know, you know. They might sound confusing at first, but once explained, they become part of your vocabulary.

This lingo ties us together, whether we’re on the dance floor or zombie scrolling through our feeds. We’ve put together a list of 20 terms in alphabetical order—some funny, some eyebrow raisers, and all 100% relatable. Let’s dive in and see what we were able to put together.


Belter - Typically used to describe a really good track—a doozy of a song that gives you that stank face look. You’ll often see this under SoundCloud drops or in group chats when sharing a must-hear song.

Used in a sentence: "Guys, listen to the belter Chase & Status just put out!"



Choon - Any song or track that instantly earns top-tier status in your book. 

Used in a sentence: Music Sounds Better With You by Stardust? CHOON!



Chune-arita - It’s like “choon,” but with a cuter, zestier twist. Often sounds better coming out of a British or Aussie persons’ mouth. It’s the kind of word that makes a great track sound even better just by saying it.

Used in a sentence: "Mate, this song is an absolute chune-arita. Crank it up!"



Frothing - To be fully amped. The more formal use of the word frothen (pronounced froth’n), originating from Western Australia’s surfing community. It’s since made its way into the music scene, and can be used to describe being stoked about a set you just played over the weekend, hyped for an upcoming gig, or even to call a track a frother—a proper tune.

Used in a sentence: "Steady frothin’ from the sick one we had this past weekend.”

“Bring in the Charmin Ultra Strong - absolutely frothing to be opening up for Sharon Brown at Superior Ingredients this weekend!"

"She showed me a frother of a track. Proper melt-in-your-mouth stuff."




Gatekeep - Used to describe the act of holding something back or not sharing, especially when it comes to a song or playlist. It’s often done out of stubbornness or the desire to keep something special and lowkey.

Used in a sentence: "Can you stop gatekeeping your playlist?" "Why do you gatekeep your playlists? It’s not that deep."



Geeked - To be utterly incapacitated with laughter or ridiculously excited about something. It’s the perfect way to describe a moment that was so funny it left you in tears or a situation that had you hyped beyond belief.

Used in a sentence: Person A: How many espresso martinis did you spill on yourself at Space last night?

Person B: Dude, like four.

Person A: That had me geeked all night!



Lekker - In the music scene, it’s been adopted to describe a sick track or a moment that hits different. You’ll spot it in timestamp comments under a banging tech house minimal set, on Instagram teasers for unreleased tracks, or reels of DJs playing a massive venue with CO2 cannons firing off.

Used in a sentence: "Slide 3—lekker!" "53:04—lekker! What’s the ID on this?"



Marinate - To stay in one spot with absolutely no intention of leaving because the vibe or music is just that good. It’s the ultimate compliment to a set or venue—when you’re so locked in, there’s no need to wander.

Used in a sentence: "We marinated at Amnesia for 9 hours in the front left during the closing party."



Melt - A versatile term in the music scene with different meanings depending on the context. It’s often used to describe a track with a “wet” sound—think liquid DnB or a slow-tempo wubby bassline that just oozes into your eardrums. On the other hand, it can also describe your state at a set when the music is so good you’re completely rooted in place, melting into the sound and transcending into another dimension of high vibrations.

Used in a sentence: "Listen to the track Rezz teased on her story—an absolute melt."

"I couldn’t move from Cypress End, I was melting from sunrise to sunset."



Mint - An expression used by New Yorkers or the British, meaning "good." In the scene, it’s used to give an A+ or a thumbs up to a solid track or even to confirm plans in a group chat. Think of it as a stamp of approval or agreement.

Used in a sentence: Person A: "Try not to air this song out. I want to gatekeep it for as long as I can before everyone plays it out and I start hating it." Person B: "Mint. Thank you and will do."



Off a Mad/Sick One - A phrase used to describe being on a revolutionary bender, having an insane amount of fun, or just being absolutely overjoyed and living your best life. It’s the go-to way to sum up those unforgettable and stellar moments.

Used in a sentence: Person A: "I haven’t heard from you in three days. Are you okay?"

Person B: "Yeah, I’ve been off a sick one since I touched down in Ibiza."

Person A: "Did you run into James last night by chance?" Person B: "Yeah, I saw him at the techno tent briefly—he looked like he was off a mad one!"



Pinger - Another term for a banging track. It’s used to describe a song that delivers the goods every time. 

Used in a sentence: "Stussy was playing pinger after pinger last night. That man does not miss."



Rinsing - Used to describe a DJ who’s playing top-notch tracks with high energy and unmatched crowd control. It’s when the DJ is slinging tunes left and right, keeping the atmosphere electric from start to finish.

Used in a sentence: "Jamie Jones was rinsing the decks last night—absolute heaters from start to finish. The crowd couldn’t get enough!"



Ripper - An Australian term used to describe what was (or is expected to be) an amazing time. It’s also used to compliment a standout track.

Used in a sentence: "We’re going to Factory Town for elrow during Art Basel. It’s going to be a ripper." Person A: "Where did you find this ripper?" Person B: "On Bandcamp."



Sliding - Typical slang for saying you’re coming over or on your way, but in the music scene, it’s used to describe someone crushing their set. A DJ who’s got perfect crowd control, nailing every transition, and keeping the vibes high on the dance floor.

Used in a sentence: "Not sure whose playing right now, but he's sliding!"

"Everyone was shazaming her music last night because she was sliding on aux at the pre-game, and now her head’s all big, so she won’t answer my texts."



Tree Wook - Wooks are the shoeless, carefree souls of the festival scene, usually rocking fractal-patterned clothing, a trusty pashmina, and an aura of pure kindness. A tree wook takes it a step further, deeply connected to nature and grounded in spiritual vibes—hence the “tree” part of the name. They might bump into you at a bass show but will sincerely apologize, fan you down, offer a glove show, and make sure you’re okay. 

Tree wooks thrive on deep, heartfelt conversations and often have otherworldly stories to share. They’re not as polished at a show as the house crowd, but that’s what makes them so awesome—and some of the most fun and genuine people to throw down with. 

Used in a sentence: "I went to Lost Lands for the first time this year and met a tree wook who told me he was a hybrid—werewolf and human."



Tweaking - Usually not used in a positive or fun way. It typically means feeling disassociated, anxious, or out of sorts—when the vibes are off, and you’re not having the best time. 

Used in a sentence: "Can we step out of the crowd and get some air? I’m tweaking out right now."



Turbo - Going full throttle with something, pushing it to the limit with no intention of slowing down. It’s all about having an absolute blast and living life at full speed—until the wheels fall off. 

Used in a sentence: "I just completed 75 Hard, so I’ll be going full turbo for Miami Music Week. No ifs, ands, or buts."



Weapon - A term used for a track that never fails to get the crowd roaring. A go-to tune that DJs keep in their back pocket for big moments. Usually has a fat kick to it that ignites a lethal groove on the dance floor. 

Used in a sentence: Person A: "What song is your secret weapon?" Person B: "Sandstorm - Darude."



Wook Flu - The inevitable post-festival sickness that hits after coming off a sick one, caused by lack of sleep, dehydration, and a weakened immune system. Symptoms include red eyes, dry mouth, decreased verbal engagement (grunts become your main language), absent-mindedness, and a hangover so violent it feels personal. 

Used in a sentence: "I had to miss work on Monday. I had the wook flu."

IYKYK: 20 Essential Slang Terms from the Music Scene

No artist has changed the musical landscape of New England quite like Lenore. She’s been active in the scene since the ‘90s, and an early pioneer of D&B long before the genre became a household name. As well as her deft mixing style, Lenore’s legacy lies in her club night Elements – one of the longest weekly club nights in the world.






The Early Years




Born and raised in Connecticut, Lenore’s first foray into electronic music was through the queer underground in her home town of Hartford. She went to college in Boston, where she fell in love with ‘90s house which motivated her to start DJing in 1995. “I discovered Drum & Bass accidentally in a record store,” Lenore says. “I liked the artwork and the names of the tracks – I didn’t even know what genre it was.”




The first record she picked up was from Fabio’s label Creative Source. “It was totally up my alley,” she says. “Then I discovered T Power’s album The Self Evident Truth of an Intuitive Mind, and really got into the introspective, atmospheric direction that D&B was going in.”




After that, Lenore took a deep dive into D&B’s back catalogue. She devoured early releases from labels like Metalheadz and then dove head-first into New England’s underground, attending a night called Jungle Roots run by Al Fougy when she didn’t have school the next day. “I saw some great artists there like Ed Rush and DJ Trace, and Fougy also brought names like Goldie, SS, L Double and LTJ Bukem but I wasn't there,” Lenore says.




In 1998, once she’d graduated, Lenore noticed a lull in D&B club nights. “At that point I had been DJing Drum & Bass and had crates and crates of records” she says. “Drum & Bass was always relegated to the side room, so I asked the owner of The Phoenix Landing if I could throw my own club night there and surprisingly he said yes.”













The Birth of Elements

Two days after Lenore’s birthday in January 1999 she threw the first Elements rave with her co-founder Crook. “I had to learn what to do with bookings and logistics on the fly,” she says. “Back then, we flyered, so I would sometimes set my alarm at 1am and go out and promote.”




Despite not knowing how to run a club night, Lenore says everything just fell into her lap like it was the path she was supposed to be on.




Their early bookings included Dom & Roland, DJ Storm, Breakage and Total Science as well as Lenore and Crook. At the time, Lenore felt that she was simply filling a gap by starting her night, and once the scene picked up she wouldn’t need to do it anymore, but that never really happened, and the demand for Elements just kept coming. Lenore has a few theories as to why it’s been such a success.




“The sound system and the room shape is one factor,” Lenore says. “The acoustics work really well with Drum & Bass because there’s a lot of wood so you can really hear the intricacies and the percussion. D&B producers are some of the best engineers on the planet and the room caters to that.”




Lenore also believes the transience of Boston as a college city has helped keep footfall flowing, as well as the non-existent dress code so people can walk in right off the street. “Some people just walked in and haven’t missed a week since,” Lenore says.




“There’s a high turnover of people but it’s cool how the culture has stayed the same,” Lenore continues. “The artists say they like to play for Elements because the crowd is educated musically.”






Elements Today

Elements has been in that same 150 capacity venue every Thursday for over 25 years, and the club night has become a staple of Boston’s underground and a home for the East Coast’s D&B heads. Lenore now co-hosts with Furious, and despite having to close for a while during the pandemic, Elements made it through by live-streaming and opening their doors as soon as it was safe.




Lockdown bred a whole new wave of Drum & Bass producers, so when the world emerged, Elements was in a perfect position culturally. “It's great because you have something fresh every week so you can curate a set that's totally different and nothing ever gets stale,” Lenore says.




Today it’s one of the most loved club nights in the USA. They recently hosted the 30 year celebration of Dread Recordings, and they plan to team up with one of Boston’s legendary Loft promoters. “DJ Bruno has a new space that goes all night in Boston,” Lenore says. “He offered Elements our own room on NYE, so I'm very excited to be working with someone who is a significant part of Boston's electronic music roots and to bring together the underground house and jungle and D&B communities.”




And, of course, Elements will be celebrating their 26th birthday in January. “A lot of people say it’s their therapy, their church and their chosen family,” Lenore says. “And there’s never been a question of whether I want to continue, because the impetus is coming from the community.”

D&B in Focus: Lenore

If you love melodic, deep, or afro house, chances are you’ve already come across Marten Lou—or you will soon. Born in Germany but with a sound deeply influenced by his time in Paris, Marten is one of those artists who feels like he’s everywhere right now. From “Another Life” to “My Love For You (Yebba’s Heartbreak)”, his tracks have been getting spins from names like Keinemusik, Adriatique, Bedouin, BLOND:ISH, and Camelphat.

His career really started to take shape after he released “My Love For You (Yebba’s Heartbreak)”. That track opened the door to labels like Drake’s OVO, FFRR, Warner Music, and Atlantic Records, and suddenly his music was hitting millions of streams and getting featured on Pete Tong’s BBC Radio 1 show and Tomorrowland’s One World Radio.



But it’s not just about the studio for Marten—he’s also been putting in work on stage. From Coachella and Burning Man to Ibiza and New York, his sets have brought melodic grooves and emotional builds to audiences across the globe. And if you ask him, New York tops his list as his favorite city to perform in.

In this interview, Marten shares what inspires him and his artistic workflow, how Paris shaped his sound, and why he’d collaborate with Justin Bieber. Whether you’re a diehard fan of the genre or just looking for someone new to get into, Marten Lou is someone worth keeping on your radar.



If you weren’t a DJ/Producer, what would you be?


I've been passionate about music for as long as I can remember, and it has always been my dream to pursue it professionally after high school. Because of that, I never seriously considered any other paths.



What’s the most memorable moment of your career?


There have been many memorable moments over the past few months and years, but the one that stands out the most was about two years ago, when I uploaded my track "My Love For You (Yebba's Heartbreak)." That’s when everything started to fall into place, and my professional career really began to take off. And of course, playing at Coachella this year was another unforgettable highlight.



Who’s an artist that inspires you right now?


There are many artists from different genres that really inspire me, such as Keinemusik and WhoMadeWho. There are some big but also smaller artists that I look up to, and I generally always check what is going on in the world of music.

What’s a track you play when you want to get the crowd hyped?


My Another Life Remix usually gets the crowd to a very high energy level ☺.



What’s your go-to snack or drink before a show?

It really depends on the day and the vibe in general, but I probably wouldn’t say no to some fresh fruits & a shot of tequila.



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


This is a tough one to answer since I’m moving between many different cities almost every week. Each city has its own unique and special vibe, but if I had to choose, New York City would definitely be at the top of my list.

How would you describe your sound in three words?


Melodic, emotional, moving.



If you could collaborate with any artist, dead or alive, who would it be?


There are definitely a few artists I would collaborate with. I like to bring different genres together, so one artist I’d mention is Justin Bieber.

What’s your favorite non-music-related hobby?


I love cooking and playing soccer – they’re both activities that keep me energized and relaxed.



What is simple that makes you smile?


Seeing people enjoy and dance to my music is one of the most rewarding feelings.



What are some things you forget but feel better when you are reminded about?


With everything moving so quickly, it's important to take a moment to reflect on all that you've already accomplished. I think this is something we sometimes forget to do.

The Many Layers of Marten Lou

Italian duo Glowal, made up of Fabio Giannelli and Alessandro Gasperini, has become a familiar name for fans of melodic techno. With early influences ranging from Daft Punk and Chemical Brothers to Carl Craig, their introduction to electronic music was sparked by their brothers—one a DJ and the other an event organizer. After pursuing individual projects, they decided to join forces, blending their shared vision into what is now known as Glowal.



Their music is a mix of emotion and energy, often starting with hypnotic, atmospheric ideas and evolving into tracks that bring depth to the dance floor. Tracks like "Cries," "Open The Gate," and "Roda" have earned them widespread support from artists like Dixon, Tale Of Us, and Solomun. Whether performing at famed venues or debuting unreleased tracks, Glowal knows how to keep listeners engaged while staying authentic. 

Their tour schedule reflects their rising status, with performances at big festivals like Tomorrowland, Extrema Outdoor, and Zamna Festival, as well as appearances at iconic venues such as Watergate in Berlin, fabric London, Klein Phönix, and HÏ Ibiza.

In this interview, the duo shares insight into their artistic workflow, their favorite gear, and the inspirations that fuel their work. From memorable moments on stage to the challenges of balancing their busy schedules, they provide a glimpse into what keeps their music fresh and personal.

For fans of melodic techno and thoughtful, atmospheric tracks, Glowal’s story and insights offer plenty to dig into.






What inspired each of you to get into electronic music, and how did you decide to join forces as Glowal?

For both of us, the introduction to electronic music came through the influence of our brothers. Alessandro’s brother was an event organizer, while Fabio’s brother was an amateur DJ with a good collection of records. Moby, Daft Punk, Chemical Brothers, Robert Miles, Carl Craig, and many more had a big influence on us.



We both had other projects before Glowal, but after establishing mutual trust and sharing ideological and artistic affinities, we realized we were both at a point where we wanted and needed to start something fresh and new. So, we decided to join forces to create our project.



Your music has been described as both emotive and atmospheric. How do you go about achieving that balance in your productions?

It comes quite naturally with the flow. 100% of the tracks start from a more hypnotic and emotional idea, turning after that into something more pushy or keeping that initial vibe till the end. It depends on the feeling we have with the track during the process and how we feel at that moment.



Which of your releases do you feel best represents the “Glowal” sound, and why?

"Cries," "Open The Gate," "Roda," "Trigger Your Sense," but also "What Da F**k You Want" give a sense of what the Glowal sound is about. Basically, it is something floating between rave and emotions, with a dose of punk sometimes.



Your tracks have gained support from industry giants like Dixon, Tale Of Us, and Solomun. How does it feel to have your work resonate with these artists?

It's definitely a great feeling and gives extra motivation to push our boundaries.



What’s been one of the most memorable moments for you both on stage?

When we try new tracks, that's always a special moment. Seeing the first reaction of people to a new production is a really unique feeling for us every time!



How do you prepare for your live sets, especially for iconic venues and major festivals?

Our sets aim to create an energetic, emotional, and still hypnotic journey. We generally hear a lot of promos and tend to choose and play the ones that resonate best with us, our sound, and the event. We also like to play a lot of our own tracks (released and unreleased) to shape the set to our own sound. 





For sure, sometimes there is space for a pair of classics that find their way into the set at the right moment. For us, it's very important to create a connection with the crowd and build the right energy in the room.



What’s the most challenging part of working as a duo, and how do you resolve creative differences?

To be honest, we rarely disagree on the creative part. Nowadays, you have to take care of many things, like, for example, social media, marketing, videos, etc., so most of the time our discussions are more about other sides of the project. In almost the totality of cases, we go for the middle way.



Are there any specific artists or genres outside of dance music that influence your sound?

We have very wide tastes in music. For example, we like Radiohead, Blink-182, System Of A Down, Linkin Park, but also Travis Scott, Kanye West, and what Lithe is actually doing is great.



If you could collaborate with any artist, past or present, who would it be and why?

Giorgio Moroder, because of his innate sense of research and his will to push the boundaries of music.



What’s a piece of gear or software you can’t live without in the studio?

The Native Instrument Maschine, essential for all our drum parts.



How do you stay motivated and inspired amidst a busy tour schedule?

This is actually the most difficult part time wise, but even if life is frenetic during the tour, we still have the chance to meet new people, hear new stories, and make experiences that influence and give a lot of creative inspiration for the next time we close in the studio, build an idea on the laptop, or write a lyric for the next song. For sure, being able to road test the tracks gives the motivation to make it better.



Imagine you're DJing for an alien audience—what’s the first track you’d play to introduce them to Glowal?

"Open The Gate," because if they are with us, it actually means they made it to another dimension.

In Conversation with Glowal: Emotion, Atmosphere, and the Art of Music

The Evolution and Future of UK Sampling Practice

Sampling has been at the heart of UK electronic dance music since the late 1980s, shaping iconic genres like drum and bass, trip-hop, and big beat. But how it started, why it became so distinctive, and what its future holds tell a fascinating story of creativity born from scarcity.



Why UK Sampling Stood Out

Early UK sampling composers weren’t trained professionals with access to fancy studios or expensive equipment. Instead, they were DIY pioneers working with what they had. Back then, digital samplers could only record a few seconds of audio, and software tools like Cubase were often pirated, with users figuring things out through trial and error. These limitations forced them to innovate, creating short loops, manipulating sounds, and embracing imperfections.



Unlike in the US, where hip-hop sampling was rooted in turntable culture and followed “rules” about respecting certain records and sources, UK sampling was all about being limitless and no restraints. With no strict guidelines, UK producers mixed and matched sounds from different genres—reggae basslines, acid house beats, and even random snippets of vinyl—to create something completely fresh.



The Role of Scarcity

The scarcity of tools, expertise, and even rare vinyl made UK sampling what it was. Producers had to think creatively to overcome these hurdles, which led to the unique sound of early UK EDM. This resourcefulness birthed entire genres that are still celebrated worldwide.



The Present: Challenges and Opportunities

Today, the world of sampling looks very different. With digital tools offering endless possibilities and access to virtually every song ever recorded, you’d think it would be easier than ever to innovate. But ironically, having too much choice can stifle creativity. Where do you start when everything’s an option?



Another big challenge is copyright law. Sampling a single track now can involve costly and time-consuming clearance processes, making the freewheeling creativity of the 1990s harder to replicate. Many artists avoid mainstream attention to dodge legal issues, sticking to underground scenes instead.



What’s Next?

Despite these challenges, the influence of UK sampling lives on. The raw, forward-thinking spirit of the early days continues to inspire new music. While the future may rely less on traditional sampling techniques, the legacy of UK sampling shows that creativity thrives when artists find clever ways to work within their limits. Whether through global online communities or new ways to mix sounds, sampling will keep evolving—and UK music’s experimental edge will always be part of the story.

Cut and Paste: The Evolution of UK Sampling

The Surprising Origins of "Electro"

If you’ve ever heard the term “electro” and thought it was just short for “electronic music,” you’re not alone. But here’s the twist: “electro” actually started as a name for two very specific styles of music—electrofunk and electropop—born in the late 1970s and early 1980s. These genres combined funky grooves or catchy pop melodies with futuristic, electronic sounds.



Think of pioneers like George Clinton, who brought the funk, and Kraftwerk, the German band that leaned into robotic, synthesized music. Their influence laid the groundwork for what would eventually grow into techno. But calling techno a mashup of George Clinton and Kraftwerk, as some have done, skips over some key details.



The number of releases per decade under these three labels shows they are closely interconnected. 



Detroit: The Birthplace of Techno

The story of techno, and how “electro” fits into it, starts in Detroit. DJs and musicians there were influenced by disco, house, and funk scenes from cities like New York and Chicago. For example, Derrick May, one of the first techno producers, was heavily inspired by house music he heard during trips to Chicago. Another early producer, Juan Atkins, was influenced by Kraftwerk and funk, which you can hear in his work with the duo Cybotron.



While Atkins used electrofunk and electropop elements in his music, the techno that followed didn’t really stick to that formula. By the mid-1980s, Detroit artists were creating music that sounded very different from the funky, syncopated rhythms of electrofunk.



Why "Electro" Can Be Confusing

Here’s where it gets tricky: in the early 1980s, “electro” was widely understood to mean electrofunk or electropop. But by the late 1990s, especially in France, “électro” started being used to describe all kinds of electronic music, from techno to house and beyond. This newer meaning can make things confusing, especially when looking at the history of electronic music.



Why It Matters

Understanding where “electro” comes from isn’t just about knowing music trivia. It’s a way to see how music evolves over time, shaped by technology, culture, and global influences. Next time you hear someone say “electro,” think back to its funky, poppy roots—and how it became a term that’s now used for so much more. Knowing the history adds a layer of appreciation for the music we hear today.

What Exactly is "Electro" and Why Does It Matter?

Techno music reached its peak popularity in the early 1990s, becoming a powerful cultural movement in Europe. After starting in Detroit, where it reflected the city’s industrial decline, the genre found a new home in Berlin. At the time, Berlin was experiencing its own dramatic transformation after the fall of the Berlin Wall and reunification of Germany. The de-industrialization of East Berlin left behind numerous empty, abandoned spaces, which became the perfect venues for underground techno raves.



One of the most famous clubs from this era was Tresor, founded by Dimitri Hegemann. It became a central hub for Berlin’s burgeoning techno scene. The city’s rave culture was seen as a way to bridge the divide between East and West Berliners, fostering unity not just in Germany but across Europe. 



Events like the Love Parade drew massive crowds, celebrating peace and community. However, critics argued that the "peace" message also reflected conformity and an acceptance of the status quo. 



In the UK, rave culture began to decline by the mid-1990s, but this shift led to a more thoughtful phase for techno. People started seeking music that catered to quieter, reflective moments after wild nights of partying. 



This gave rise to "intelligent techno", a subgenre that focused on minimalism and intricate sound design. Albums like Warp Records’ ‘Artificial Intelligence’ presented techno as music for listening, not just dancing. This trend appealed to a more mature audience, emphasizing artistry over mass appeal.



Techno's evolution also brought commercialization. Institutions like Ministry of Sound turned dance music into a global lifestyle brand, focusing on creating high-quality music experiences for a broader audience. However, by the early 2000s, some critics declared minimal techno outdated, with its repetitive sounds losing favor in the ever-changing music scene.



Despite these challenges, Berlin has maintained its reputation as the global center of techno music innovation. Unlike the UK’s quick trend cycles, Germany embraced steady growth, allowing its scene to thrive and continue influencing artists worldwide. Today, techno's legacy remains as a symbol of creativity, unity, and resilience in changing times.

The Rise, Fall, and Legacy of 1990s Techno

DJ and producer Sol Pillars is at the forefront of South Africa’s D&B underground. Since he first discovered the genre at a weekly Johannesburg club night in 2014, he’s remained dedicated to exploring every corner of the genre, mining its potential to touch on the full range of human emotions. Today, the Sciencefrikshun and Addictshun resident chats about his early influences, South Africa’s thriving D&B scene and his ambitions for the future.




D&B in Johannesburg




Just like many D&B heads in South Africa, Sol’s early foray into the genre was through the weekly club night Addictshun. He grew up on the east side of Johannesburg and started exploring the city’s underground culture as a teen, first through street parties, then techno nights and then D&B. “I discovered D&B when I was 17, right at the end of high school,” he says. “I loved all the different types of people with their own vibe coming together, and it was my first time hearing a Void Acoustic sound system as well.”




After that, Sol was hooked. He became immersed in the community, and with their encouragement started learning how to DJ. He was already comfortable performing as he’d been a guitarist in bands before, so DJing was a natural evolution.




Sol’s first D&B gig was in a tiny bar in the north of Johannesburg, which caught the attention of the Addictshun crew, and he started playing at their events. Addictshun is all about getting as many people as possible involved in the scene, so the community grew quickly, with the sense of inclusivity drawing people in.




SA’s Underground




In South Africa, Drum & Bass is most popular in Johannesburg and Cape Town. “It’s picked up a lot of momentum in the last five years or so,” Sol says. “Cape Town has one of the longest standing brands in D&B - It Came From The Jungle – they’ve been going for 17 years.”




They’re hosted in a new warehouse venue called Alley, fitted out with Void Acoustics and an unparallelled lighting set up. Meanwhile, Johannesburg’s stand out club nights include Cherch and Propaganda.




“Sciencefrikshun is my crew,” Sol says. “Their nights are at a venue called And Club which is more known for techno. Cherch usually have their nights in warehouse clubs, with incredible custom light shows they change up every year.”




Sol says that South Africa is spoiled for choice when it comes to world class venues and state-of-the-art sound systems, and the music is unique. “There's a lot of influences, not just from overseas, but also from within,” he says. “There’s tons of genres that are really prominent in the country, like house music and psy-trance and techno, so it’s a vibrant landscape. Our dance floors are very energetic and uplifting, so it's an exciting place to be.”




Just with all D&B scenes, the community is a diverse bunch with a good mix of men and women. There’s the youngsters of course, in their late teens and twenties, who are discovering the genre for the first time, and there are people in their 30s, 40s and beyond enjoying the scene. “The scene in South Africa is very welcoming, you can be whatever you want without fear of judgment or persecution,” Sol says.




Productions and Residencies




Since he released his first track in 2020, Sol’s built a reputation as an explorative and emotive producer. He’s released tracks and EPs on labels such as Bay 6 Recordings, Calibrate Records, Rubricate, Modular Carnage and Propaganda011, and played some of the country’s biggest festivals. His residencies on Sciencefrikshun and Addictshun, two of SA’s biggest club nights, have only cemented his sound and motivated him to continue.


“Sciencefrikshun really allowed me to experiment, hone my sound and develop my technical skills,” Sol says. “I’ve played on the same line-ups as big international artists but what’s important to me is being able to perform regularly and build a name for myself that way.”




Sol is building a mini D&B empire. He runs 1-on-1 production lessons under his Soul Link Music label, and just launched his own event series called Open Signal, with their first event taking place on 13th December at Hexagon in Cape Town.




Sol recently moved from Johannesburg to Cape Town, with big plans to release eight original tracks in the coming year, many on his own label. Sol hopes to release the first tune before the end of 2024 and use it as a launch pad to share music from other artists. “I want to own my own music, put out what I want without having to fit in another labels’ sound, and start a platform for other artists in South Africa,” he says.

D&B in Focus: Sol Pillars

James Wyler is building serious momentum in the minimal tech circuit. Born in New Jersey, then living out in North Carolina’s small but tight underground house scene, he’s come a long way since those early days, now based in Brooklyn where he’s built a studio that’s become his creative home base. Tucked into the concrete walls of his apartment’s basement, it’s the perfect spot to experiment with sound at full volume, his Ableton Push always within reach.

When he’s not in the studio, Wyler’s out with his Fujifilm camera, snapping moments from his travels that end up shaping his music. Whether it’s digging for vinyl at Brooklyn’s record stores, hitting live jazz bars for some sax and piano vibes, or taking his dogs for long walks with headphones on, Wyler finds plenty of everyday inspiration outside the club.



House music hit him hard back in college, especially after a life-changing trip to Europe where a night on the terrace at Amnesia Ibiza sparked his love and interest in the scene. Since then, he’s been building his sound—pulling from old-school jazz and funk, stripped-back Romanian grooves, and terrace-ready tech. Now, with tracks out on labels like Solid Grooves, Whippin, Factory 93, Rawthentic, and collaborations with artists like Kyle Walker, Slugg, ChaseWest, Fletch, and more, Wyler’s gearing up for what’s shaping up to be a big and bright 2025.

In this interview, Wyler breaks down his influences, fueling the artistic workflow, and what’s next for him in our beloved world of music. For fans of groovy minimal tech and those curious about where the community is headed, this is a read you’ll want to check out.



You’ve mentioned building out your home studio in Brooklyn was key when moving to New York. What’s your favorite part of the space and how has it influenced your creative process?

Yeah, moving can always be a pain, but it was exciting to have a part of our new home that I could look forward to building out. Over the years, I have been compiling different pieces of equipment, and I feel like I'm finally in a place where I have all the pieces that I am consistently using on my music. 

We found an apartment with a room that is down in our basement, which allows me to enter the studio without the stressor that our neighbors are going to have an issue with the sound, seeing that the room is completely surrounded by concrete. My favorite part of my studio is more so a favorite piece… I would probably say it is my Ableton Push; I use that in every track! Honestly, too, I feel that the change of environment has helped spark a lot of new creativity for me.



Aside from music, you’re also into photography. How does shooting with your Fujifilm fit into your daily routine, and does it ever inspire your music?

It definitely has influenced my music. I realized that I have made it a habit when not only touring but also when doing any kind of travel that I am seeing the things around me from a new perspective…thinking about capturing shots that really emphasize the feeling a place brings me. Retrospectively, this gets me thinking about how my sound can embody a place, venue, or specific part of the world. I have been building out a bank of shots that have inspired me and finding a way to make it all blend into the brand and vibe I want to share. You will definitely see it included more and more in my project next year.



What’s the one thing you always have to do when you’re back in North Carolina?

There’s this unbelievable Cuban spot I can’t skip – Calle De Sol. It’s basically tradition at this point. Plus, the neighborhood where this restaurant is located holds a lot of Charlotte history. Going back to places like that is always on the list.



You travel for shows both in the US and internationally. How do you stay grounded amidst the hectic schedule, and how do different places inspire your sound?

Hitting the gym or going for a run keeps me sane on the road. Physical activity is one of those things that, no matter where you are in the world, you can find a way to stay active. Of course, there are the places I go to and have the luxury of a gym, but even just making it a point to get out for a run not only brings me a sense of groundedness but also a spark for inspiration. When I can get outside places like the deserts of Riyadh, Saudi Arabia, or the beaches off the coast of San Diego, CA, when I am able to immerse myself in an entirely different lifestyle from my own, I am definitely inspired.



Going to record stores around Brooklyn sounds like a cool hobby. Any recent vinyl discoveries you’ve been obsessed with?

Yeah, I recently picked up “Comin’ Home Baby” by Herbie Mann. It’s got such a cool, old-school groove.



You’ve got a couple of dogs – how do they factor into your day-to-day life? Do you ever find inspiration during your walks with them?

Haha, they’re a handful, but they keep me in a routine. Routines revolving around daily walks or even just keeping them fed play a huge factor for me in staying balanced. When out on a long walk where I have my headphones in, I’m always discovering new tracks and sounds.



Tell us about the underground party scene in North Carolina and how it influenced your start in house music?

It's interesting because there was really only one group of guys throwing underground music back when I got into it around 2016/2017. It was awesome they were bringing guys like Paco Osuna and Stacey Pullen, but the scene has really grown, and there are a lot of promoters that are now throwing some awesome parties.



As far as influences, I really have to give a shoutout to my boy Dan, as he is the one that really showed me proper house music back in the day. When I initially started working on music, I wanted to learn how I could discover techniques that Jamie Jones was using in tracks like “You!”. 

Thinking about it now, it is crazy thinking back on how much my sound has been able to evolve from back in my NC studio, which originally consisted of a computer table with two speakers shoved into a corner of my room right next to my bed.



You’ve mentioned seeing Marco Carola at Amnesia in Ibiza as a pivotal moment in shaping your sound. What specifically about that experience lit the fire for your music career?

That night was unforgettable. I’d been DJing for a while at that point, but seeing Paco open for Marco on the terrace – the energy was like nothing I’d ever felt. The way the crowd moved together was unreal. After that, I knew I wanted to create that same kind of magic.



How did your first gig feel, and what’s the biggest thing you’ve learned since then about performing live?

I started out playing top 40 and hip-hop, so it was a different vibe. I am thankful, though, for getting to play for those kinds of crowds at the beginning. It taught me the importance of being able to read a crowd. Biggest lesson so far? 



Just to make sure I am always enjoying it, making sure I am having fun when on stage, as the crowd feeds off your energy. Also, just spending endless hours digging for music—it’s always a great feeling when you play something new that people haven't heard before and you can feel it in the reaction on the dancefloor.



Your discography includes releases on top labels like Solid Grooves Raw and Rawthentic. How do you approach each new project, and do you have any rituals in the studio?

Before any session, I spend 20-30 minutes just vibing to music that inspires me—could be new, could be old, doesn’t matter. It gets me in the groove, and from there, I let things flow naturally. 



It has been nice getting in the studio this past year with different artists from all over the world and seeing how they, too, start sessions and how we find a way to merge our creative rituals into one for collaborations.





What role does jazz, funk, and soul play in your music today? Do these influences sneak into your tracks in unexpected ways?

Always. I pull a lot from ‘70s and ‘80s tracks. That groove and feel are timeless, and I want that same energy in my own music when it hits a dancefloor.



Do you remember the first time you hit a jazz bar in Brooklyn? What keeps bringing you back to live jazz performances?

Absolutely insane vibe. A friend invited me to this spot in Manhattan, a tiny apartment-turned-music-venue. BYOB, 50-person cap—the energy was electric. Live jazz is just something else.



Who do you currently have on repeat when it comes to stripped-back Romanian minimal grooves? What about those sounds grabs your attention?

Jean Pierre, Jesse Calosso, Fletch, Mason Collective—I really love what these guys are putting out at the moment and draw a ton of inspiration from their music. But I do have a strong connection with a deeper side with guys like Michael James, Pascal Benjamin, Traumer, etc. There's just something about a strong groove on a good system that hits different.



You’ve drawn inspiration from artists like ANOTR and Franky Rizardo. What about the newer wave of artists do you connect with most?

I’m all about forward-thinking music and artists who love what they do. ANOTR, for example, has really shown that it’s cool to just be yourself and share your art, however it comes out. I am constantly trying to push myself to embrace this mindset and creative style.



Being surrounded by these pockets of young artists that are really starting to explode helps draw out motivation when I am seeing these guys that have really been coming up in the scene alongside me having a lot of success in our own ways. Our community of not only artists but also other industry faces that build up artists behind the scenes is truly encouraging, and it's amazing to get the opportunity to see us all flourish.



With so many influences from big names and rising artists, how do you keep your sound uniquely yours?



Just continuing to push myself to create new styles of tracks. It honestly makes it more fun exploring and getting creative with new ways of working. I’ve recently started working with vocalists, which has really allowed me to be more creative and personal with my music. Additionally, getting in the studio this year with Fletch, ChaseWest, Slugg, Ky William, Kyle Walker, and the Risque crew, to name a few, has really pushed boundaries with my music.



What’s your guilty pleasure track or artist that people would be surprised to hear you love?

A Tribe Called Quest – "Electric Relaxation." Total classic.





Any funny tour stories that come to mind from your recent travels?

Nothing too specific stands out, but lately, it’s been all about those spontaneous, unforgettable moments—meeting incredible people from all corners of the world and soaking up new cultures with my closest friends. Every adventure feels like a new chapter in this crazy story we're writing together.



If you could play a surprise set anywhere in the world tomorrow, where would it be and why?

Amnesia Terrace. It’s iconic, and that energy is unmatched.



You’re stuck on a deserted island but somehow have a solar-powered DJ setup. What three records do you bring with you?

Gadjo – “So Many Times,” Toto – “Africa,” Frankie Smith – “Double Dutch Bus.” Love this question, though, because I have actually taken a personality quiz where my results stated that I would struggle to be stranded on an island because I am someone who loves being in and around people.



What’s next for James Wyler? Anything exciting in the works that we should keep our ears out for?

Early 2025 is shaping up for me as we close out 2024… Got some new releases lined up, experimenting with fresh styles in the studio, including some collabs with Kyle Walker & Fletch. 



The Risque crew here in NY has really given me a home base team that I am building out new projects with as I’ve gotten involved with the label and parties, so I’m excited to see things grow going into next year.

The Studio, The Road, and The Groove: An Interview with James Wyler

As Art Basel approaches, Miami transforms into a hub for creativity, culture, and music. Among the standout events this year, the Deep Root Tribe party at Toe Jam Backlot on Friday, December 6th, promises to be a highlight. With Francis Mercier at the helm and a carefully curated lineup of talent, this event is set to offer a unique experience for afro house enthusiasts.


Headlining the event is Francis Mercier, a Haitian-born artist and founder of Deep Root Records. Mercier’s influence on the afro house genre has earned him recognition from global platforms like Forbes, Billboard, and DJ Mag. 



His tracks have topped charts, including reaching #2 on Beatport’s Top 10 overall, and are staples on major stations such as Tomorrowland One Radio, BBC Radio 1, and Diplo’s Revolution on SiriusXM. Francis Mercier has performed at incredible destinations around the globe, including Mumbai, Lebanon, Colombia, Morocco, Miami, and beyond, selling out  shows that connect with diverse audiences worldwide.



Mercier’s collaborations with labels like Sony, Universal, and Mad Decent, and his work with icons like Gorgon City, Black Uhuru, and BLOND:ISH, underscore his role in afro house’s growth. His music has been supported by industry leaders including Black Coffee, Vintage Culture, and Keinemusik, and his tracks have been licensed by brands like Disney, Netflix, and Porsche. Mercier’s ability to connect global sounds with afro and tribal influences makes him one of the most exciting artists to catch during Art Basel.



Joining Mercier is a lineup of equally impressive talent. Italian DJ and producer MoBlack, widely credited with elevating afro house to new heights, will also take the stage. MoBlack’s performances at festivals like Terminus and Brunch Elektronik have earned him a reputation for bringing rich, soulful energy to his sets. He has been supported by heavyweights like Black Coffee and Pete Tong, making him a name to watch.



From Denver, Peace Control, the DJ duo behind a standout remix of Fireboy DML’s “Peru,” brings their unique sound to the night. Their rise has seen them perform at top venues like DC-10 Circoloco, CityFox Brooklyn Mirage, and Jolene Miami, showcasing a knack for connecting with diverse audiences.



London-based Alan Dixon adds a fresh element to the lineup. Known for his disco-influenced sound, Dixon has played globally at iconic venues like Glastonbury, Pikes Ibiza, and Ministry of Sound in Singapore. His track Thandaza, in collaboration with Keinemusik speaks volumes for his valuable addition to the lineup. 



Gray Area’s resident DJ, Luna Mar, will also take the decks. Having opened for notable acts like Franky Rizardo and Shimza and played elrow parties, she brings experience and versatility that ensures a memorable set. Rounding out the night are talented artists Joezi, Saraga, Adam Nazar, and Kanykei, each adding their unique styles and perspectives to the event.




Toe Jam Backlot in Miami’s Wynwood Art District serves as the ideal setting for this celebration. Known for its eclectic decor, including retro art and unique installations, the venue offers both indoor and outdoor stages, a VIP room, and a state-of-the-art sound system. 



Its 22,000 square feet of space ensures there’s room to fully immerse yourself in the music and energy of the night.

The Deep Root Tribe Return: Art Basel 2024 Edition

What is 3-Step Afro Music?

If you haven’t heard about 3-Step Afro Music yet, keep reading—this fresh subgenre is emerging from South Africa’s dance music scene, and it’s one you'll want to know about. Born from the creative energy of artists experimenting with Afro house, amapiano, and broken beat, 3-Step is quickly becoming a favorite for fans who love music that’s both rhythmically powerful and melodically rich.



At its core, 3-Step is defined by its three-kick-drum rhythm, which gives the tracks their unique groove. But there’s more to it than just the drums. The music pulls together influences from amapiano’s deep basslines and iconic log drums, Afro tech’s punchy and driving percussion, and broken beat’s playful syncopation. Add in jazzy horns, intricate handclaps, and layers of percussion, and you’ve got a sound that feels fresh but still carries the soul of Afro house and amapiano.

It’s a genre that finds balance—steady and grounding rhythms paired with melodic flourishes that give each track depth and character. Whether you’re a fan of amapiano’s signature bounce or the atmospheric grooves of Afro tech, 3-Step offers something that’s bound to draw you in.

Five Examples of 3-Step Tracks:



Who Pioneered 3-Step?

3-Step was created by Thakzin, a producer from Ivory Park in Johannesburg. During the quiet of the 2020 lockdowns, Thakzin began rethinking his approach to music, breaking down his production style and building it back with simplicity and groove in mind. He wanted to create something that felt fresh but still connected to the roots of South African house music.



Thakzin’s track “The Magnificent Dance” introduced this new sound to the world. Released in 2022, it became a summer anthem in South Africa and gained attention internationally. 



Artists like Black Coffee, Shimza, and Themba embraced the sound, helping it reach a wider audience. Thakzin’s ability to merge different styles into something cohesive has made him the face of the 3-Step movement.



Why Is 3-Step Gaining Attention?

3-Step is rising fast because it feels like a natural evolution of South African electronic music. It combines elements of popular genres while introducing a fresh perspective. The rhythm-heavy structure appeals to dance music fans, but its melodic layers make it versatile enough to cross into different scenes. As South Africa continues to be a global hub for music, 3-Step has the potential to become a defining sound.



Thakzin isn’t the only artist exploring the possibilities of 3-Step. Producers like MÖRDA, SGVO, and Darque are also experimenting with the sound, each adding their own flavor to the genre and contributing to its growth. In a music scene that’s always evolving, 3-Step offers a refreshing balance of familiarity and innovation, making it a standout style with room to grow.



Background and Future

3-Step’s roots lie in South Africa’s long tradition of blending cultural influences into something entirely fresh. It follows the trajectory of amapiano and Afro house but moves in a different direction, simplifying production to focus on rhythm and emotional shifts. For Thakzin, this is a way to revive the authenticity of Afro house, which he feels has lost its connection to its roots in recent years.



As more artists experiment with this sound, 3-Step is proving to be more than just a passing trend. It’s establishing itself as a significant part of South Africa’s music scene, with the potential to resonate globally.

3-Step: The Next Sound in Afro House

When it comes to D&B pies, KLUELESS has her fingers in just about all of them. The Kazakhstan-born, London-based DJ, producer, UKF channel and playlist curator and A&R specialist talks through her journey into D&B, how it’s impacted her life and why she’s happy to spend every waking hour immersed in it.




Discovering D&B




Kamila Bookless, AKA KLUELESS, grew up in Newcastle, a city in the north of England isn’t well known for it’s D&B scene. So it was only when she went to university in Reading that she heard the rhythms of D&B. It was 2018 and she dived headfirst into the scene, besotted by the way the music made her feel and desperate for more. It was only then that she looked back at the music she listened to as a kid and realized she’d had a taste for it all along.




“I adored “Heartbeat Loud” by Andy C and "Hot Right Now” by Rita Ora and DJ Fresh from a young age,” she says. “And it was only when I looked back I realized these are D&B tunes. So I loved D&B without even knowing what the genre was.”




Reading was the perfect city for Kamila thanks to its rich club culture. “They had this venue called Purple Turtle which had an underground dungeon that played D&B, and then Sub89 was the main rave venue,” she says.




Kamila joined the Drum & Bass society in her third year where she started learning to DJ, and a few months later she was being booked for gigs across the city. “It was weird going from a punter to being behind the decks,” she says.




A Career in Music




Once she graduated, Kamila didn’t think too hard about making music her career – she just knew it was going to be part of her life no matter what. At first she applied for jobs in TV and film production but when that didn’t work out she considered following her real passion. She applied for roles at Hospital Records, Shogun Audio and Souped Up, and eventually landed a role at UKF. That was two years ago.




“Since then I’ve been investing in perfecting my mixes, my ability to perform, being my own booking agent, managing my own social content, and being as engaging as possible,” she says. "And now production as well.”




Day-to-day, Kamila runs A&R for UKF’s YouTube channel, which has over 10 million subscribers. She spends a huge chunk of her day listening to hundreds of D&B tracks to decipher what works for the label, which gives her a deep understanding of the various sub-genres of D&B. She also updates playlists, creates videos and uploads promos.







DJ'ing, Mixing and Producing



All this time spent listening to music feeds into her DJing skills, making her arguably one of the most up-to-date D&B DJs in the UK. Kamila’s bass-heavy sets have become staples in London’s underground, and she regularly performs at some of the city’s most celebrated venues from Village Underground to Colours Hoxton. She’s made recent guest mixes for dubstep label Deep Dark and Dangerous, as well as Deep Tempo and Riot Records, and loves how the latest wave of dubstep is breaking new sonic ground. “I feel like dubstep in particular is such an exciting genre,” she says. “People are making really unique, brand new sounds that we've not heard before, and it's really popping off at clubs.”




Perhaps unsurprisingly, Kamila listens to music non-stop. “In working hours it’ll be an hour or two listening to music promos,” she says. “Then I’ll put on a mix while I’m doing admin, and Iisten to music when I’m prepping a set.” Kamila pauses to think. “I don't really stop listening to music ever,” she laughs. “When I wake up, the first thing I do is put on music, and I actually sleep to music every night as well.”




The only time Kamila stops listening to music is when her air pods run out of battery.




But it’s for good reason. “D&B culture is youth culture,” Kamila says. "Rave culture is youth culture, because it's this idea of breaking the rules, being different, being part of a community.”




Kamila is happy the culture has opened up to everyone, because it’s always been about inclusivity and community. “D&B has been through so many cycles, and I’m so happy it’s more diverse now. D&B stems from such rich culture it wouldn’t make sense without diversity,” she says.




In December, UKF will throw a huge party to celebrate 15 years. They’ve already sold out Drumsheds, and invited bass music royalty including Pendulum, Caspa and Rusko, Flux Pavilion and dozens more. KLUELESS will be playing the Bristol leg and just announced that she’ll be part of Rinse FM’s radio roster. To top it all off she’s been working on her own productions and can’t wait to play out some of her latest creations during her sets.




With her relentless commitment to the genre, KLUELESS is fast becoming one of the most loved names in bass music – not just because of her sick selections but because of her unending support for the community.

D&B in Focus: KLUELESS

In just a few short years, Brazil’s Classmatic has gone from spinning in his hometown of Tubarão, Santa Catarina, to becoming a name you can’t miss in the tech house space. With his breakout track “Toma Dale” that took over charts and dance floors, a string of high-profile performances at iconic venues and festivals like Hï Ibiza, Space Miami, and DC-10, Tomorrowland Brasil, releases on labels such as Hot Creations and Solid Grooves, Classmatic’s rise has been impressive and admirable.



Inspired by industry heavyweights like The Martinez Brothers, Jamie Jones, and Marco Carola, his music pulls from minimal tech house, Latin grooves, and even hip-hop, creating tracks that moves dance floors worldwide. Beyond his work as a DJ and producer, he’s also the founder of Organic Pieces, a label designed to champion upcoming talent and bring fresh music to the forefront.

In this exclusive interview, Classmatic reflects on his career-defining moments, the spark behind his sounds, and his vision for the future, giving fans a closer look into the artist's background. From playing alongside house music favorites like Paco Osuna and The Martinez Brothers to his goals for fostering new talent, Classmatic’s journey is all about leveling up, working with the right people, and staying true to the music he loves. 



You’ve had an incredible journey from Tubarão to performing on some of the world’s biggest stages. What moment in your career made you realize you’d “made it”?

When I was playing at Amnesia Ibiza in 2022. It happened so fast.



You’ve performed at legendary venues like Hï Ibiza, DC-10, and Space Miami. What’s a venue or festival still on your bucket list?

I’d love to play in so many places but the ones I’d love to play more are: 
ilMuretto (Italy), Circoloco (Ibiza), Kappa Futur (Italy) and Music On (Netherlands)



Which artists or producers have had the biggest influence on your sound over the years?

The Martinez Brothers, Jamie Jones, Marco Carola, Amine Edge & DANCE and ANOTR.



When launching Organic Pieces, what did you want to achieve for both yourself and upcoming artists?

For myself I would say that I wanted to create my own style of music in terms of what I believe it’s interesting for the market. 



For the upcoming artists I would say that I realize how many great artists were sending great unreleased music for me and all of those tracks were killing on the dance floor. I wanted to help them in some way so I decided to create my own crew of upcoming artists because of that!



Your catalog has spanned many sounds, from minimal tech house to Latin-infused grooves. Is there a style or genre you’re curious to experiment with next?

House and Hip-Hop.

What was it like sharing the stage with legends like Paco Osuna and The Martinez Brothers? Any memorable stories?

It feels amazing. The Bros are my biggest inspiration so it’s always great to share the stage with them. Besides that, their team treats everyone as a family so I always feel comfortable with them when we share the stage. Paco is also a great person and a great DJ. It feels incredible to share the stage with both of them.



In a set, do you prefer playing your own tracks or surprising the crowd with unexpected finds?

Surprise the crowd with unexpected stuff for sure!



Who are some of the new artists you’re currently listening to or working with that we should watch out for?

Marian, nocapz., guerrA., Simas, Goosey, Crewcutz, Panna, zitty (BR), Gabss, Stephano Franca, Freenzy, Misha, ENNE, Jopatino, Kling (BR), gsxtavo.

When you’re about to release a new track, how do you know it’s “ready”?

When my audience starts asking the release date.



If you could DJ for any crowd in history, where would you go and who would you want to see dancing?

In my city: Florianópolis with my friends and my family.

Imagine you’re on a deserted island with one album and one DJ setup. What album are you bringing?

Eminem - Slim Shady LP.



Last one! If you had to describe your DJ style in three words, what would they be?

Groovy, authentic and energetic.