HILLS have built their momentum the hard way: consistent output, steady touring, and a clear understanding of what works on a dance floor. Formed by longtime friends Dave and TC, the duo have grown from uploading weekly remixes and edits into artists backed by some of the most recognizable names in dance music. Their catalog includes releases on Catch & Release, REALM, AETERNA, and Repopulate Mars, while their rework of Playboi Carti’s “EVIL J0RDAN” reached #1 on 1001Tracklists’ most-heard chart. Their most-streamed record to date, “Dreams” with Italian producer ANYMA, marked a turning point in pushing their sound to a wider global audience.



Behind the scenes, HILLS operate with a mix of focus and humor. They’re self-described food obsessives who plan their touring days around meals as much as soundchecks, spend downtime on the golf course, and are constantly refining details in the studio—sometimes to the point of losing unfinished tracks by forgetting to save them. Their musical roots stretch beyond house, shaped early on by hip-hop and records that stuck with them long before DJ booths and festival stages entered the picture.

In this interview, HILLS talk candidly about career highs like playing UNVRS alongside Fisher and Anyma, the pressure of turning passion into a profession, and the small habits that keep them grounded while touring nonstop. From missed opportunities and technical mistakes to family, downtime, and the realities of life on the road, the conversation offers a clear look at who they are beyond the decks—and how they’ve gotten to where they are now.



What’s one thing most people don’t know about you?


We’re both big foodies. Every city we land in, the first thing we do is check reviews and hunt down the best spots to eat.



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


Honestly, Dave would probably be a chef. TC would most likely be a manager or agent.



What’s the most memorable moment of your career so far?


Playing at UNVRS with Fisher and Anyma.



Who’s inspiring you right now?



There are a lot of great artists right now. We’ve been really into underground acts like No Static, Juntaro, and Welker, along with bigger names like Mike Dean and Chris Lorenzo.



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


Go-to snacks are Sour Skittles and Jolly Ranchers. Drinks are Peroni and Coke.



How would you describe your sound in three words?

Sound in three words: energetic, underground, loud.



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


Eating good food and playing golf.



What’s a track that always brings you back to your roots?


This might sound weird, but when we first heard “Changes” by Tupac, it was the first rap song we ever listened to, and it really stuck with us at a young age.



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



Michael Jackson.



What’s your favorite non-music hobby?


Outside of music, golf—trying to get better at it.



If you could time travel to any era of music history, when would it be? 

Probably the ’80s, just to experience the hair metal era.



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


At home, just relaxing.



What’s a fun fact or hidden talent that has nothing to do with music?



Golf. Slowly improving.



What’s a memory you never want to let go of?


The first big festival we ever played, where the crowd just felt endless.



When do you feel most at peace?


On stage, or when we’re with our family.



What’s something you forget, but feel better when reminded of?


How lucky we are to be able to do music for a living.



What’s something meaningful to you that might not be to others?


Family time and having real downtime.



What personal prison have you built out of fear?


Worrying too much about what other people think.



What’s something normal to you that other people find weird?


Flying to China for one night, then turning around and flying straight back to the U.S.



If you could compliment yourself, what would you say?


You’re following your passion.



From a production perspective, what’s the most expensive mistake you’ve made?


We once passed on a collaboration that went on to go platinum and rack up over a billion streams. That one hurt.



Have you ever lost music due to technology issues?


All the time. We’ll get deep in the zone, forget to save properly, clean up our computers, move samples—and suddenly things are missing because we forgot to “collect all and save.”



What makes you cringe when you listen to your early material?


Not really cringe, but it’s funny listening back to tracks we once thought were absolutely insane.



What do you obsess over most in the studio?


We focus on different things. One of us is super detail-oriented and can spend forever obsessing over a hi-hat or small details most people wouldn’t even notice.



What’s your favorite set time and duration?


Ideally around 11:30 PM to 2 AM, but it really depends on the room. In Miami we just played from 2 AM to 5 AM and it was wild—so it’s all about the vibe.



If you could erase one musical genre forever, what would it be?


That’s tough. Honestly, we love all music, so that’s hard to answer.

HILLS Q&A: Offstage Habits and Onstage Moments

Detroit Love is a party series with history behind it, the kind you can feel on a dancefloor before anyone even touches the mixer. At the center is Carl Craig, one of Detroit’s most influential techno producers and a cultural force whose work helped turn a local sound into a universal language. That legacy lands in Brooklyn on January 31st, when Detroit Love kicks off a weekend takeover at Superior Ingredients.

Detroit Love is his way of presenting Detroit to the world on Detroit’s own terms: proud, layered, and impossible to reduce to one genre, one era, or one trend.  Craig has done that not just through ideas, but through records, a catalog packed with classics, including his widely loved edit of Inner City’s “Good Life,” a track that’s reached millions of streams and still hits like a reset button on any room.



Detroit’s sound didn’t come from nowhere

Detroit techno wasn’t born in a vacuum. It grew out of a city built on music that already knew how to hit emotionally and physically — Motown, soul, jazz, funk, gospel. Carl Craig grew up in a working-class home where music mattered. His father delivered mail, his mother taught school, and the house was full of sound. That foundation shaped him.



As a young artist, Craig was pulled in two directions at once: the futuristic electronics of Kraftwerk and Depeche Mode, and the local revolution happening in his own backyard — the work of Juan Atkins, Derrick May, and Kevin Saunderson (the Belleville Three), Detroit’s original techno innovators. Craig wasn’t only inspired by them. He saw proof that Detroit could invent something new and send it everywhere.



Early releases, early impact

Craig’s first records helped establish him as more than a talented producer — they showed he already had a point of view. His early releases “Breakdown” and “Evolution,” put out under the aliases Psyche and BFC, gained cult status in underground scenes across the U.S. and Europe. 



They didn’t sound like copies of what was popular. They sounded like Detroit: mechanical, emotional, and forward. And like many of the city’s great builders, Craig didn’t wait for someone else to create the platform. He made it himself.

Planet E: Detroit with no boundaries

In 1991, Craig launched Planet E Communications, starting with 69 – Four Funk Jazz Classics. It was a mission statement. Planet E wasn’t about keeping techno inside rigid rules — it was about letting it expand. The label became a home for music that stretched into house, jazz, funk, and left-field electronics, while staying rooted in Detroit’s DNA.



Planet E also became a powerful platform for other Detroit artists. Over time, it supported names like Moodymann, Stacey Pullen, and Kenny Larkin — artists who carry Detroit’s legacy in very different ways. That’s part of Craig’s long game: building community, not just building a catalog.

Innerzone Orchestra: when techno got jazz bones

If you want proof that Craig never saw techno as a closed system, look at Innerzone Orchestra, founded in 1992. The project blended electronic music with jazz expression and live musicianship, and it produced one of his most celebrated tracks: “Bug in the Bassbin.” 

It’s the kind of record that reminds you Detroit isn’t only about speed or pressure — it’s also about depth, swing, and musical knowledge.

From there, Craig kept expanding. By the mid-’90s, releases like Landcruising pushed his sound further into mood and world-building — music that didn’t only work in a club, but could also hold up as a full listening experience.



Detroit Love: the culture, not the hype

Craig launched Detroit Love in 2014, and it’s important to understand why it mattered. Detroit had been talked about for years like a myth or a ruin — a city people borrowed from without always respecting. Detroit Love became Craig’s answer: a cultural platform and event series designed to spotlight Detroit’s depth, show its full range, and reshape the way the world speaks about it.



That’s why Detroit Love gets treated like something bigger than nightlife. It isn’t built around gimmicks. It’s built around values: strong curation, real connection, and Detroit pride without dilution. Detroit Love events are known for lineups that feel intentional — not only big names, but artists who represent Detroit’s spirit, whether through techno, house, disco, soul, or deeper cuts that don’t fit neat categories.

Why Moodymann belongs in this story

Detroit Love also makes sense because of who’s connected to it. Moodymann (Kenny Dixon Jr.) is one of the most charismatic and uncompromising figures in house music — and one of the loudest voices when it comes to preserving the Black roots of dance music.



His catalog runs through labels like Planet E, Peacefrog, KDJ, and Mahogani Music, and his sound pulls from soul, jazz, blues, and house with an instantly recognizable touch. Tracks like “Sunday Morning” and “Shades of Jae,” plus albums like Silentintroduction and Moodymann, helped define an era — not through polish, but through feeling and truth.



When Detroit Love brings together artists like Craig and Moodymann, it’s more than a booking. It’s Detroit speaking in its own voice.

Legendary because it’s real

Detroit Love has impact because it doesn’t treat Detroit like branding. It treats Detroit like a living culture. Craig’s work — from Planet E to Innerzone Orchestra to Detroit Love — has always been about building worlds that stay connected to their roots while still moving forward.



That’s why the name hits. Detroit Love isn’t nostalgia. It’s a reminder that Detroit didn’t just influence dance music — it helped define it. And when the series lands somewhere like Brooklyn for a full weekender, it isn’t just another party on the calendar.

It’s Detroit showing up in full.

Carl Craig and the Story of Detroit Love

If you’ve been going out long enough, you know the feeling: a room that used to be everything starts slipping. The sound isn’t hitting, the layout feels cramped, the lights are tired, and the magic that made it legendary starts fading. But 2026 is shaping up to be a real turning point — because some of the most talked-about venues on the planet aren’t just doing “updates”… they’re fully rebuilding what the experience is supposed to feel like.

From full shutdown renovations to complete ownership takeovers and ground-up reworks, these spaces are betting on the future of nightlife — louder systems, smarter layouts, sharper production, and more room to actually move. We put together five clubs getting major renovations for 2026 — and why each one is worth keeping on your radar.



1. Ministry of Sound (London)



Ministry isn’t playing around with this one. The iconic London institution is undergoing what it calls its biggest transformation since opening in 1991, timed with its 35th anniversary — and the main room is coming back at the end of January looking (and sounding) completely refreshed.

The biggest change: they’re retiring the legendary Martin Audio system and bringing in a custom four-point KV2 sound setup. Add in a lowered DJ booth that’s closer to the crowd, a layout built for different stage formats (including 360 setups), and an upgraded lighting/video design — and “The Box” is basically getting rebuilt for the next generation of nights.



2. Brooklyn Mirage (New York)



Brooklyn Mirage is entering its “new era” phase — and not subtly. The venue was bought by FIVE Holdings (the Dubai-based group behind Pacha), and sources say it’s aiming for a summer 2026 return with multiple shows already in motion.

What’s interesting is the direction: instead of going straight into the mega-futuristic rebuild people expected, Mirage may be scaling back for 2026 and returning to a more stripped, open-air vibe closer to the original 2015 concept. The bigger, flashier rebuild — with wraparound LED madness — looks more like a 2027 move. Either way, this isn’t just a refresh… it’s Mirage deciding what it wants to be again.



3. XOYO (London)



XOYO is officially back in action. After a full refurbishment under new ownership, the Shoreditch staple is ready to reopen its doors with its first party in the revamped space on January 31st, featuring Fleur Shore, Kiidoo, and St David.

The club has been rebuilt with brand-new sound, new lighting, upgraded production, and refreshed walls, floors, and stage structures — a real top-to-bottom renovation instead of a quick facelift.

The goal feels obvious: bring XOYO back to the kind of room where the best DJs actually want to play again. If you’ve missed that proper gritty, late-night London club energy, this renovation reads like a statement — they’re rebuilding the experience, not just fixing the paint and calling it a relaunch. 





4. Borgata (Atlantic City) 



Atlantic City nightlife is getting a serious upgrade in summer 2026. Borgata is transforming the former Premier Nightclub space into a brand-new 18,000-square-foot entertainment venue, built in partnership with Big Night (the group behind Big Night Live, The Grand, and Memoire).

Premier had a strong run, but this is bigger than a rename — it’s a total reinvention of the space, designed for concerts, DJs, special events, and year-round programming. With Big Night involved, expect high production and big-booking energy. Borgata’s basically trying to level up from “casino club night” to a legit destination venue.



5. Zouk (Singapore)



Zouk Singapore is doing a full shutdown renovation across all three of its Clarke Quay venues — Zouk Mainroom, Capital, and Phuture — starting in early 2026, with the full project expected to wrap by June 2026. It’s a bold move, but the upgrades make it make sense.

They’re upgrading all speaker systems to concert-grade tech, expanding capacity from 3,000 to 3,500 people total, and adding huge visual upgrades like a 12-meter-wide high-resolution LED wall in the Mainroom. The Mainroom is also getting a modular layout with movable acoustic walls, so the space can shift depending on the night — from intimate shows to full-scale event mode. It’s Zouk betting hard on what nightlife looks like next.

5 Iconic Nightclubs Getting a 2026 Makeover

SPINALL has never been the type to box himself in. Over the last decade, the Nigerian DJ and producer has helped shape the international rise of Afrobeats—not only by contributing to some of the scene’s biggest moments, but by building a catalog that moves across sounds without losing its core. From crowd staples like “Palazzo” and “Sere” to major collaborations with Wizkid, Burna Boy, Fireboy DML, Tyla, Teni, Reminisce, Kranium, DJ Snake, Summer Walker, and Sean Paul, Spinall has consistently proven that a DJ can be both a hitmaker and a cultural force.



His impact stretches far beyond streaming numbers. He’s taken Afrobeats to the world’s biggest stages, performing at Coachella, Glastonbury, ACL, and Lollapalooza, and making history as the first Afrobeats DJ to perform at Coachella across two consecutive weekends. He’s also earned a reputation as a true global tastemaker, with career-defining moments like being invited by JAY-Z and Beyoncé to DJ their Gold Party.

Offstage, Spinall is just as locked in as he is behind the decks. With an engineering background and a sharp focus on sound, he’s constantly refining his process in the studio—driven by a simple goal: keep the music honest, keep it tight, and never lower his standards. In this interview, SPINALL speaks candidly about the discipline behind his career, the mindset that keeps him pushing forward, and what it takes to stay present in the work without getting stuck in past wins.

What’s one thing most people don’t know about you?


My depth. My lengthy process.



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


I studied Engineering in university… with good grades lol.



What’s the most memorable moment of your career?


Making some of the biggest Afrobeats songs and putting out a wild, genre-mixing catalog. Playing Glastonbury, Coachella, and Lollapalooza. Getting invited by JAY-Z and Beyoncé to play their Gold Party. Discovering a few Afrobeats stars.

Who’s an artist that inspires you right now?


These change a lot, but currently: DJ Snake and Calvin Harris.



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





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


I love LA, New York, and London. Raw energy.



How would you describe your sound in three words?


High energy, motion, soul.



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


Fashion, the ocean and beach houses, brutalist homes or hotels, trees and plants.



What’s a track that always brings you back to your roots?








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


Fela Kuti, Chris Brown, Tems, Beyoncé, Bruno Mars.



If you could time travel to any era of music history, when would it be and why?


’90s R&B!!!!



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


At the beach, on a rooftop, fashion thrifting, or looking for local fabrics to make fresh clothes.



What’s a fun fact or hidden talent that has nothing to do with music?


Making clothes and helping people.



What’s a memory you never want to let go of?


Being the greatest DJ in the history of Nigeria.



When do you feel at most peace?


By the ocean alone, in the studio, and on stage.



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


That I’m rich!



What’s something meaningful to you, but not to others?


Great and clear communication.



What personal prison have you built out of fear?


I’m quick to move on from my achievements.



What’s something normal to you that other people find weird?


Being blunt!



If you could compliment yourself, what would you say?


You did it without a mentor. Against all the odds.



From a production perspective, what’s the most expensive mistake you’ve ever made in an effort to put on a kick-ass show?


Compromising my standards.



As someone who deals with technology and computers to write music, has there been a gut-wrenching story where you lost your music or a track you were working on?


Yes, it happens all the time. The last one was in Los Angeles—an Uber drove away with my entire laptop bag.



What makes you cringe when you listen to your early material?


It could be better today.



What do you find yourself obsessing about most in the studio, from every perspective of creating a track?


Finding the soul. Adding the soul. Keeping it simple.



What is your favorite set time and duration?


1 hour 30 minutes is a perfect balance.



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


I would abolish genre itself. Call it all music!

An Interview with SPINALL: The Focus Behind the Catalog

British producer and DJ David Lindmer has built his name in melodic techno by doing the opposite of chasing quick moments. His sets are designed to unfold slowly, driven by atmosphere, tension, and careful progression, and his studio work follows the same mindset—focused, detailed, and built for the kind of clubs where time feels different after 2AM. It’s a sound that’s earned him releases on Afterlife, Purified, Upperground, Simulate, as well as his own label Running Clouds, and has placed him on lineups across Europe, North and South America, and the Middle East.



One of the biggest turning points in Lindmer’s career came in Tulum, when he heard his own music played at Afterlife for the first time—then found out the record was being signed immediately after. It’s the kind of milestone that can change everything, but Lindmer’s perspective stays surprisingly grounded. Away from the booth, he’s not living in nightlife mode 24/7. He’s someone who likes structure as much as creativity, who obsesses over arrangement in the studio, and who can happily spend hours fine-tuning details most listeners will never notice.



In this interview, Lindmer talks about the realities behind his rise, the importance of building a full story rather than relying on one “big track,” and the cities and moments that have stayed with him—from Córdoba to New York to his first shows in Argentina. He also shares what inspires him outside of techno, what he reaches for when he wants a set to feel right, and why the quiet morning after a show might be his favorite part of the entire cycle.



What’s one thing most people don’t know about you?


Most people assume my life revolves around nightlife. Offstage, it’s a lot more grounded than people might expect.



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


Something that mixes creativity and structure. I enjoy building systems and shaping ideas, whether that’s in music or not.



What’s the most memorable moment of your career?


Hearing my music played for the first time at Afterlife Tulum, then being told afterwards that the record was being signed. That moment was huge. I remember trying to act normal.



Who’s an artist that inspires you right now?


The Chemical Brothers. I went to see them last month at KDC - it was ridiculous I couldn’t stop dancing!



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

To be honest I don’t have one go-to track. I’m more focused on the journey. But if you had to push me I would say Right Here, Right Now by Fatboy Slim which I remixed recently.





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


I tend to keep it light. Usually just water, or a coffee if it’s early!



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

Córdoba in Argentina. That one really sticks in my mind as the connection with the people there was so special.



How would you describe your sound in three words?


Dark. Cinematic. Groovy.



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


Tottenham Hotspur. It’s a complicated relationship, though!



What’s a track that always brings you back to your roots?


Daft Punk — “Around the World.” It was the first record I ever bought on vinyl, and I still have it.



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


The late Andrew Weatherall. A true maverick.



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


Golf. It’s annoyingly hard, but somehow still relaxing.



If you could time travel to any era of music history, when would it be and why?


Late ’90s to early 2000s electronic music. Genres were less defined, and people were experimenting more freely.



What’s a record that never leaves your crate or USB?


Massano — “The Feeling.” It’s one of the first tracks I signed to Running Clouds, and it still works every time.



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

Flannery’s (the NY Spurs bar) on matchday, usually questioning my life choices.



What’s a fun fact or hidden talent that has nothing to do with music?


I’m much better at table tennis than anyone expects. I won a mini tournament in Tulum against a group of DJs, which is now my proudest non-music achievement!



What is something simple that makes you smile?


A cup of tea in the morning. Quiet moments before the day properly begins.



What’s a memory you never want to let go of?


The feeling after a set when you know you did well and really connected with the crowd. I’ve only felt that a few times—NYC last June, Afterlife Tulum, and my first shows in Argentina.



When do you feel the most at peace?


Early mornings or late at night. The morning after a show is always nice, when everything feels quiet again.



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


To pause and appreciate what I’ve already achieved in music, instead of constantly comparing myself to others or chasing the next thing.



What’s something meaningful to you, but not to others?


The small details inside each track that most people would never notice, but completely change how it feels to me.



What personal prison have you built out of fear?


Like a lot of artists, I tend to overthink decisions instead of trusting my instinct.



What’s something normal to you that other people find weird?


Spending hours fine-tuning tiny details and listening to the same loop on repeat.



If you could compliment yourself, what would it be?


I have stayed remarkably consistent with the beard and hair.



What makes you cringe when you listen to your early material?


Some of my older productions sound dated now, but I wouldn’t change them. They reflect where I was at the time.



What do you obsess over most in the studio?


Arrangement. I’m always asking whether a part actually needs to be there.



What is your favorite set time and duration?


Late nights and extended sets. Two hours minimum, ideally longer.



If you could erase one musical genre forever, which would it be?


Probably one of those genres that suddenly appears in every DJ set at the same tempo all of a sudden. I’m looking at you Afro house.

David Lindmer Interview: The Details That Change Everything

Gabss didn’t come into electronic music the “typical” way. Before he was landing Beatport chart placements and touring across South America, he was in his garage making rap beats for friends—originally planning to build a career behind the scenes as a hip-hop producer. That early obsession with rhythm and groove never left, it just evolved into a sound he now describes in three words: hypnotic, danceable, and emotional.

Over the last decade, Gabss has grown into one of Brazil’s most consistent names in House Music and Indie Dance, earning support from heavyweights and building momentum that’s backed up by real results. In 2025, he ranked as the 10th best-selling Indie Dance artist worldwide on Beatport, and at the beginning of 2026, his collaboration with Vintage Culture, “Lost,” hit #1 globally on Beatport—a major career milestone that he says still feels surreal considering how long he looked up to the artists now playing his records.

Offstage, he keeps things simple: his family keeps him grounded, he’s interested in psychology, and when it’s time to lock in, he feels most at peace doing the thing he cares about most—producing. In the interview below, Gabss talks roots, big wins, and the lessons that came with leveling up.



What’s one thing most people don’t know about you?


Before moving into electronic music, I actually started making rap beats for my friends in my garage. The original idea for my project was to be a rap producer.



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


I can’t really picture myself doing anything else, but I’m very interested in psychology—so maybe I would’ve followed that path.



What’s the most memorable moment of your career?


Definitely when my tracks started being played by the artists I’ve always looked up to. A very special moment was when Vintage Culture believed in my music and supported it.



Who’s an artist that inspires you right now?


I’ve been listening to a bit of everything, but my current favorites are Adam Ten, Mita Gami, Darco, OMRI, and Rafael.



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


Probably one of my own, haha. “Dynamite” and “She Freaks” work extremely well to bring the energy up.



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


Definitely a cold beer—nothing beats it before a show.



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


I don’t have one specific favorite. Every place feels special in its own way.



How would you describe your sound in three words?


Hypnotic, danceable, and emotional.



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


My family.



What’s a track that always brings you back to your roots?


Probably Noir – “Around” (Solomun Remix). That’s where it all started.



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


Quincy Jones.



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


I like traveling, going to the beach, and playing games—things that make me happy.



If you could time travel to any era of music history, when would it be and why?


I always joke that I was born in the wrong era, haha. My musical taste is heavily influenced by what played in the ’70s and ’80s—everything felt more real and alive. I wish I could’ve experienced that time.



What’s a record that never leaves your crate or USB?


Hard to say because I’m always updating my playlists, but the classics never leave my USB:

Jamie Jones – “Hungry for the Power”

Pleasurekraft – “Tarantula”



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


Nowhere else—those are my favorite places, haha.



What’s a fun fact or hidden talent that has nothing to do with music?


I can imitate Donald Duck, haha.



What is something simple that makes you smile?


Looking back at my journey and feeling proud that I never gave up.



What’s a memory you never want to let go of?


The first time I played at a huge festival for over 10,000 people. It was incredible.



When do you feel most at peace?


When I’m producing.



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


To stay organized, haha.



What’s something meaningful to you, but not to others?


Trying to stay positive.

If you could compliment yourself, what would you say?


Congratulations for never giving up, no matter what.



From a production perspective, what’s the most expensive mistake you’ve ever made in an effort to put on a kick-ass show?


Hiring the wrong people to work with me.



As someone who works with technology and computers to make music, has there ever been a gut-wrenching moment where you lost a track or project you were working on?


Yes, several times, haha.



What makes you cringe when you listen to your early material?


The lack of quality.



Regarding the creative process as a whole, what do you find yourself obsessing over the most in the studio?


The process of building a track.



What is your favorite set time and duration?


I prefer being the second or third act of the night—those times match well with my sound. A two-hour set is the minimum needed to build a proper journey.



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


I wouldn’t eliminate any genre. They’re all good and have their own characteristics.

Gabss: The Producer Behind One of 2026’s Biggest Records

Pacha and New York have always shared a long-lasting love story, one that’s found its way back into the spotlight with the recent news of its parent company, FIVE Holdings Group, expanding into the city through The Brooklyn Mirage.




When Pacha first arrived in the city in the mid-2000s, it took over one of Manhattan’s most iconic nightlife spaces at 618 West 46th Street in Hell’s Kitchen. This warehouse became home to the legendary Sound Factory in the late 1990s, after the club relocated from its original 530 West 27th Street address in Manhattan’s Chelsea neighborhood, where it had operated since 1989. This venue (known for its incredible sound system) would later host other prominent nightlife institutions, including Twilo and Spirit, helping define New York’s underground music scene.

So by taking over the Hell’s Kitchen location, Pacha didn’t just open another nightclub, it inherited a legacy.The venue preserved the energy, spirit and even the layout of that sacred dance floor, blending its own Ibiza-born hedonism with the raw, urban heartbeat of New York. The result was a cultural exchange that united two capitals of nightlife through music, emotion and identity.







That shared energy speaks to the essence of Pacha’s global journey. Born in the early days of the hippie movement, Pacha Ibiza has always embodied freedom, self-expression and joy, values that have carried it from its first venue in Sitges (Barcelona) back in 1967 to the world’s biggest cities. The Cherries became a universal symbol of pleasure and togetherness. More than five decades later, they have come to represent a lifestyle rooted in the Mediterranean spirit but felt across continents.




A leading player in the worldwide leisure and entertainment sector

Pacha soon became the first Spanish Company in the entertainment sector with presence in many countries: Spain, Portugal, Argentina, Germany, England, Austria, Egypt, Morocco, United States, Brazil, Lithuania, Russia… Its expansion tells a story of cultural connection. It never set out merely to open venues, it set out to share a feeling, a rhythm, a philosophy, a way of living well. Through every club, festival and hotel, Pacha continues to embody the timeless spirit of hedonism. The iconic two Ibiza cherries, have become a worldwide symbol of music, joy, pleasure and a unique lifestyle recognized worldwide.




Over the years, Pacha has hosted the world’s top DJs, including Carl Cox, David Guetta, Steve Aoki, Avicii, Danny Tenaglia, Erick Morillo, Martin Garrix or Nicole Moudaber to name just a few, in Ibiza, New York and beyond, creating iconic party concepts that have shaped careers and defined the global electronic music scene.



Before he was a global superstar and chart-topping producer, David Guetta launched his legendary F** ME I’M FAMOUS! residency at Pacha Ibiza in the early 2000s. The night became a cultural phenomenon, blending celebrity energy with pure house music euphoria, and was instrumental in catapulting Guetta from the booth to international fame. Though he closed that chapter after summer 2018, his journey remains one of Pacha’s defining success stories, a testament to the club’s power to turn DJs into icons.


Pacha’s universe has expanded far beyond clubs, encompassing fashion and accessory lines, fragrances, a record label, media platforms and editorial projects, extending the brand’s lifestyle and influence far beyond the dance floor.To name just a few landmarks, Pacha’s first step beyond Europe came in 1993 with the opening of Pacha Buenos Aires, marking the beginning of a global journey that would redefine nightlife across continents. 




Through Pacha Ibiza on Tour, the island energy continues to travel the world from Brazil to China and to the brand’s legendary New Year’s Eve celebrations in Cape Town, South Africa, bringing the unmistakable rhythm and hedonistic spirit of Ibiza to dance floors everywhere.




Back in 2012, the brand launched the first Pacha Festival in Amsterdam, a large-scale celebration of electronic music, creativity and Mediterranean spirit under the iconic cherries around the canals.


For five consecutive years, the festival transformed Amsterdam into a vibrant extension of Ibiza’s soul. More than just a music event, it became a full-scale experience: from the colorful Ibiza hippie market to the curated food village and completed with a sushi pop-up restaurant, it offered an 11-hour journey through sound, taste and style. The centrally located venue made it easy for thousands of fans to join in, celebrating a fifth anniversary that underscored Pacha’s ability to merge music and lifestyle on a grand, sensory scale.



Where legacies converge, the history of dance music is moving forward

After years of touring the world and curating large-scale experiences that blurred the lines between festival, art and lifestyle, it feels only natural for Pacha to return to one of its most emblematic cities: New York. The energy that once defined its legendary Manhattan nightclub now finds a new home at The Brooklyn Mirage, a venue that mirrors Pacha’s DNA: expansive, immersive and driven by the unifying power of music.



Since 2023, under the ownership of FIVE Holdings Group, Pacha has entered a new era of growth, one that reinforces its position as a global lifestyle brand while staying true to its hedonistic roots. The group’s vision has been instrumental in expanding Pacha’s reach through world-class entertainment concepts, luxurious hospitality and international experiences that blend music, design and culture.

On the other hand, The Brooklyn Mirage which was launched as a Cityfox pop-up event in 2015 just a few blocks away, found its permanent home at the Avant Gardner complex in 2017 and quickly became a sensation till it closed in 2024.One of the venue’s earliest international partnerships featured elrow, with Gray Area as the local partner, which returned for multiple editions and helped establish one of the first Spain/Ibiza brand connections at the Brooklyn Mirage.




With room for up to 6,000 guests, this open-air venue is the largest entertainment space on the East Coast. More than just a stage, it has evolved into one of the world’s most forward-thinking outdoor destinations. The Mirage soon became a cultural hub where technology, design and sound intersect to redefine the live music experience. It embodies the same spirit that drives Pacha: immersive, avant-garde and committed to celebrating music as a shared art form.




This alliance is more than a business move, it’s the fusion of two iconic legacies. From the underground pulse of New York’s house scene to the sun-soaked nights of Ibiza, these worlds converge once again, united by a shared rhythm and a timeless philosophy of living well.







As Pacha’s cherries illuminate Brooklyn’s skyline, both the iconic global nightlife brand and The Brooklyn Mirage venue stand together as symbols of continuity and evolution in New York's music scene, representing freedom and the hedonistic spirit that transcends borders. We are part of a cultural dialogue between past and present, a connection between the Mediterranean soul and New York’s relentless energy. The beat goes on bolder, brighter and louder than ever.

Pacha’s Love Story with New York Is Reborn

AI-generated music isn’t a fringe conversation anymore.  It’s already sitting in playlists, popping up in recommendation feeds, and showing up in upload queues next to real releases from working artists. And while the tools behind it keep getting easier and cheaper, the rules around where that music can live are getting more complicated. Each platform is reacting to AI from a different angle: some are focused on stopping impersonation and spam, others are obsessed with metadata and authorship, and a few are taking a hard stance on keeping their catalogs human-made. For DJs, producers, and everyday listeners who care about where music comes from and who gets paid, these policy differences matter. Here’s how Spotify, Apple Music, SoundCloud, Bandcamp, and YouTube Music are handling AI music right now.



1. Spotify

Spotify is drawing a line between AI as a tool and AI as a weapon. The platform isn’t banning AI-generated tracks across the board, but it is heavily targeting the ways AI can be used to mislead listeners or siphon money away from real artists. That includes cracking down on vocal deepfakes and unauthorized voice cloning, tightening rules around impersonation, and rolling out systems to catch mass-upload spam tactics meant to game discovery and royalties. Spotify is also backing new standards for AI disclosures in credits, aiming for a world where listeners can understand how a track was made without labeling everything as either “AI” or “not AI.”



2. Apple Music

Apple Music treats the AI question as part of a bigger quality-control mission. Its guidelines are rooted in clean delivery: correct metadata, accurate contributor roles, consistent artist attribution, proper cover art, and releases that don’t look like low-effort filler. Within that framework, Apple makes it clear that AI-generated content can run into problems when it lacks clear authorship or disclosure, and it discourages repetitive uploads that try to sneak through by tweaking titles or metadata. The message is simple: if a release doesn’t feel professional, transparent, and properly credited, it’s more likely to get rejected before anyone even gets a chance to press play. 



3. Bandcamp 

Bandcamp is the most straightforward of the five, and easily the strictest. The platform has formally stated that music or audio generated wholly or substantially by AI is not allowed, and it reserves the right to remove content suspected of being AI-generated. It also explicitly bans using AI tools to impersonate other artists or replicate their style, tying that directly into existing rules around impersonation and intellectual property. Bandcamp’s reasoning isn’t about trends or efficiency — it’s about protecting a space that’s built on direct fan support and human authorship. If you’re an artist considering where to release, Bandcamp is signaling that it wants buyers to feel confident they’re supporting real people, not automated content farms.



4. Soundcloud

SoundCloud has ended up in a gray zone largely because of how its Terms of Service were interpreted. After backlash over language suggesting user content could potentially be used to train AI systems, SoundCloud issued a direct statement saying it has never used artist uploads to train AI models, doesn’t allow third-party scraping for that purpose, and has implemented safeguards like a “no AI” tag to block unauthorized use. At the same time, SoundCloud still supports AI inside the platform for things like recommendations, organization, and fraud detection, framing it as back-end infrastructure rather than generative creation. For creators, it’s a reminder that SoundCloud is staying open to AI in practical ways, but it’s under pressure to be extremely clear about what it will and won’t do with music uploaded by artists.



5. Youtube Music

YouTube Music sits in the “yes, but” category: yes to AI tools, but not at the expense of trust. YouTube openly promotes AI as a way to help creators work faster and expand what’s possible, while emphasizing that it still expects guardrails around realism, disclosure, and identity. The platform requires creators to disclose realistic altered or synthetic content, and may label content more visibly when it touches sensitive areas like news, health, elections, or finance. YouTube has also strengthened paths for people to request the removal of AI-generated content that simulates an identifiable person’s face or voice, and it’s building detection tools through Content ID for synthetic or simulated singing voices. In practice, YouTube isn’t trying to keep AI music out — it’s trying to make sure people can’t use AI to pass off fake performances as real ones without consequences.

Five Streaming Services and Their AI Music Policies

DIØN has become a familiar name within the harder side of modern techno, known for fast-paced sets and music that balances pressure with emotion. Based in the Netherlands, he’s built his profile through consistent releases, long-form performances, and a clear connection to the rave-rooted side of the genre.

Before moving into electronic music, DIØN started out playing guitar and performing in rock bands, a background that still shapes how he thinks about structure and flow. Over time, tracks like Public Enemies and later releases through his own label, Rough Material, helped define his direction and gave him full control over how his music is released.

On stage, he’s best known for extended sets, including multiple marathon sessions at Thuishaven, where he’s able to take his time and move through different moods and tempos. He’s also played major events like Verknipt, reaching huge crowds while keeping his focus on the dance floor rather than spectacle.

In this interview, DIØN talks about where he started, how his sound has developed, and why longer sets matter to him. He also shares what influences him outside of club music and how personal experiences continue to shape the way he writes and performs.



What’s one thing most people don’t know about you?


I started with music as a guitarist when I was nine years old. Later, I played in a rock band with friends and eventually fell in love with electronic music.



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


That’s a very hard question, but as a creative person I would probably be designing clothes or visuals—something I’m already doing now with my label and clothing brand, Rough Material.



What’s the most memorable moment of your career?


Playing at Verknipt at the Johan Cruijff Arena in Amsterdam. Playing my own music for 40,000 ravers is something I’ll never forget.



Who’s an artist that inspires you right now?


At the moment, I’m inspired by Hans Zimmer and M83 because of the depth they bring through sound. For my upcoming album, I really focused on putting emotion into the music, and listening to how certain sounds can create feeling helped shape that direction.



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


My remix of the legendary track “Traffic” by Tiësto usually does the job because of its powerful build-up



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


A shot of vodka, as far as I can remember—haha.



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


I don’t really have one favorite city, but I love playing in the Netherlands. I see so many familiar faces at my shows—people who have been coming to my sets for years.



How would you describe your sound in three words?


Emotional. Rough. Intimate.



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


Having good food and drinks with family or friends.



What’s a track that always brings you back to your roots?


Since I’ve always loved rock music, hearing “Hotel California” by The Eagles really brings me back.



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


Armin van Buuren has always been a dream.



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


Being on a boat with friends and a drink. It gives me a real sense of freedom.



If you could time travel to any era of music history, when would it be and why?


I listen to a lot of music from the ’70s and ’80s, ranging from disco to classic rock. I’m a big fan of Imagination, especially “Music and Lights,” and Shalamar’s “A Night to Remember.” I also love The Eagles and Dire Straits. I’d love to experience that era firsthand.



What’s a record that never leaves your crate or USB?


It has to be my first bigger track, “Public Enemies.” I still enjoy playing it.



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


Probably hanging out with my friends. I’ve had the same close group for over 15 years, and they’ve always supported me.



What is something simple that makes you smile?


Seeing the people I love being happy.



What’s a memory you never want to let go of?


Bringing my grandmother to one of my shows. She’s over 80 years old and really understands what I’m doing. Whenever I finish a new track, she’s usually one of the first people to hear it.



When do you feel the most at peace?


After a workout, when I go to the sauna and leave my phone behind for a while.



What’s something normal to you that other people might find strange?


I have a very close relationship with my family and share almost everything with them. Some people might find that unusual.



If you could compliment yourself, what would you say?


I think I can be proud of everything I’ve created, shared, and achieved so far.



Have you ever lost music you were working on?


Luckily, no. I’m very careful with my projects.



What makes you cringe when listening to your early material?


Mostly the arrangements and certain sample choices. But everyone has to start somewhere, and it’s nice to hear how much my music has improved over time.



What do you focus on most in the studio?


I love experimenting with synthesizers until I find one sound that really clicks. Once I have that, the entire track is already in my head before I start producing it.



What’s your favorite set length?


I can’t do it all the time, but I really love long sets. I’ve played four 10-hour sets at Thuishaven and one 11-hour set at Tegendraads. Those sets give me the freedom to tell a full story and move through different styles. For regular shows, I prefer two hours so I can still shape a clear flow.



If you could erase one genre forever, what would it be?


I don’t think I would remove any genre. There’s something valuable in all kinds of music, and I’m very open-minded when it comes to listening.

In Conversation with DIØN

Peruvian-born DJ/producer Gio Lucca is one of those names you’ve probably started seeing more and more—on lineups, in tracklists, and popping up on the labels that matter. His sound pulls from tech house, minimal, funk, and hip-hop, but it doesn’t feel like a mash-up for the sake of it. It feels natural, like he’s building a world that fits him.



Over the last year, Gio’s releases have landed on Nervous Records, Deeperfect, Black Book, Short Circuit, Take Notes, and his imprint ISO, with multiple tracks charting Top 10 on Beatport and getting backed by some of the biggest selectors in the game, including Michael Bibi, Jamie Jones, Marco Carola, Pawsa, Dennis Cruz, Paco Osuna, and Gordo. One of his real “wait…this is happening” moments came during Miami Music Week, when he heard Michael Bibi drop his track at Solid Grooves on the Terrace while Gio was standing in the crowd with his friends (with Beltran right there singing along too).



He’s also been building momentum as a performer, with shows at venues like Floyd Miami, Exchange LA, Elsewhere, and Spybar Chicago—and a full-circle return to Floyd that marked a major turning point for him. Off the decks, Gio’s locked into studio life too, pulling inspiration from everywhere (yes, even a Donkey Kong Country soundtrack rabbit hole), with his dog Ollie officially running the session from his beanbag chair.



In this interview, Gio talks about his roots, the moments that made everything feel real, what he’s chasing next creatively, and why 2026 is already shaping up to be a big year.



1. Being from Peru, how has your cultural background shaped the mood of your music today?



Being from Peru has had a big impact on why I’m so passionate about music. It’s more of a cultural and emotional influence than a sonic one. I grew up around music—from cultural parades, live performances, and art, to learning instruments. It really opened my appreciation and passion for music and shaped how I approach it.



2. You’ve received support from major names like Michael Bibi, Jamie Jones, and Marco Carola — what was the first time you heard one of them play your track, and how did that moment feel?



One of the first times I heard my music played out by Michael Bibi was at Solid Grooves on the Terrace during Miami Music Week. I’d seen videos of artists playing my tracks before, but this was the first time I was actually in the crowd for it. I was with my friends, and as soon as that kick hit, I recognized it right away. 



Seeing someone I look up to play my record, watching the crowd react, and having everyone around me hyping me up—that’s something I’ll never forget. Not to mention Beltran being in the crowd with me singing along to the track, hahah.



3. You’ve performed at iconic venues like Exchange LA, Floyd Miami, and Spybar Chicago. Is there one gig that stands out as a real turning point for you? What is a bucket list venue for you to play at and why?



A big turning point was playing Floyd earlier this year and getting invited back for a second run. The first time I ever went to Miami Music Week in 2023, the first show I went to was at Floyd. I had just started making the music I really love, so coming back as an artist felt full-circle.



One of my bucket list venues is the Space Terrace. I’ve seen so many of my favorite artists play there. Being able to join that lineup someday would be insane.



4. When you’re in the studio, what’s something you always do to get into a creative flow — any rituals, habits, or setups that are non-negotiable?



When I first set up my studio, I threw a beanbag chair in the back thinking it’d be a chill spot for me or for friends to hang while we worked on music. My dog, Ollie, instantly claimed it as his chair. Now every session starts with making sure he’s in there with me—he sets the vibe every time.



5. You’ve worked with labels like Nervous and Deeperfect. What is a dream label to release on?



Solid Grooves. All of the artists that have influenced my sound in one way or another have released there.



6. Many artists are experimenting with genre crossovers lately — is there a sound or scene you’d like to explore next that might surprise your listeners?



I’ve been into indie electronic and funk as of late. It might not be a huge surprise since I already use analog synths and linndrum vibes, but I really want to dive deeper into that world and make something that feels uniquely mine.



7. What’s a lesson you’ve learned about DJing or production that you wish someone told you early on?



Appreciate the highs and the lows. It won’t always feel like you’re moving uphill—everything comes in waves. Enjoy the ride.



8. What’s the most random or unexpected thing that’s inspired one of your tracks?



When I was working on my remix for Dimmish on Deeperfect, I randomly fell into a Donkey Kong Country rabbit hole, listening to the soundtrack and messing around with the same types of synths. I ended up making all these funny, nostalgic sounds that ended up shaping the remix.



9. If your DJ career had a “deleted scenes” folder, what’s one hilarious or chaotic behind-the-scenes story that would be in it?



My first time playing in LA. It was one of my first gigs outside my city, so I road-tripped with all my friends. It was also the first time I had ever been offered a rider. At the end of the night, my friends convinced me to take the empty rider bottle as a souvenir. I stuck it under my shirt and walked past security trying to look normal. We got back to the hotel and just died laughing. I still have that empty bottle in my studio.



10. Any exciting upcoming releases or projects you’d like to hint at or discuss?



I’ve got a few things lined up on my own imprint, plus some returns on other labels. Can’t say too much yet, but I’m really excited for 2026.

Gio Lucca Q&A: Beatport Charts, Big Support, and New Directions

Deer Jade has spent the past few years becoming a recognizable name in electronic music, but 2025 marked a shift—from rising talent to creative lead. The Swiss-French DJ and producer has built a strong reputation through appearances at institutions like Circoloco at DC-10, Pacha Ibiza, Zamna Festival, and Lollapalooza, along with releases on respected labels like Innervisions, Diynamic, Kompakt, and Rose Avenue. She now steps into a new chapter with the launch of her own label and event series: I AM YOU.



The project isn’t just about releasing music. It’s a vehicle for building community, prioritizing presence over spectacle, and creating spaces where both artist and audience dissolve into the experience. It’s a natural progression for an artist whose values have always guided her choices—whether it’s her preference for long-form storytelling sets, her grounded lifestyle within nightlife, or her belief in music as a tool for connection.

In this interview, Deer Jade opens up about her early influences, her new creative direction, and why a six-hour sunrise set in Panama reminded her of exactly why she does what she does. She also talks gear, food, unexpected gigs in deserts, and what a dream session with The Beatles might sound like. What follows is a closer look into the world she’s building—and the philosophy behind it.



You’ve played some iconic venues like Circoloco at DC-10, Pacha Ibiza, and Lollapalooza. Which show recently left a mark on you and why?

A recent show that really stayed with me was an extended sunrise set on the beach in Panama at a lovely festival called Ad Sidera. I played for 6 hours straight—it was absolute magic. The crowd was fully present and engaged. Playing long sets is my favorite because we’re able to go through a much more diverse sonic landscape, tell a full story, and explore a wider range of emotions. Those moments remind me why I do this: when time dissolves and the music becomes the language connecting everyone in the room.



You recently launched your new label, I AM YOU, and we’re honored to host part of that journey with you at The Roof at Superior Ingredients. What inspired the creation of the label, and what does this new chapter represent for you?

I’m so excited to launch I AM YOU in NY with you guys—thanks for having us! I AM YOU came from a desire to create a space that allows transformation and elevation. A space rooted in empathy and community. It’s about giving full freedom of self-expression for all. 



About dissolving the barrier between artist and listener. Recognizing that we’re all mirrors of each other, and that the only way forward is to treat everyone else as a part of ourselves. This chapter feels like stepping into full creative expression, trusting my intuition, and building something that extends beyond releases into shared experiences for collective remembrance.



Connection and community seem to be core to the label’s mission. What kind of experiences or energy do you hope to bring to this event in New York, and how does it tie into the ethos of I AM YOU?

I want people to feel held by the music—like they belong. The energy I’m aiming for is open, deep, and collective. I AM YOU is about remembering our shared humanity, and New York is the perfect place for that exchange of cultures, stories, and rhythms.

You’ve lived in 10 cities by age 22. How has that nomadic experience shaped your sound or perspective as an artist?

Living nomadically taught me adaptability and curiosity. Every city left a fingerprint—different tempos, emotions, and traditions. My sound became a collage of movement, always shifting, never fixed.



What’s a musical influence from your childhood that still sneaks into your sets today?

From my mum, I got a lot of high-energy rock inspiration. From my dad, more house, melodic music, and early electronic experimentation—sounds that felt emotional before I understood structure. That sense of storytelling still finds its way into my sets.

As someone who doesn’t drink and lives a vegetarian/vegan lifestyle, how do you stay grounded in nightlife-heavy environments?

I try to stay connected to my body as much as possible. Hydration, food, rest, and quiet moments.

What’s the most unexpected track you've dropped in a set that totally worked?

I once played yodel—traditional Swiss music from the mountains—in the middle of a peak-time set. It was so much fun seeing all the smiles, laughs, and bewildered faces. I wish I could play it more often—ahaha.



Studio vs. stage — what part of the creative process do you find most fulfilling right now?

Right now, the studio. It’s where ideas are born without expectation and without any limits. The place where everything is possible. That said, I’m still the biggest lover of playing shows and connecting with the crowd—that’s what has inspired my music. It fulfills me so much; I couldn’t live without it either! :)



How do you recharge creatively between nonstop travel and performances?

Silence and nature. I try to disconnect from input so inspiration can return organically.

What’s one misconception people might have about your music or persona?

You tell me! I don’t really pay attention to what other people might think. I just do my thing and make sure to have as much fun as possible meanwhile!



If you weren’t in music, where do you think life would have taken you?

Something artistic, definitely! Growing up, I always wanted to be a film director. I was always making movies and taking photos. I’d also love to paint and just make all kinds of art.

What role does spirituality or personal philosophy play in your creative output?

It’s foundational. Music is a form of meditation for me—a way to explore presence, impermanence, and connection.



Which artist or producer (dead or alive) would you love to collaborate with, and what would that session sound like?

The Beatles! I love the universal messages they shared and how their music brought people together in such a timeless way. We’d hang in nature, jam, have tons of fun, and record the magic. It would be some psychedelic, funky electronic rock sound :)



What’s the last piece of gear or plugin that genuinely inspired a new idea?

Granular synthesis plugins—they made me rethink texture and time in sound.

How do you balance curating a sound while still surprising your audience?

By trusting intuition to lead me to totally unexpected new places while still sounding like “me.”



What advice would you give to emerging artists trying to break into the scene on their own terms?

If you can dream it, you can do it! The universe wouldn’t have put a dream that big in you if it wasn’t possible to reach it :) Never stop believing. Be consistent and stay true to yourself. Take small steps each day and build strong foundations. Community matters more than hype. Being grateful for where you are now and appreciating every part of the journey is key.



What’s the most unexpected place music has taken you?

Remote natural settings and off-the-beaten-path countries are my favorites. I played a festival once in Uzbekistan, in the middle of a desert that used to be the Aral Sea. It had dried out and was full of old boat carcasses—a totally lunar setting. The energy of the people on the dance floor there was absolutely incredible.



If you could create a set for a totally non-dance event—say, in a forest, art gallery, or even a planetarium—what would your vision be?

In a jungle at dusk—surrounded by speakers hidden among trees, blending organic sounds with deep atmospheres so nature and music breathe together.

Q&A with Deer Jade: The Story Behind I AM YOU

The persistent ring in the ears—tinnitus—is something that around 7 million people in the UK and one in six people in Sweden deal with every day. For some, it’s a faint hum after a concert, but for millions of others, it’s a constant, intrusive presence that impacts sleep, work, and mental health. While the medical world has long focused on just "coping" with the sound, a new wave of research is finally looking at how to actually turn the volume down.

The Science of the "Phantom" Signal

To understand the solution, you have to understand the glitch. Tinnitus isn't actually a sound in your ear; it’s a phantom perception created by your brain. When the tiny hair cells in your inner ear get damaged—often from loud environments or just the wear and tear of modern life—the brain stops receiving the signals it expects.



To make up for this silence, the brain’s auditory center essentially "turns up the gain." It creates its own activity to fill the gap, resulting in that high-pitched ringing or buzzing. Researchers at the Karolinska Institutet found that this isn't just about loud noise; genetics play a massive role, too. If you have ringing in both ears, there’s a high chance your DNA made you more susceptible to it.

A New Approach: Breaking the Loop

This is where the new trial from Newcastle University comes in. Dr. Will Sedley and his team realized that tinnitus happens because certain brain cells start firing in a synchronized loop—kind of like a crowd at a stadium chanting the same thing over and over.

The team developed Acoustic Ripple Therapy (ART). Instead of just playing "white noise" to mask the sound, this therapy uses synthetic musical notes that are constantly being tweaked in volume and pitch. In their trial of 77 people, participants listened to these sounds for an hour a day.



The results were a major "proof of concept." By constantly changing the audio input, the therapy forced the brain cells to stop "chanting" together. On average, people saw a 10% drop in how loud their tinnitus felt, and the effect stuck around for three weeks after they stopped the treatment.

Therapy in Your Pocket

The most relatable part of this research is how it might reach us. Most 20-to-30-year-olds are already glued to their headphones, whether for a commute or a workout. Dr. Sedley’s goal is to turn that habit into a remedy.

The plan is to build this tech into a mobile app. Even better, the researchers want to layer these "rippling" audio changes over the stuff you’re already listening to—like your favorite podcasts or Spotify playlists. If the tech is embedded in your daily media, you could rack up hours of therapy without ever feeling like you’re in a clinical session.

Looking Ahead

While we wait for the app to go public, the advice from experts like Christopher Cederroth is clear: watch the decibels. If your phone gives you a red warning for going over 85 decibels, listen to it. Permanent damage can happen slowly, even if you’re just listening at a "moderate" level too often.

We are moving away from the era where people are told to "just live with it." Between genetic discoveries and new audio-shaping tech, the goal is shifting toward a future where we can finally find some silence.

Silence, Finally: The New Tech Aiming to Mute Tinnitus for Good

In our City Beats series, we explore underground scenes in cities all around the world, and this week we’re spotlighting Belfast in Northern Ireland.




Northern Ireland’s capital city is home to one of the UK’s most vibrant, exciting and talented dance music scenes. But they’re also up against a host of challenges. In this article, we catch up with Plain Sailing to find out all about the venues, club nights and communities that make this city tick – and learn more about the difficulties they must overcome in order to continue the party.




A Brief History of Belfast’s Dance Music Scene




Ask most local Belfast heads how they got into dance music and they’ll probably cite multi-level night club Thompson’s Garage or Shine, a club night launched by Allen Simms in the early 90s. It’s a cliché now, but after 30 years of war (also known as The Troubles), these became the only spaces in Belfast where the opposing communities came together under one roof. Since then, Belfast’s music scene has become known for it’s unparalleled energy, good craic, warmth, compassion and exceptional talent. Some nights, the crowd gets so boisterous they punch walls through ceilings. Phil Lucas, one half of Twitch, has a piece of The Bunatee’s overhead panelling framed on his wall.




Historically, Belfast is techno and house-heavy, however since 2019 a variety of club nights and communities have worked hard to diversify that sound. But it struggles to retain its talent, with many local legends succumbing to the temptation of London, Amsterdam or Glasgow.




Venues and Event Spaces




Northern Ireland has the most restrictive licensing laws in Europe. That’s why DJ and producer Holly Lester and human rights advocate Boyd Sleator launched Free The Night, an organisation committed to creating a safe, progressive and culturally rich environment for nightlife in Northern Ireland and beyond.




Event spaces and venues are few and far between compared to the amount of promoters, artists and collectives that exist in the city, and with more and more clubs closing, Ulster Sports Club is one of the only mid-level venues supporting the scene. Andrew Moore, one half of Plain Sailing, says this limit on venue options forces promoters to turn to alternative spaces in order to build a sustainable infrastructure.




“In terms of venues, there's been a real shift recently,” Andrew says. “A lot of promoters are focusing more on the after hours scene. Licensed spaces are still used and it’s important they’re supported, but with few to choose from it has forced people’s hands. Places like RAW and Rúnda Studio provide the types of experiences that you usually need to go to Berlin or London to capture. RAW is particularly interesting as it’s a regeneration project. In the absence of appropriate licensing laws and opportunity, the community finds a way to survive. That feels very appropriately Belfast.”




“The Night Institute, headed by Timmy Stewart and Jordan Nocturne, are also running a pretty interesting concept through December,” Andrew continues. “They've been given the keys to a licensed space that they plan on turning into a multi-room, music-focused space.”




Live Music, Promoters and Collectives




Andrew says Belfast’s live music scene is thriving, with bands like Chalk, Enola Gay, Huartan and many more flying the flag. Ulster Sports Club is the main destination in the city for live music, hosting all sorts from hip-hop to punk to left-field electronica.




“In terms of promoters and DJs doing cool things - Social Sounds, Call & Response, Sound Advice: After Hours (Conor Schmtz and Marion Hawkes) are all people I respect,” Andrew says. "Never Never run a night here called The Mush Room which is pretty cool too; focusing on more downtempo, weirdo sounds. Maybe I'm just getting older, but that type of thing is appealing to me more and more these days. Head Above Water is also a really cool party, headed by ByPhil, focusing on sounds from across the house spectrum and exclusively vinyl. We've got some amazing producers around as well. Matheson and Optmst are probably my two favourites.”




The Challenges




Belfast has quite a few problems to overcome. One is the issue of talent leaving, creating a brain drain heading towards London. Another is the government’s complacency when it comes to licensing laws and prioritising the night time economy. “Recently, our Communities Minister, Gordon Lyons, wasted an incredible amount of public money in ignoring The University of Stirling's independent license review in Northern Ireland,” Andrew says.




As a result, he says the scene at the moment exists, but it’s tough. “There's still a few passionate individuals doing their thing,” Andrew says. “I've read too many features and interviews that describe our scene as 'thriving' or whatever; that just isn't true. Promoters are still increasingly finding it hard to shift tickets in advance, selling the majority on the door and mostly to people who just want a little extra drinking time, so the vibe gets somewhat lost.”




Andrew says that wider interest outside the scene has diminished, and the circle of people genuinely into the culture is smaller, perhaps because of COVID or because of high costs or because students aren’t going out as much. But there is a positive side to that, too.




“For one, it means the people at your nights actually really want to be there,” Andrew says. “The focus shifts from how can I get 300 people into a room to I want to make sure the 50 people coming to this are really into it.”




So promoters are opting for smaller spaces in favour of larger rooms. Andrew says places like the Committee Room in Ulster Sports Club or Rúnda Studios are becoming increasingly popular, with vibes topping profit. “You might not make as much money on the door due to the capacity, but at least you feel fulfilled and a part of something bigger than yourself, with the emphasis on community,” Andrew says.




Looking to the Future




Belfast is a city built on resilience, personality and DIY spirit. This scene knows how to meet challenges head on, and find creative ways to express themselves. That’s why it teems with talent, and why artists and promoters stick around to continue to build their scene.




“Those within the small electronic music community are super supportive and it's the main reason I'm still living here despite the obstacles we face every day,” Andrew says. “I honestly couldn't see myself anywhere else at this point, and it's so important that we keep those that are so passionate about it here.”

City Beats: Belfast

For anyone who grew up flipping through channels looking for the latest premiere, the news that MTV will shut down its remaining music-video channels on December 31, 2025, feels heavier than a simple programming update. Paramount Global’s decision to retire MTV Music, MTV 80s, MTV 90s, Club MTV, and MTV Live officially closes a chapter that shaped how millions of people met their favorite artists, learned the choreography to their favorite tracks, and saw themselves reflected in a world that always felt a little cooler, louder, and more daring than real life. And for many of us, those years were defined not just by music videos, but by shows that became cultural touchstones — from Jersey Shore to The Real World, Pimp My Ride, Punk’d, and Next.



MTV isn’t vanishing completely. The main channel—the one that now leans heavily into reality shows—will continue. But the version of MTV that once felt like a pulse running through youth culture is being folded away, archived into memory. For many, it’s a reminder that the things we once considered permanent can slip quietly into history. It’s strange to think the same channel that gave us Jackass, Teen Mom, Catfish, Cribs, and My Super Sweet 16 is letting go of the part of itself that started it all.



When MTV debuted back in 1981, the idea of a channel playing music videos around the clock was revolutionary. It gave musicians a stage that reached into living rooms around the world and launched careers that depended just as much on imagery as on sound. Suddenly, artistry wasn’t just what you heard—it was what you saw. Entire aesthetics, fashion choices, and cultural trends were born from those few minutes between commercial breaks. MTV wasn’t just a platform. It was how many of us learned about style, creativity, and expression before we even had the words for it. And as years went on, series like Daria, Beavis and Butt-Head, Road Rules, and The Challenge.



Fast forward to now, and the media landscape looks nothing like it did during MTV’s rise. YouTube, TikTok, Instagram, and streaming platforms have rewritten how we watch, listen, and share. Music videos still matter—maybe more than ever—but they no longer need a cable slot to make an impact. Artists post directly to their audience, fans clip and remix their favorite moments, and discovery happens through swipes instead of scheduled programming.



MTV’s declining ratings reflect this shift. Where millions once tuned in religiously, the numbers have thinned as viewers migrated to screens they control. On-demand replaced anticipation. Algorithms replaced VJs. Premieres dropped at midnight on YouTube instead of during scheduled blocks after school. As habits changed, so did the business built around them, and eventually the decision became inevitable.



Still, hearing that the channels will disappear feels like losing a time capsule. We remember racing home to catch the countdowns. We remember staying up late hoping our favorite video would finally break into the top spot. We remember the excitement of seeing artists we loved step into characters through visuals that felt bigger than life. MTV lived inside those moments, shaping not just what we listened to, but how we imagined the world around us. 



This shutdown isn’t just about media strategy or corporate restructuring. It’s about acknowledging how quickly time moves. The version of MTV that raised so many is now a memory, replaced by platforms that offer speed and convenience but not always the same sense of shared experience. There was something special about watching the same video debut at the same time as everyone else—something communal, something electric.



As the countdown to December 31 approaches, the closure serves as both a farewell and a reminder: technology keeps moving, the way we experience culture keeps shifting, and the things we once thought would last forever sometimes don’t. But the influence of MTV—its daring visuals, its storytelling, its impact on youth culture across generations—continues in every music video uploaded today.



We’re not just watching a network fade out. We’re watching time pass. And we’re remembering the place that taught us how powerful a song could feel when paired with a screen and a vision.

After 40 Years, MTV’s Music Legacy Reaches Its Final Frame

Few artists can channel energy and emotion quite like ELIF. The Turkish-born, Barcelona-based DJ, producer, and label head builds her DJ sets with the precision of a designer, and her productions follow the same trajectory.




Her rise has been steady, driven by depth, empathy and an unshakable sense of purpose that bleeds out of every set, release and production. And, as it turns out, she learnt how to do this away from the dance floor.




“In architecture school I was creating stories of people who’d experienced the building. It’s a very similar thing the DJ does,” she said in an interview with 15Questions. “I think of music in spatial terms. I imagine how a sound will fill a room — how it will breathe, how it will connect people.”




That mindset defines her artistry: she goes beyond just playing sets. She designs sonic environments that invite connection, reflection, and release.




The Beginning




ELIF’s journey into music was not linear. Before clubs and labels, there were sketchbooks and building models. “If I weren’t a DJ or producer, I’d probably be an architect, a yoga teacher, a CEO — and lately, I feel like I could even be a farmer,” she recently told Gray Area.




Istanbul is a city that bridges continents, and ELIF is influenced by the duality of those surroundings. “Istanbul teaches you balance,” she told Elle Uzbekistan. “It’s a city of noise and beauty, and learning to exist within that taught me how to listen.”




Her first encounters with electronic music came through underground parties that valued atmosphere over spectacle, where she learned how sound can alter perception. “Music is how I make sense of the world,” she told Mixmag MENA. “It’s how I connect to others without having to explain myself.”




Sound and Vision




ELIF describes her sound as “deep, groovy, a bit dirty.” Her sets blend hypnotic rhythm with emotional storytelling and she gets “obsessed with every perspective of creating a track, from sound design to arrangement to how it makes you feel in a room full of strangers.”




As her sound has developed, she’s maintained a sense of pride over her journey. “Nothing makes me cringe,” she says. “I love seeing progress and change. I’m proud of myself.”




That self-assuredness comes from years of patient work, long sets, and an ever-evolving sense of identity. “My favourite set length is three to five hours,” she says. “I’m ready for longer.”




And her current crowd-hyping weapon? “It changes every two or three months, but right now it’s an edit of Messy by Lola Young from Canvi,” she told Gray Area. "We released it as a free download on Marginalia.”




Lessons and Milestones




ELIF’s trajectory has been anything but ordinary. From debuting at Burning Man to commanding dancefloors in Montreal, New York, Berlin, Zurich, and London, her presence has become a global constant.




But there have been challenges, too. When we asked her about the most expensive mistake she’s made, she told us: “I tried to bring something cool to my hometown Istanbul, but with the wrong partners — and got screwed over. Live and learn.”




Technology has thrown its share of chaos her way as well. “My computer crashed on me a few times — always at the most inconvenient moments,” she says. “Luckily I could recover almost everything. A few tracks are lost or glitchy, but I learned how to detect them. It was a nightmare then, but now I know better.”




Roots and Rituals




Offstage, ELIF is quietly introspective. Her pre-show routine is simple: coffee, matcha, nuts, and dates. Her sanctuary is home and nature, and her greatest joy is her dog Bambam. “When I play the ukulele and my dog puts his chin on my leg, I feel at peace,” she says. “He doesn’t like electronic music much but really enjoys acoustic sounds.”




And when life gets chaotic, she reminds herself of the essentials: “That life is short and we’re lucky to be alive.”




The Label and the Mission




Her label, Marginalia, has become a creative playground for like-minded artists — a space where ELIF can champion a global sound rooted in groove and emotion. “It’s about connection,” she’s said in multiple interviews. “About giving space to voices that don’t always fit the mold.”




That sense of community extends to her role as a mentor and collaborator. She’s been a regular presence at the International Music Summit, where she’s helped shape conversations about creativity, technology and wellness in electronic music. “There’s so much more to this world than parties,” she says. “Music can heal, inspire, and transform if we let it.”




Looking to the future




Despite her success, ELIF remains humble and motivated. In 2025 she released “Eos” on CORE Records, a hypnotic, melodic techno cut that showcases her flair for deep, slow-building tension; “Praise The Sky” with Predex on Frau Blau — a soaring, emotionally charged EP featuring remixes by Ae:ther and Rodriguez Jr.; and “Being An Artist” with David LeSal on her own Marginalia imprint — a textured, introspective track that reflects her label’s mission to champion boundary-pushing producers.




Ultimately, ELIF is a sonic architect who structures her music around feeling and connection. As she once told Mixmag Brazil: “I’m just building spaces where people can be fully themselves — even if just for a few hours.”




And that’s exactly why ELIF is one to watch.

Ones to Watch: ELIF

In this series, we spotlight up-and-coming collectives who are paving their own way while driving underground culture forward.




The city of Wroclaw is not pronounced how you think. ‘VROTS-wahf’ is the third largest city in Poland, and well known for its vibrant Market Square, gnome statues hidden throughout the city and the beautiful bridges and islands that give it the nickname "Venice of Poland”.




But an underground scene is bubbling beneath this pretty surface, and it’s spear-headed by a group of three friends collectively known as SPLOT.




Who is SPLOT?




SPLOT is Szymon Baczyński (AKA Glassz), Kamil Winiarz (AKA Guiltee) and Paweł Szeląg (AKA dadan karambolo) - three good friends with a shared passion for the left-field sounds of bass, techno, breaks, half-time and D&B.




They met at Akademickie Radio LUZ, run by the Wrocław University of Science and Technology, a station they all joined at the same time. “It was a very nice community driven radio station with a lot of very interesting music programs by people involved in the local underground scenes, from punk rock, to house, techno, bass and all things in between,” says Szymon.




The three friends connected over their shared love of left-field music, and began attending festivals and parties together. “We went to Dimensions in Croatia in 2019, and we had an amazing time there, and we all were so exhausted from dancing that we sat down and decided this is the kind of sound that we would like to push in Wroclaw,” Szymon says.




They felt there was space in the scene and the time was right. They’d been DJing for several years, Pawel was breaking into international territory with his productions, and Kamil already had experience organizing underground forest raves. But just as they were about to throw their debut party, the pandemic hit, so their first club night was significantly delayed.




The Label and Event Series




Before SPLOT, the scene was dominated by straightforward, ticket-selling techno, while more experimental or bass-driven music struggled to find space, especially after the pandemic led to venue closures.




"So I think this is one of the main ideas,” Pawel says. “Our sound is more futuristic and retro - a philosophy of taking care to show people the roots of the culture and where it all started, and at the same time pushing the boundaries of the current sound in the scene.”




That’s why they make sure to showcase Polish producers, as well as international talent. “We love the idea of, you know, bringing our favourite artists from all over Europe or all over the world to show to our friends, but also it's important to us to present the local talents. That's why we also started the label three years ago.”




Their label helps balance the challenges of throwing events, which can be frustrating. “I'm always optimistic, but it's so difficult to break even with a more experimental approach to sound and to music,” Pawel says. “Especially with a small audience for bass music in Poland in general.”




The label launched in June 2022 with Deers by Bess, a 5-track EP from dadan karambolo. Since then, they’ve released some of the hottest talent in Poland and beyond, including 2Shy, Yes Stanley, IWANN, and most recently Archypness.




"He's a producer based in Warsaw,” Pawel explains. “There are a lot of people into this music who are producing without sending demos anywhere. It always catches me off guard when I talk to someone and they say they produce. I wish they weren’t so shy about it.”




This year, they’ll collaborate with LAS Festival for the second year in a row, where they’ll be curating bass music at the Substance stage. In 2021, SPLOT hosted a stage at MASSIF Festival in Kłodzko Valley, where they invited Awkwardly Social, Low End Activist and Appleblim which was the start of many fruitful partnerships.




Plans for the Future




On 13th December 2025 SPLOT is throwing their most ambitious party yet. Jungle legend Sully and Blackeye MC will be tearing up Wroclaw’s Cialo with a stacked line-up on support, including all three members of SPLOT, siberialist, Meke and mgkl.




“For me, the label is what I cherish the most at this time,” Pawal says. “I hope to develop it to the point where we can maybe release physical formats as well. I think that’s a big goal for all of us. And in terms of parties, I hope we can just continue and grow in that regard too.”




“We are also thinking about releasing a remix compilation,” Szymon continues. "So Polish producers who have already been released could be remixed by some international guests as well, to build those connections outside of Poland. We want people abroad to know about us. Because I personally feel quite often that we’re overlooked. Like, in Western media always Unsound and not much else. But there is so much going on, and I think our scene is incredible. There are producers and DJs and collectives and clubs and festivals that we wish to also be part of this bigger picture.”




For all their latest news and events, follow SPLOT on Instagram.

Collective spotlight: SPLOT

Hearing health is rarely discussed in the dance music world, but it’s a very real issue that many DJs and producers quietly deal with behind the scenes. Constant exposure to loud environments, long tours, and high-pressure schedules take a toll. UK house music heavyweight Martin Ikin recently opened up about his diagnosis of endolymphatic hydrops, a rare inner ear condition that has impacted his ability to fly, perform, and even listen to music.

After canceling several shows due to worsening symptoms, Martin has chosen New York as the city for his return to the stage. It's a deeply personal milestone after months of recovery and lifestyle changes. His honesty around the physical and mental toll of this condition sheds light on an important issue that’s often left unspoken in the music community. Here's what he had to share with us.



You recently opened up about being diagnosed with endolymphatic hydrops, a condition many people may not be familiar with. What has it been like navigating such a serious ear issue while being a full-time touring DJ?



Yes, as most people know, I’ve been having ear problems for a few years now, with no diagnosis from any of the specialists I had seen. Over time, the condition slowly got worse and ultimately led to an “inner ear attack.”

Luckily, I saw someone the day after the attack who ran a huge amount of tests and was extremely thorough. They finally gave me a diagnosis, which meant we could start treating it — that was a huge relief and gave me some light at the end of the tunnel.

Unfortunately, it’s one of those conditions that affects your whole life. The symptoms can stop you from doing nearly everything when they’re bad. The pressure in your ears can make flying, driving, cycling, or even using an elevator really difficult. The dizziness makes it hard to read or focus on anything. And the intermittent muffled and overly sensitive hearing makes it hard to listen to music or even want to socialize.



You really have to be careful not to become a recluse, because that’s how it can make you feel sometimes. Thankfully, I’m now on some medication and supplements that help reduce the excessive fluid pressure in the inner ear and suppress the virus that causes it. It’s not a quick fix, but things are so much better now than they were.



Flying and loud environments can be especially challenging with this condition. Can you share what went into your decision to cancel shows — and why playing the upcoming New York show feels like such a significant milestone?



Exactly. As I mentioned above, loud environments are a challenge because of the hyperacusis (sensitive hearing), but the main reason I had to cancel touring shows was the flying.

The cabin pressure on planes is known to make the symptoms worse, basically undoing what the medication is working to fix. So, I had to take a few months off to give the treatment time to help reduce the pressure in my inner ear.

The New York show will be my first weekend back touring since all of this started. I’m really excited to be performing again — especially in New York.

Aside from taking medication, are there any other steps or precautions you’re taking before getting back on stage to protect your ears and manage your condition?



Yes, managing this condition requires a complete lifestyle shift. That includes a full diet change — no salt, which makes eating on the road tricky. Running every day also helps with the dizziness. I avoid elevators now, so no high-rise hotels — which can be tough in some places, especially in the U.S.



I also stick to what I was already doing: wearing earplugs and avoiding prolonged loud noise exposure. That means I can’t really hang around too long after my sets anymore.



As someone who has been in music for decades, have you noticed a shift in how hearing health is discussed in the industry — or is it still something people shy away from?



I do think there’s more awareness now than there was in the ’90s. Back then, no one wore earplugs — and even if you wanted to, they were hard to find.

That said, I’m still surprised to see so many DJs cranking booth monitors for hours without any protection. I’m like the old boring dad now, constantly telling everyone to wear earplugs!



How has this diagnosis changed your relationship with music — both in the studio and behind the decks?



I’ve had to seriously scale back my studio time this year. That’s why I haven’t released as much as I normally would. But that will gradually return to normal as things continue to improve, so I’m not too worried.



What have you learned about managing your physical and mental health while touring? What advice would you give younger artists who may not think about long-term hearing damage?



Honestly, dealing with this has been just as hard mentally as it has been physically — if not harder. It can really take you to some dark places if you don’t keep on top of your mental health. That’s probably been the toughest part of it all.

It’s hard for someone who’s never dealt with this to understand just how overwhelming it can be. Thankfully, I’ve got a great support system around me. Without them, I’d be in serious trouble.



So my advice — and what I’m constantly preaching to any DJ who will listen — is: please wear earplugs at every gig. And don’t take them out halfway through — that defeats the point.



In facing something this intense, has your perspective on your career or life as an artist shifted at all? What matters most to you now when deciding which gigs to take and how you balance health with the demands of touring?



Absolutely. As a music lover and lifelong DJ, my instinct has always been to say yes to every gig. But now I have to carefully weigh what I can handle versus what’s just too much.

Especially when long-haul flights are involved, it’s all about balance now. Fewer gigs — but the right ones. That’s the new mindset.

Martin Ikin on Ear Health, Touring Challenges, and Returning to the Stage

Since first teaming up in 2017, Belgian duo Joyhauser has become one of the most consistent and respected acts in modern techno. Known for a sound that merges tension, emotion, and peak-time energy, they’ve played the world’s most important stages—from Awakenings and Tomorrowland to Monegros Desert Festival and Loveland ADE. But with the launch of MEMORO, their own label and live event concept, Joris Cielen and Stijn Vanspauwen have entered a new chapter—one that puts full creative control in their hands.



More than just a platform for their music, MEMORO is a curated space where the pair explore a deeper, more atmospheric side of techno. It’s a brand built around storytelling, emotional intensity, and long-form experience—whether through AI-enhanced visuals in their live shows or a label catalog that prioritizes feeling over formula. After successful events in Switzerland, France, and Belgium, they’re now bringing MEMORO to New York for the first time, choosing Gray Area and Superior Ingredients for its North American debut.



In this interview, Joyhauser shares what MEMORO means to them, why they’ve been so selective with where it shows up, and how the concept blends musical instinct with long-term vision.



1. What does MEMORO represent to you personally, and how does it differ from your other Joyhauser work or releases on other labels?


With MEMORO, we want to release music that sits between modern peak-time techno and the faster side of techno. With other labels, we always have to be careful how the productions will sound and fit. With MEMORO, we can do whatever we like. Not too fast and not too slow. Groove and authenticity are key elements for us.

Having our own label gives us the opportunity not only to shape our own artistic vision, but also to support new talent and offer them a home to express themselves and release their work. With MEMORO, we want to create a community more than just being a label. After releasing a lot of music over the past years, being on the other side now feels like a natural next step—a way to build the future and create a pathway for the next generation.



2. You’ve been very selective about where MEMORO events happen. What makes a city or venue the right fit for the concept? Why was New York one of those places?


We do try to be selective with our MEMORO events. MEMORO is all about creating and preserving beautiful memories for the people on the dancefloor. We always choose quality over quantity. Curating a strong lineup is one thing, but selecting the right city and the right venue is just as important.

New York has always held a special place in our hearts. It was one of the first major cities outside Europe where we had the chance to play right after our breakthrough, and the support from the people there has always been incredible. It’s a city we return to every single year, so for us, New York, Gray Area, and Superior Ingredients truly embodies what MEMORO stands for.



3. The MEMORO live experience blends sound, emotion, and even AI. Can you talk about how you approached building a show that balances all of that while still feeling human and raw?


The idea for the MEMORO live experience was born during the COVID period. We’ve always been fascinated by AI and the human mind, and combining those interests with a show built entirely around our own music felt like the next step.

Our goal was to blend 100% original music on stage with visuals that were carefully crafted to match and enhance the emotions behind each track. Finding the right balance was essential—the music should always remain the core focus, while the visuals, created together with Byssolo, serve to support and amplify its impact.



To be honest, we began developing this concept before AV shows became widespread. Then Anyma pushed the visual experience to a completely new level, which made it harder to surprise people in that same direction. That’s why we’re now considering evolving the concept and possibly taking it in a different direction in the future.

4. Can you share what kind of artists or sounds you’re looking to release or book under the MEMORO brand? How do you decide what belongs under this umbrella?


For MEMORO, we’re looking for artists and sounds that sit in the space between modern peak-time techno and the faster, more energetic side of techno—but always with groove, personality, and authenticity. It’s not just about power or tempo; it’s about music that carries emotion, drive, and a signature identity.

When we decide what belongs under the MEMORO umbrella, we focus on whether the track or artist fits the feeling we want to create: timeless, memorable, and impactful.



Whether it’s for a release or an event, we look for artists who bring their own character, who aren’t just following trends but adding something meaningful to the techno space. If the sound feels fresh, powerful, and true to the spirit of MEMORO, then it belongs with us.

5. What was the turning point for you in deciding to start a label and brand instead of just releasing music independently or on other platforms?


For us, the turning point came after years of releasing music on other labels and feeling the desire to build something that truly reflected our own vision from start to finish. We loved working with other labels, but at some point, we realized that we wanted more control—not only over our own releases, but also over the artistic world around them.



Starting MEMORO wasn’t just about putting out tracks; it was about creating a home with its own identity, story, and aesthetic. A place where we could shape the sound we believe in, support emerging talent, and build a community around our musical philosophy.



6. For fans seeing MEMORO live for the first time in Brooklyn, what’s something you hope they feel or walk away with by the end of the night?


For fans seeing MEMORO live for the first time in Brooklyn, we hope they walk away feeling completely transported. This project is all about tapping into deep emotion—memories, energy, contrast—so if people leave the room feeling like they went on a journey with us, that’s the goal.



We want them to feel that blend of intensity and nostalgia, that moment where the music connects with something personal. And since it’s our first time bringing MEMORO to Brooklyn, we hope the crowd feels the raw power of that shared experience—like they were part of a debut that only happens once.

7. If MEMORO were a movie genre, what would it be—and why?


If MEMORO were a movie genre, it would be a blend of sci-fi thriller and psychological drama—very similar to Inception. That film plays with layers of reality, emotions, and memories, which is exactly what we try to do with our music and events.



Like Inception, MEMORO isn’t just about what you see or hear on the surface. It’s about creating deeper emotional layers, moments that stay in your mind long after the experience is over. The same way the movie blurs the line between dreams and reality, we aim to blur the line between music, visuals, and emotion—pulling people into a world where everything feels both powerful and meaningful.

8. You’re curating an afterparty immediately following a MEMORO show. What’s the first non-techno track you’d throw on?


We’d go with Moderat—starting with The Mark (Interlude) and then sliding into Bad Kingdom. The Mark is perfect for creating a reset moment after a heavy techno set. It gently wipes the slate clean and shifts the crowd’s mindset into a more emotional, open space.



From there, Bad Kingdom lifts the room back up with something iconic but still warm and grounding. It’s a great way to guide everyone into the afterparty atmosphere with intention.

9. What’s one thing fans might be surprised to know goes into preparing a MEMORO set or show?


People might be surprised by how much emotional preparation goes into a MEMORO show. It’s not just about selecting tracks—we spend a lot of time tuning into a specific feeling or memory we want to translate to the crowd.



But once we’re on stage, it becomes something completely different. We work very much in the moment: we bring a huge amount of music on our USBs and treat the dancefloor as a blank canvas. From there, it’s pure anticipation, reacting to the room, shaping the energy, and letting the atmosphere guide us.

So even though there’s a lot of intention behind the concept, the actual set is always alive, evolving, and unique to that night. One thing is sure—a lot in our sets are crafted from our label’s catalog, mixing released and unreleased music with Joyhauser material, including plenty of tracks that fans haven’t heard yet.



10. The word ‘Memoro’ has Latin roots meaning ‘to remember’ or ‘to bring to mind.’ Was that intentional when you chose the name?



Yes, the meaning behind “Memoro” was absolutely intentional. Our DJ name comes from two psychologists — Joy Paul Guilford and Marc Hauser — and with the background in psychology, we’ve always seen ourselves as a kind of therapist on the dancefloor. So when we were searching for the right label and concept name, we wanted something that connected to that idea as well. 



As DJs, beyond making people feel good in the moment, we want to create memories that stay with them — the kind of experiences they carry long after the night is over. That’s why the Latin word Memoro, meaning “to remember,” felt perfect. It captured exactly what we wanted the brand to stand for, and we’re genuinely happy with how naturally it fits our story.

MEMORO, Defined: How Joyhauser Created a Label, Live Show, and Philosophy

The internet woke up this week to find that one of TikTok’s biggest rising tracks, I Run by Haven, had quietly vanished from Spotify and Apple Music. For a song that seemed destined to soundtrack gym clips and late-night scrolling sessions all winter, its disappearance felt abrupt, and soon the cause became clear. The vocals, as TikToker Haydencoh uncovered, weren’t sung by a mystery newcomer or a hidden feature from Jorja Smith. They were generated using Suno, the AI tool that has become a lightning rod in the music world.



Once the discovery spread, the original version was removed, with Spotify confirming that the track violated its rule against impersonating real artists. No royalties were paid out. Searches now bring up a new version featuring singer Kaitlin Aragon, who says she recorded a cover to replace the synthetic voice. But the moment had already taken hold: fans, creators, and curious listeners were left wondering how a track built around an AI vocal climbed the charts of TikTok culture without anyone noticing.

The answer may be simpler — and more unsettling — than expected.

Just days before the takedown, a study from Deezer and Ipsos revealed that 97% of people can’t tell the difference between AI-generated music and the real thing. Nearly three-quarters of the 9,000 participants said they were surprised by how easily they were fooled. Over half admitted the whole experience made them uncomfortable. Considering that thousands of synthetic tracks are uploaded to streaming platforms every day, I Run wasn’t an outlier — it was a preview.



For house music fans, this moment lands at a crossroads. The genre has always thrived on new tools, new textures, new ideas. Drum machines, samples, and software helped shape the sound. But those tools still relied on human choices: what to sample, what to tweak, what emotion to chase. AI shifts the ground. It can imitate the tone of a star vocalist, assemble a melody from trends, and release a track before a human would have had time to export the session. And now, as I Run shows, it can slip into the culture at full speed with millions believing the singer to be real.



The Deezer study hints at why this is possible. Most listeners aren’t trained to pick apart production details or vocal flaws — they’re reacting to how a track feels in the moment. Social feeds move fast, and TikTok’s algorithm rewards instant familiarity. So when an AI vocal hits the same notes and emotional cues as a real artist, it blends in. Even for people who care about music, that line becomes hard to hold.



None of this means the future is doomed or that AI will replace artists. But it does force a new kind of awareness. If a viral track can climb the charts fueled by a voice that never existed, the responsibility shifts to the platforms, the creators, and the fans to ask what they’re listening to — and why it matters.



The takedown of I Run wasn’t just a glitch in the system. It was the flashing sign of a much bigger shift: one where the sound of tomorrow might feel familiar, but the source behind it might not be human at all.

TikTok’s Viral Hit Wasn’t Even Human — And No One Noticed

Spanish duo MËSTIZA have become one of the most recognizable voices in the intersection of flamenco and electronic music. After more than a decade working independently, Pitty and Belah found common ground in the sounds that shaped their childhood—Spanish folklore, flamenco cadence, and the emotional weight carried in its rhythms. Bringing those roots into club culture became the foundation for a project that feels both grounded in heritage and firmly connected to the dance scene.

Since launching the project, they’ve topped Spain’s vinyl chart with their debut album Quëreles, performed across Europe, the Middle East, and North Africa, and made history as the first female DJ duo to hold a residency at Hï Ibiza. Their work extends beyond music, weaving fashion, visual identity, and cultural pride into every performance. What sets them apart isn’t just the blend of styles, but the clarity of their message: honoring where they come from while building something that resonates worldwide.

In this interview, MËSTIZA reflect on the origins of their sound, the meaning behind their name, the responsibility of representing their culture on international stages, and the evolution of flamenco within today’s electronic landscape — along with moments of humor, honesty, and the creative instincts that guide their partnership.



You both had individual careers before forming MËSTIZA — at what moment did you realize you wanted to unite your sounds into one project?


After more than ten years working separately, we decided to join forces when we realized we shared many ideas that came from our background. We grew up surrounded by flamenco — it was part of our environment from a very young age — and when we brought our ideas together, we saw that this was our common foundation and that it had been hardly explored within electronic music. That became our starting point.



“Mëstiza” translates to “mixed.” How does that word reflect not only your music, but also your identity as artists?


For us, MËSTIZA is more than a name; it’s a declaration of identity. It represents the blend of cultures, sounds, and emotions that shape our music, but it also reflects who we are as artists and as women. We are a mix of roots, experiences, and influences, and we carry that diversity into every production and every show. 



Our project is the result of this fusion between tradition and modernity that defines us. Additionally, the word itself has a very Spanish sound — especially because of the “Z” — and it’s a feminine term, which caught our attention from the very beginning and ultimately inspired the name of the project.



Flamenco is such a powerful part of Spanish culture. How do you balance keeping its authenticity while adapting it for the club environment?


We’ve listened to flamenco since we were little; it was always playing at home, on the radio, or on TV shows — so we’ve always had a lot of respect for it. The idea of bringing it into the clubs came from feeling there was a space for it, and that we could find a sound where it could blend naturally and make people dance.



“Quëreles” reached number one on Spain’s vinyl chart — what did that milestone mean to you after releasing it on your own label, Sacro Music?


It was a huge moment for us. Reaching number one with our own label showed that people connect with authenticity. It was proof that independent projects can go far when they come from the heart.



You’ve performed everywhere from Europe to the Middle East. How do different audiences respond to your fusion of flamenco and electronic sounds?


Every audience reacts differently, but the energy is universal. Even if people don’t understand the language, they feel the emotion — the pulse of the rhythm. That connection goes beyond words.



Becoming the first female DJ duo to hold a residency at Hï Ibiza is a major milestone. What was that experience like for you personally and professionally?


It was an incredible experience — both empowering and humbling. Personally, it gave us confidence; professionally, it was a step forward for female representation in the scene. It made us believe that women can lead spaces like that and inspire others to do the same.



You often highlight femininity and cultural heritage in your visuals. How important is fashion and presentation to your artistic vision?


Fashion is a part of our storytelling. Through it, we express our identity — the mix of strength, femininity, and Spanish culture that defines us. Every look is connected to the music and the feeling we want to share.



Your live sets feel almost cinematic. How do you design a set that tells a story on the dance floor?


We design each set like a journey, with emotion, progression, and contrast. It’s about creating moments that move people, from introspective passages to powerful drops. We want every performance to tell a story.



Flamenco is rooted in emotion and storytelling. What emotion or message do you hope people take away after seeing you perform?


We want people to feel alive — to connect with passion, pride, and freedom. If our music makes someone feel something real, we’ve done our job.



You’ve built your own label, Sacro Music. What kind of artists or sounds do you hope to champion through it in the future?


Sacro is a space for creativity and collaboration. We support artists who share our vision — those who blend cultural roots with electronic sound in a genuine way. It has become a community that keeps growing with every release.



Touring can be demanding. What are your must-have rituals or routines before a big show?


Before every show, we take a quiet moment together. We breathe, focus, and remind ourselves to enjoy it, to give our best, and to stay present.



Performing in places like the Giza Pyramids and Dubai must be surreal. Is there a dream location still on your list?

Performing at the Pyramids was unforgettable. But we’d love to one day play at the Alhambra in Granada — it would be a perfect mix of history, art, and emotion.



How do you see electronic music evolving in Spain — do you feel a new movement forming around cultural fusion?


Definitely. There’s a new generation of artists reconnecting with their cultural roots and mixing them with electronic music. It feels like a renaissance, and we’re proud to be part of it.



Who usually wins when you disagree on a creative decision — or do you have a secret tiebreaker method?


We talk a lot, sometimes debate passionately, but we trust each other. Usually, the one who feels the strongest about an idea leads the way — intuition always wins.



Finally, if someone’s hearing MËSTIZA for the first time, what’s the one track you’d play to show them who you are?


“Campanera.” It’s a reimagining of a Spanish classic that represents everything we are: tradition, emotion, and power. It sounds like home but looks toward the future.

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