Rune Reilly Kölsch, known mononymously as Kölsch, has made a profound impact on the dance music world with his introspective and deeply personal music style. From performing at the peak of the Eiffel Tower to the floors of Ibiza’s Space, Kölsch has ticked off a massive number of successes in the industry. Growing up in Denmark, a country known for its broad musical influences, Kölsch absorbed a wide range of sounds from Drum & Bass to Indie. The long, dark Scandinavian winters played a massive role in developing his emotive sound, which he refers to as "Scandi noir." His albums, notably '1977', '1983', and '1989', are narratives of his life, encapsulating memories from childhood travels to early teenage years.



In the studio, Kölsch blends technical proficiency with tangible elements from his vast record collection, proving his hands-on approach to music production. His muses often come spontaneously—from snippets of overheard conversations to deep personal experiences—informing both his tracks and thematic album explorations. A collaboration with Coldplay transformed "A Sky Full of Stars" into a poignant expression of longing, emphasizing his skill in reinterpreting existing music to evoke new feelings. This connection shines in his live performances, where he adapts his sets to reflect the spirit of the venue and its surroundings, making each show a special experience for the audience. Our interview reveals the layers of his artistic persona and offers a glimpse into the mind of a musician who interprets the world through a distinctly melodic lens.




How has your experience growing up in Denmark influenced your musical style and production choices?

Growing up in Denmark influenced me in many ways. The scene here was and is tiny, so the musical influences were always very broad. I've been hugely inspired by everything from Drum & Bass to Indie over the years. The biggest takeaway from being in Denmark is the long dark winters. Most of my music is very emotional, and that stems from there. Scandi noir, if you will.



Can you describe your artistic flow when you start a new track or album?

That's two very different processes. An album starts with a feeling. An idea lingers and slowly comes to light, something I need to express and see come to light. My album 'I Talk to Water' was about the passing of my father, so all my albums stem from personal memories.



A track is more of a spontaneous process. It can be something I only make for DJ sets; it can be something that is inspired by a moment. It doesn’t always have to be so serious.

How do you approach collaborations with artists from different musical backgrounds, like Coldplay?

I always try to add another dimension to an original piece. With Coldplay, I wanted the song to take on a different meaning. The original is very hopeful and optimistic. I felt it could be a song about longing and feeling lost. I used the vocal in a slightly different way, and rewrote the music behind it. It's fascinating how context can change the meaning of music.



What was it like performing atop the Eiffel Tower, and how did that setting influence the performance? Do you have another bucket list location you’d like to play at?

The Eiffel Tower was something. My stepmom is French, so Paris has always held a very special place in my heart. I used to visit every summer, and a lot of my early life memories stem from there. The pure resilience of the city has always inspired me so much. I vividly remember performing quite closely after the terrorist attacks and just feeling this act of defiance. 



The Parisians refused to be scared and partied even harder. I'm guessing this must have been very similar in New York after 9/11. My set at the Eiffel Tower was an ode to the city. I released the track 'Left Eye Left' at the same time, a comment on the act of no revenge and resilience.



Your albums often have personal significance, especially noted in their titles like '1977' and '1983'. Could you share more about the significance of these years in your life?

As mentioned, all my albums stem from personal experience. My first trilogy is about growing up. '1977' revolves around early memories from my childhood. 



'1983' processes traveling with music during my early years. Finally, '1989' centers on my early teenage years, just before I got into making music. 



It was all an exploration of early influences. I've always been fascinated by the tendencies we have to incorporate the most minute influences in our taste. An example is an old organ I played with at my aunt's place. That sound holds so many memories and is a core value of who I am.



What gear or software do you find indispensable in your music production?

A boring answer would be the laptop, but sadly that is very true. I have a perfect replication of all the hardware I have in my studio on my laptop, so it is easily interchangeable when I return to my studio. Another element I have been exploring a lot lately is my record collection. 



I've been deep diving into sampling drums and small elements from obscure records that are long gone from streaming platforms. There is so much amazing music out there.

How do you prepare for a live set, and do you prefer festival stages or club environments?

I always focus a lot on creating a special experience for the city/venue of the performance. I'll create special edits or versions of tracks for that moment. A great memory was a NYC show some years back, where I felt the urge to play Stooges—I Wanna Be Your Dog. That song has always been pure New York to me. Thankfully, it was a shoe-in, and the crowd exploded.



What’s the most unexpected source of inspiration you’ve encountered in your career?

Second-hand conversations, I think. Plucking a combination of words from someone passing by you mid-sentence. May seem random, but often it can be poetic. Something really special. One of my favorites is still, “Give me back those words.” No clue what the context was, but an amazing saying nonetheless.



If you could remix any track from the 80s, which one would it be and why?

So many goodies. If I had to choose one, it would have to be 'Hypnotic Tango' by My Mine. It always struck me as being super underrated. Love that song.



Which one of your hats is your favorite to wear?

I only have one type of hat, as we started manufacturing them some years back. My favorite color would have to be the Yves Klein blue.

To wrap up, if you could only play one of your tracks to someone who's never heard your music, which one would you choose and why?

I would say listen to 'All That Matters.' It is such a beautiful and touching song. Troels Abrahamsen wrote the lyrics for his kids and told me many years later. The song has taken on a life of its own and feels more relevant than ever.

The Kölsch Dialogue:  A Comprehensive Q&A

If you’re into the underground house scene, there’s no way you haven’t come across DXNBY by now. Born and bred in Doncaster and now holding it down in Leeds, DXNBY has been on a roll, steadily building a name for himself. Drawing from UK garage, hip-hop, and bassline, he blends these influences into a sound that’s raw, fresh, and unmistakably his. If you haven’t already, it’s time to keep reading—or, better yet, hit play on his tracks.

DXNBY got hooked on house during the rise of Solid Grooves back in 2017/2018, with tracks from artists like Jamie Jones and Djoko lighting a fire under him. Since then, he’s been cooking up his own sauce, releasing tunes like “White Tiger,” which went off on TikTok and SoundCloud, and dropping killer EPs like ‘ENDZ058’ on Eastenderz. His DXFiles series gives him a space to let loose creatively, breaking free from any label restrictions and letting fans into his world.



Live, he’s no stranger to legendary venues. Warehouse Project? fabric? Cova Santa? Tick, tick, tick. He even hit the MiNT Fest main stage for a B2B set with Jamie Aramayo—a highlight for him so far. But he’s not stopping there—Space Miami is high on his hit list, and he’s itching to take his sound stateside.

With a new EP dropping this February and big plans for 2025, DXNBY’s got plenty in the pipeline. We caught up with him to chat about his story, his creative development (hint: late-night Ableton sessions are key), and the highs and lows of making music on his own terms. This isn’t just another artist profile—this is DXNBY, straight up.




You grew up in Doncaster but are now based in Leeds—how have those places influenced your music?

When I was younger, my local scene was garage and bassline orientated. I think you can hear this in some of my tracks.

You started off with hip-hop and rap influences. Do you ever sneak those vibes into your house tracks?

Of course, always experimenting with different rap samples. I’d say 80% of the music I listen to day-to-day is hip-hop.



What pulled you into the underground house scene? Was there a specific moment or track that hooked you?

House had always been something I’d heard over the years but never really acknowledged when I was young as I was so obsessed with hip-hop (I wish I knew what hip-house was back then!).



But it was Jamie Jones, Green Velvet, MK, etc. I’d say the specific thing that hooked me was the rise of Solid Grooves around 2017/2018. I wanted to do something like that… Also, Djoko (Kolter) tracks started popping up on YouTube recommendations, and Rossi. started to develop this really nice, minimal cheeky house that pricked my ear after being a big UKG/bassline fan for a while from 2015-2017.

What’s your go-to move when you’re stuck on a track and need a creative spark?

I dig for records, and when I hear something I think, “I wish I made that,” it gives me the motivation to start something that made me feel how the track I just listened to did.



Where do you get your best ideas for music? Is it in the studio, on the road, or somewhere random?

Usually, 3 a.m. in bed just messing around on my MacBook. I find the knowledge that everything and everyone is asleep and quiet enables me to focus. No distractions—just lost in the music.



Chris Stussy, East End Dubs, Kolter—your influences are solid. What’s the biggest lesson you’ve taken from their music?

The basics are important. Kick, clap, hat, snare, bass. If you perfect those, the rest will follow.

If you could collab with anyone in the world right now, who’s at the top of your list?

Burnski, Garrett David, Locklead. Luke & Max Dean would take some beating… who knows if that will ever happen ;)



How did it feel getting support from heavyweights like Michael Bibi and Sidney Charles? Did it open any big doors for you?

When Bibi played my "Onlooker" EP at Creamfields, it was a personal goal for me… From there, the support just kept getting stronger and stronger.



DXFiles feels personal. What makes a track or project worthy of being part of that series?

For me, DXFiles is an outlet where I can express myself beyond the boundaries of any label, so anything can fit.



“White Tiger” blew up on TikTok and SoundCloud, and your EP ‘ENDZ058’ on Eastenderz popped off—what’s it like to see your tracks take off like that?

It’s a great feeling. However, I am always hungry to reach the next milestone and push the next boundary.



Can you share some background about your upcoming release on neXup?

This is still in the works. We actually had an A-side locked in but had issues with sample clearance! Next EP out 14th Feb with some heavy house bangers.



You’ve played some iconic venues like Warehouse Project and fabric. Which one’s been the most unforgettable and surreal for you, and why?

The Warehouse Project was a big bucket list tick. I think a big one for me was the B2B with Jamie Aramayo on the MiNT Fest main stage last year—that one meant a lot. My favourite might be The Loft in Manchester. That’s a special place.



What’s one venue or festival you’re dying to play but haven’t had the chance yet?

Space Miami! Get me to the United States!

What’s a challenge in the music world that you’re determined to crack?

Being put in a box and controlled by labels and trends. Everyone’s susceptible to trying to be on trend—even myself. I try to fight this by making music for myself as much as possible.

If you could soundtrack a movie or a video game, what kind of project would it be, and what would it sound like?

I’ve always liked the idea of having a track on FIFA. However, to have a track on GTA would be a dream. I’d love to one day soundtrack a game or film, if and when it’s right.



If you had to make a track in the most random location ever, where would it be, and what vibe would it have?

Coffee shops in Phuket are cool places to cook up ideas for sure—the best smoke, comfortable seats, cats and dogs chilling with you, friendly people. But the most random place I’ve ever made a track was probably on the floor of my friend’s garage, sitting in an upturned inflatable swimming pool as a makeshift bench at 9:40 a.m., still up from a gig the night before. ;)

An Interview with DXNBY: From Doncaster Roots to Leeds Beats

TOBEHONEST, it’s hard not to vibe with a DJ who knows how to bridge the best of both worlds. Hailing from Los Angeles, this DJ and producer fuses Latin grooves with European house influences, creating tracks that fire up fans across the globe. With releases like “Daka,” “Maquina de Bailar,” and “I Am The One,” TOBEHONEST has secured spots on Beatport’s Top 100 and earned support from heavyweights like Chris Lake, Gordo, and John Summit.

But there’s more to him than just his music. TOBEHONEST’s story is one of authenticity, from helping his uncle build cars as a kid to finding his passion for DJing while balancing a 9-to-5 job in LA. His love for old-school hip-hop and Latin classics brings a distinctive flair to his sound, one that feels nostalgic yet fresh. Beyond the studio, he’s a sports enthusiast who finds peace on the volleyball court or playing tennis and basketball—especially when the beach is involved.



With a growing tour history that includes performances at iconic venues like Brooklyn Mirage, Concourse Project, and Sound Nightclub, as well as sets at EDC Las Vegas and Splash House, TOBEHONEST is building a reputation for bringing energy and precision to every performance. His sets often include hidden gems, like his track “Conga,” a secret weapon for those in the know.

In this exclusive interview, TOBEHONEST opens up about the highs and lows of his career, his approach to creating music, and the moments that have shaped him into the artist he is today. Whether it’s his favorite pre-show snack, the memory of his first Latin American gig, or his honest take on rejection and growth, TOBEHONEST keeps it real.



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

I helped my uncle work on and build cars when I was younger.

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

I would probably be stuck in an office job in LA. When I first moved here, I wanted a stable income, and that was my job until I got too consumed with music and was fired haha.



What’s the most memorable moment of your career?

Probably this past weekend. I played in Brazil, and it was the most humbling/amazing experience I’ve ever done in a long time.

Who’s an artist that inspires you right now?

There are a couple—AYYBO, Chris Lake always, and this Brazilian named Ragie Ban.

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

"Horny" for sure. Or Adam Ten and Mita Gami’s Rufus Du Sol remix.



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

This is going to sound bad, but definitely a shot or two of tequila. It calms the nerves. I love Asian cuisine. Korean BBQ to sushi, it doesn’t matter to me. All of it is so good.

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

Favorite city is New York or Rio. I love the energy in both of these places so much. Unmatched in my own opinion.



How would you describe your sound in three words?

Groovy, nostalgic, and impactful.

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

Playing tennis, basketball, or volleyball. I’m a big sports guy, and anytime I can get out of the house to do something active, it always makes my body and mind feel brand new. Unmatched vibes. 

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

"Full Clip" by Gang Starr. I pull a lot from old-school hip-hop, and I love the simplicity of it. Or "Evil Ways" by Willie Bobo. My best friend’s family used to play Latin music from the ’90s on repeat. Willie was one of them.



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

Man, this one is tough. Probably anybody part of the Wu-Tang Clan. The cadence and their come-up is something I feel is unmatched.



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

The ’90s. Music was peaking back then in my own opinion. A lot of what you hear today are samples of music during that time!



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

"Conga." It’s a little secret weapon of mine I released back in 2023, and not many people know it. The true heads continue to dig it up. Adam Ten, James Hype, and more. The song for sure has legs.



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

On the beach in the Caribbean. Can never get enough of that part of the world.

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

I can build you a desktop with all the right tools. I used to be a huge computer nerd and would create desktop computers for my friends and myself from age 12–16.

What is simple that makes you smile?

Fluffy dogs or cats. Can’t go wrong with them if they cuddle you too.



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

My first show in a Latin American country, the Dominican Republic. Gordo invited me out. It was such a culture shock and a phenomenal experience. I want to go back and play as soon as possible.

When do you feel at most peace?

In my bed watching cartoons.



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

How far I’ve come in just three years of producing and DJing. I still have a lot to give as well :)

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

My necklace my grandmother gave to me when she passed. I’ve never taken it off.

What personal prison have you built out of fear?

Rejection. It’s easy to point out your failures instead of your successes. Don’t focus on the rejection and do not get discouraged. Everyone gets told no. What matters is what you do about it.



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

I’ll eat the plain Cheerios with nothing else on them…. Might be my serial killer trait hahahah.



If you could compliment yourself, what would you say?

I’m proud of what you’ve accomplished so far. When you feel invisible, remember how far you’ve come and how much more you have to prove and give.



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

Yes, multiple times I’ve made a beat, forgot to save it in the process, and Ableton crashes. Such a depressing thing to happen.

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

No sidechain on the bass. The mixes are also terrible hahah. Can’t even feel the bass when the drop kicks in on one of my earliest productions.



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

If I truly like the song and where it would fit in my sets and others. I take a lot of chances when I make music. Sometimes it works out and other times it doesn’t at all. So I’m always nervous to see how my material is perceived.

What is your favorite set time and duration?

2 hours right at 11 in North America. 2am outside of North America. Most people head home early in the US and are too drunk or tired by around 1. Besides LA, New York, and Miami.



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

Man…. It might have to be dubstep. I can’t do it, man. I respect them and the genre, but I can’t stand through a set longer than 30 mins.

Quick Takes With TOBEHONEST: Rapid Fire Highlights

Delia Derbyshire was a sound pioneer who transformed how we think about music and its possibilities. Born in Coventry in 1937, she grew up surrounded by the industrial hum of a working-class city, sounds that would later influence her work. Evacuated to Preston during World War II, she absorbed the rhythms of clogs on cobblestone streets and the eerie wail of air raid sirens—elements that resurfaced in her later compositions.



Delia’s journey into music wasn’t straightforward. At school, she excelled in music and mathematics, a combination essential for her future in electronic sound design. After studying at Cambridge, she visited the Brussels World's Fair in 1958, where Edgard Varèse’s Poème Électronique left a lasting impression. This fusion of sound, architecture, and art sparked her interest in electronic music, a field not yet taught academically.



After being rejected by Decca Records because women weren’t allowed in their studios, Delia joined the BBC in 1960 and later transferred to the Radiophonic Workshop in 1962. There, she created her most iconic work—the Doctor Who theme. Using electronic sound generators, tape machines, and her skill in manipulating sound, Delia transformed Ron Grainer’s score into a groundbreaking piece of music. Her eerie, futuristic arrangement remains a cornerstone of British electronic music history.



In the video transcript, Delia explains her process of shaping electronic sounds into something unique. She discusses three fundamental sound waves: the sine wave, a pure, smooth tone; the square wave, harsher and harmonically rich; and white noise, a chaotic blend of frequencies resembling static. 



If you watch the YouTube video, take a moment to notice her voice—while the information she shares is fascinating, her soft and soothing tone stands out, making it easy to imagine how beautifully it could be sampled and woven into a modern producer's track.



While these raw sounds are intriguing, Delia emphasized that they need to be shaped, layered, and molded to become musical. She often recorded real-world sounds, like a hollow wooden knock, and manipulated them to create rhythmic elements, proving that inspiration could come from both electronic and everyday sources.

Her hands-on, experimental approach involved adjusting tape speeds, layering tones, and crafting rhythms. This flow highlights her technical skill and drive to invent entirely new auditory experiences, redefining how sounds were created and used in music.

Delia’s talents extended beyond Doctor Who. Her collaborations with Barry Bermange on The Inventions for Radio blended public voices with haunting soundscapes, challenging perceptions of music and class while exploring philosophical themes.



Though Delia left the Workshop in 1973, her influence never faded and remains profound. Today, artists and composers continue to celebrate her for showing us that music can come from anywhere—an oscilloscope, a lampshade, or even the echo of childhood memories.

Delia Derbyshire: Engineering the Art of Sound

How nightclubs in Georgia’s capital became a symbol of resistance




A Brief History of Techno in Georgia



Electronic music became a fixture of Georgia’s cultural psyche not long after the fall of the Soviet Union in 1991. The fall of the Iron Curtain gave Georgian artists access to recordings from Europe, new equipment, and technical knowledge from around the world. And with over a quarter of the country’s population living in Tbilisi, that’s where the techno scene emerged.




Dima Dadiani and Nika Machaidze spearheaded Tbilisi’s techno revolution. They used sequencers, drum machines, and basic recorders to create Georgia’s first techno tracks and organized Tbilisi’s first event, 'A Sweet Evening of Electronic Music,’ in the late '90s.




In the early 2000s, they launched the electronic artist collective Goslab. Members released on German techno labels which created a bridge between Tbilisi and Berlin, Europe’s capital of techno.




Techno as Resistance




Georgia’s electronic music artists have always been on the fringes of society. They connect with the liberal values of Europe, rather than the restrictive norms of their Soviet past. This means the club community has always been resistant to any return to the Soviet Union era.




Bassiani is widely cited as Georgia’s first techno club. Founded by Zviad Gelbakhiani, Tato Getia, and Naja Orashvili and named after the 13th-century independence war of the Georgian kingdom in Basian, they opened their doors in 2014 to expand the cultural landscape of Tbilisi and connect Georgian artists with the rest of the world. Since then, Bassiani has become a beacon of club culture in Central Europe. Over the years, it’s become the epicenter of like-minded progressives who meet, dance, release, and exchange ideas. Because of this, the community naturally joined the front lines of political protests, especially surrounding issues of Russian influence in Georgia’s government.




Café Gallery opened in 2008 as the city’s first queer event space. They host local and international techno artists and provide a space for marginalized communities to come together, free of society’s pressures. It’s part venue and part art space, which means the walls are often covered with political art which protests the country’s increasing authoritarianism and promotes liberal values.




The Left Bank is another Tbilisi nightclub known for its progressive values and strong sense of community. They opened their doors in 2020, with the aim of creating a post-industrial club and community space in the heart of Tbilisi.




From Raves to Raids




Tbilisi’s underground clubs are safe havens for marginalized communities, including LGBTQIA+. This makes them a target for Georgia’s conservative authorities, and in 2018 Bassiani and Café Gallery were raided by armed police under the guise of an anti-narcotics operation. Bassiani is connected with the White Noise activist movement, which campaigns for the liberalization of Georgia’s drug legislation. Eight alleged dealers were arrested after the deaths of at least five young people believed to have taken drugs while clubbing.




The raid led to mass protests across Tbilisi and violent altercations with armed forces and right-wing extremists. Since then, Russian influence has continued to rise, so Tbilisi’s nightclub community repeatedly clashes with authorities. In 2019, protests erupted when the government allowed a Russian representative to take over the seat of the head of parliament.




The most recent clashes started in October 2024, after the right-wing party Georgian Dream won the parliamentary election. They soon announced the delay of Georgia’s EU accession process, and the election has since faced allegations of fraud.




Tbilisi’s nightclub community quickly mobilized in protest, and they closed their doors for 40 days to urge the community to take to the streets instead of the dance floors. The clubs re-opened for New Year's Eve, however celebrations were muted.




”Upcoming NYE is bound to be anything but an ordinary celebration,” wrote the Left Bank on social media. “Amid ongoing challenges, we all gather at the Parliament building to welcome the New Year, with our doors opening later than usual.”




With authoritarianism on the rise in Central Europe and beyond, there’s no doubt that Tbilisi’s nightclubs, promoters, artists, and dancers will continue to fight for a new social order. One that’s rooted in freedom, equality, and solidarity, and soundtracked by techno.

City Beats: Techno in Tbilisi

Space 92 is a name that needs no introduction for anyone who’s spent time on a packed dancefloor or scanned Beatport’s Techno charts in recent years. Since 2020, he’s held the title of best-selling Techno Peak Time artist, earning his reputation with an unmistakable sound that blends melodic depth, acid textures, and gritty percussion. Born and raised in the South of France, Space 92’s productions carry a nostalgic nod to his love for vintage 80s Sci-Fi, giving his tracks a futuristic yet familiar edge.

With releases on heavyweight labels like Drumcode, Filth on Acid, and Factory 93, Space 92’s discography reads like a who's-who of techno's most respected imprints. His collaborations are equally impressive, including work with giants like Reinier Zonneveld, Carl Cox, and Hi-Lo. On top of that, his remixes for Nicole Moudaber and Layton Giordani have held top spots on the Beatport charts, earning his place as one of the genre’s most consistent producers.



Whether headlining Resistance Ultra Tokyo, playing legendary clubs like WOMB, or igniting festival stages at CRSSD and Ultra Miami, Space 92 delivers a level of precision and energy that keeps him in demand across the globe. And if his solo sets weren’t enough, his collaborative live/hybrid project Turbulence with French artist POPOF has been raising the bar for techno performances. Featuring exclusive tracks and tailor-made edits, Turbulence has already torn through Resistance stages in Tokyo, Seoul, and Miami.

From chart-topping tracks to marathon sets and a ceaseless pursuit for the studio, Space 92 is in a league of his own. Dive into our full interview to hear more about his process, his quirks, and the journey that’s taken him from Toulouse to the biggest stages in the world.




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

Many people don’t know that I’m French, including French people! Also, I really like cheesy 80s’pop music. :)

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

I’d probably still be a computer geek!



What’s the most memorable moment of your career?

There are too many of them to just pick one. I’d say, not in any particular order: my first Beatport Number 1, my first post-Covid show, my first award as a producer, my first mega festival, my first tour outside Europe, and the launch of my own label (spoiler alert!).



Who’s an artist that inspires you right now?

Mathame, Anyma for the melodies. Then I would also say upcoming talents such as Linska, Dok & Martin, Pablo Say, and Karla Blum.

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

My latest sounds are super pumped-up and dancefloor-oriented, and I’ve been very successfully testing them these past months. So, I’d say any T1 2025 Space 92 track!



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

Definitely a gin tonic. Not too many of them though, because I try to be reasonable. I usually have a couple throughout my entire set – except when I’m in Poland because my fans over there keep sending me shots when I’m playing, and, you know, I’m polite. I drink them. Haha.

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

I would probably pick Buenos Aires because the crowd is so incredibly warm, knowledgeable, and energetic. I honestly feel so much at home every time I go back. BA is a gorgeous city and culturally so rich. I also love New York, Tokyo, Beirut, and Shanghai for the same reasons.



How would you describe your sound in three words?

Ass-kicking, melodic, trancey.



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

FOOD (and hiking).

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

Cirez D - On Off.



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

Stephan Bodzin.

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

Movies (and hiking).

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

The late 90s'/early 90s' when all the trance classics were released one after the other. The majestic Tiesto / Paul van Dyk / Armin van Buuren / Hardwell /etc. era. I was too young to fully comprehend what was happening musically at the time.



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

My collaboration track with Hi-Lo, ‘Mercury.’ I cherish it so much.



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

There is a 90% probability you’d find me on my couch in my underwear watching a movie and trying to recuperate from touring!

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

I ate chicken feet and duck tongues in China, and my tour manager convinced me to eat giant smoked ants in Colombia; all of which I did not particularly enjoy. Haha.



What is simple that makes you smile?

A silly joke, my manager’s outfits, cheesy pop music.

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

None of them; the bad and the good.



When do you feel at most peace?

When I’m with my family.

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

That I’m fucking lucky to be able to do what I love the most and make a decent living off of it.



What personal prison have you built out of fear?

My anxiety. I struggled to keep it in check for many years, but I’m doing better now, and I’m seeing a professional. Mental health is a very serious matter.

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

Most people around me cannot comprehend why I would fly 13 hours to a country on the other side of the globe, land, perform, and leave on the same day. My reply would be: because of obligations.



If you could compliment yourself, what would you say?

Your nose is perfect!

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

None, because I’m such a pro.

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

Thankfully, no, but someone tried to steal my USB once after my show. My manager chased and caught the culprit, so it’s all good.

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

I used to make minimal techno, suffice to say.

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

I’m both a perfectionist and a control freak, so I obsess about everything. It can take me months to find the right sound.



What is your favorite set time and duration?

Probably the 1 AM to 3 AM slot. Two or three hours is good. That being said, I did six hours once in Barcelona, and I had a blast.



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

None of them. Diversity is good. Someone from my management made me listen to an atmospheric Doom track once (Hello, person from management here: Hagazussa soundtrack by MMMD. Cheers.), and I hated it, but I wouldn’t erase it though.

An Interview with Space 92: Techno’s French Kingpin

In the music industry, there are few names as universally recognized as Luca Dea. For over 15 years, Luca has documented the heart and soul of the scene, creating a vast archive of iconic moments that allow fans to relive performances from their favorite artists. From the smallest Sunday parties in his hometown of Treviso, Italy, to monumental events like Miami Music Week and Ibiza closings, Luca has transformed his passion for capturing moments into a career that resonates with people worldwide. While his work serves as documentation, it also acts as a bridge for those who can’t physically be there.

Tracing the Start

Luca’s journey began in 2008 when he launched his YouTube channel. “I started recording because I wanted to keep memories for myself,” he shares. “After uploading to YouTube, I realized that a lot of people couldn’t attend these events, just like me in the beginning. Sharing those moments became something much bigger than I anticipated.”



His path into dance music wasn’t immediate. As a teenager, Luca was more interested in rap and hip-hop. It wasn’t until friends invited him to Sunday afternoon parties in Italy that he began exploring the house and techno scene. “I started going every weekend, and eventually, I wanted to see more than the same events. That’s when I decided to travel and capture new experiences,” he explains.



By 2011, Luca was tired of the routine and took a leap. “I didn’t want to be a public relations guy anymore. I wanted to travel on my own and discover new places,” he says. That same year, he attended Miami Music Week for the first time, which he describes as a pivotal moment. “For European people like me, going to Miami is an important experience. It opens your mind to a different culture and a different way of doing parties. That trip made me realize how far I could take this.”



From Simple Clips to a Global Archive

Early on, Luca relied on a €150 camera to record sets. His focus wasn’t on technical quality but on capturing the energy of the moment. “It wasn’t about creating professional videos—it was about showing the best moments in the best way I could,” he says.



Over time, he upgraded his equipment, eventually transitioning to using an iPhone 14 Pro in 2022. “I realized the iPhone was good enough for what I do. My videos aren’t meant for massive screens or professional sound systems—they’re for people to watch on their phones or computers.”



This practicality defines Luca’s approach. “What I capture is different. It’s not about polished, post-event edits—it’s about sharing the feeling of the night with people who couldn’t be there.” One of Luca’s most iconic videos is of Sven Väth’s set at COCORICO in Italy. The 2012 clip captured not just the music but a piece of dance music history. “It’s still one of my most viewed videos,” Luca says. 



Yet, when reflecting on standout moments, he points to Michael Bibi’s return to Ibiza after his battle with cancer. “I was recording with two phones—one live-streaming on Instagram and the other capturing the set. It wasn’t just about the music; it was about the emotion of that moment. It was unforgettable.”



The Famous Logo

In 2016, Luca introduced his now-famous logo, a camera lens that appears on all his videos. The one we can all immediately recognize because it's incredibly iconic. “I avoided creating a logo for years because I didn’t want to make it about me,” he says. 



But as his content began appearing on social platforms like Facebook and Instagram, he noticed it being reposted without credit. “That’s when I realized I needed to protect my work. The logo isn’t about self-promotion—it’s about making sure my content stays connected to me.”



Despite this, Luca’s focus has always been on the music and the people. “I’ve always preferred to keep my videos clean. The logo is there for protection, not to take attention away from the DJs or the events.”

Turning a Dream Into Reality

Luca’s work has garnered admiration from fans and artists alike, with Michael Bibi tweeting in 2022 that Luca deserves a documentary. “It was during the Ibiza closings, and I was recording a lot of events. Seeing something like that from Michael was a true pleasure because I feel like just a normal guy with a dream to always grow” he says.





If a documentary were ever made, Luca says it would focus on his journey from humble beginnings to global recognition. “I started with nothing—no money, no connections. I just went to the closest parties in my hometown and built from there. I hope my story shows that if you have passion, you can achieve great things.”



Luca also reflects on the sacrifices he made along the way. “When I was younger, I didn’t spend money on unnecessary things. I saved everything for what mattered to me—going to events and recording. It’s all about focusing on what you love.”



Eyes on the Horizon

While Luca is proud of how far he’s come, he feels like his journey is still unfolding. “I’m not at the highest point of what I want to do. I still have so many projects I want to pursue,” he says. Whether it’s expanding his content or exploring new creative ventures, Luca’s focus remains on capturing and sharing the moments that connect people to the music they love.



Luca Dea’s work has become an integral part of the dance music community, not just for its historical significance but for its ability to unite fans worldwide. As he continues to record and share the best moments in house and techno, his story serves as a reminder of the power of passion and perseverance.



A Note from the Journalist

On a personal note, conducting this interview was a true honor. It was refreshing to speak with someone of Luca’s level and status who remains so kind, sweet, and humble. In an industry where conversations can sometimes feel intimidating, talking to Luca felt like chatting with an old friend. He’s one of the coolest and nicest individuals I’ve had the pleasure of interviewing, and I’m genuinely excited to see where the future takes him.

Luca Dea: The Lens That Connects

Lisbon-born, London-raised Nãnci Correia occupies a unique position in the world of jungle and Drum & Bass: she’s one of the genre’s very few vocalists. Today, we’ll find out more about her formative years attending raves in London, the joys and challenges of being a jungle vocalist, and how 7 years of touring non-stop with Congo Natty has changed her perspective on music, songwriting and life.




Raving in South London



Nãnci’s love for singing formed when she was just five years old, when she was drawn to the sound of jazz, soul and blues. But growing up in south London exposed her to an eclectic mix of genres ranging from dubstep to reggae to UKG. As a teen, Nãnci spent every spare minute at raves, soaking up the energy of dubstep, jungle and Drum & Bass at underground and free parties.



“Obviously Rinse FM now is mainstream, but back then it was still pirate,” Nãnci says, speaking from her home in Kent. “They used to have a website called Dubstep Forum that had this spreadsheet of all the underground events in London.”




It was 2005, and Nãnci and her mates would look out for jungle, dubstep and D&B events. “We’d fill our calendars with raves from Monday to Sunday and go to every single one,” Nãnci says.




“Growing up, I always loved music but there’s something about the sound of really good bass,” Nãnci says. “Like whether it’s energetic jungle, D&B or jump up, or even slow old school dub-inspired dubstep. That’s what came with sound system culture, we were around insanely good sonics.”




She soon realized she wanted to pursue a career in music, so she went to music school in East London while working in events for brands like Outlook Festival, Vagabondz and Pack London. The office was upstairs in Brixton Jam, where jungle producer Congo Natty had his studio.




Life as a Junglist Vocalist




For those who don't know, Congo Natty is one of jungle's most well-respected producers, toasters and MCs. Nãnci had seen him perform in a side room at a warehouse dubstep rave, but she wasn't aware that he’d been listening to her MySpace page too. So when they ran into one another outside his offices, he suggested they collaborate on some tracks along with Nãnci’s singing partner Phoebe.




“At the time, we were obsessed with this track “Notorious” by Turbulence,” Nãnci says. “And Phoebe started singing it on the guitar and I started doing harmonies, and we recorded it and made Congo Natty’s whole album literally in a week.”



“Notorious” became an instant anthem on the jungle scene, and the next thing they knew, Nãnci and Phoebe were on tour with Congo Natty.




“I didn’t take a breath for seven years,” Nãnci says. “We just traveled around the world, we toured around Africa, China, we went to Nepal and India, and travelled all around Europe.”




Nãnci says it was an invigorating time in life, but it took everything in her power to ensure her vocal chords could stand up to the almighty sound systems. “I’m not a host or an MC, I'm a singer,” Nãnci says. “You essentially need to be an athlete, and I was in an environment for seven years on stage with five men shouting at the tops of their voices and competing with the world’s biggest sound systems.”




Amongst it all, Nãnci released with the likes of Tenor Fly and Daddy Freddy, and got airtime from Radio 1 veterans Annie Mac, David Rodigan and Mista-Jam. “It was a really amazing, beautiful time, but now it’s nice to be back at my roots,” she says.




Nãnci’s Roots




Nãnci studied jazz and blues at college, and that’s what she’s returned to in the last few years. Jungle and D&B will always be close to her heart, and she’s still very much involved in the scene, but combining her love of bass music with music from her birth country is her current mission.




“I'm Portuguese, so my soul gravitates towards flamenco, fado, all that folk, traditional stuff,” Nãnci says. “I love the rawness of a folk acoustic guitar and the insane energy of bass, so that’s what I’m exploring now.”




Being a jazz singer in the global jungle scene was unusual to say the least. “What was smart about adding a vocalist is that it packaged jungle up into a more consumable form for everyone,” Nãnci says. “I think that was smart.”




Clearly, Nãnci’s vocals are versatile enough to fit with any genre. In 2023 she released her trap single “Dolls House” which was remixed by Wiley, and before that she released “Bathe in your Waters,” with her rich vocals soaring over a 2-step, Latin beat.




Today, Nãnci’s working on nothing but passion projects. “I'm working on an album, and I’m also just enjoying life,” Nãnci says. “Everything was decided for me for a long time, and I’m enjoying the process of creating and sharing and not putting too much pressure on things."

D&B in Focus: Nãnci Correia

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



elrow at [UNVRS]: The Next Frontier

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



What Makes [UNVRS] Unique?

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



The Themes: A Deep Dive

Each elrow theme has been supercharged for [UNVRS]:

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



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



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



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



The Global Announcement



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



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

A Historic Moment for Nightlife



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



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

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

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

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



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



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



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



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


From the Tracklist Legend in the Youtube comment section:

1: &ME - Cape Coast

2: Francis Mercier, Magic System - Premier Gaou

3: Hyenah, Mr. V - 3rd Eye

4: Rami Ali - 50 Pence Genc

5: Melé - Groove La Afrika

6: Lubelski - Soothing Rhythms

7: Hammer & KILIMANJARO - Muleña

8: Hammer & KILIMANJARO - Step It Up

9: KILIMANJARO & Third Son - Mukiti

10: Les Petits Pilous - Russian Forest

11: Tessela - Hackney Parrot

12: Kelis - Millionaire (feat. André 3000)

13: TNGHT - Higher Ground

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

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




Chickaboo's Contribution to Jungle and DnB




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




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




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




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




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




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




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




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




Chickaboo's Early Career




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




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




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




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




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




Chickaboo and Soul II Soul




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




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




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




Returning to Jungle




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




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




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




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




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




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

Drum & Bass in Focus: MC Chickaboo

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

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



A Club Like No Other

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



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



Berlin’s Identity at Risk

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

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

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



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

The Bigger Picture

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



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

Going Out in Style

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



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

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

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

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




From Video Games to Drum & Bass




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




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




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

The Creation of Enta

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




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




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




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




Enta's Evolution





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




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




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




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




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

Drum & Bass in Focus: Enta

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




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




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




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

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

What’s the most memorable moment of your career?

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



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

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

How would you describe your sound in three words?

Vibrant, hopeful, uplifting.



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

My family.

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

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



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

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

What is simple that makes you smile?

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



When do you feel at most peace?

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



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

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

What personal prison have you built out of fear?

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



If you could compliment yourself, what would you say?

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



What is your favorite set time and duration?

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

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

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

Living the Moment: A Conversation with Bora Uzer

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

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




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

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

Event Details on RA



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



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


Event Details on RA




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



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



Event Details on Gray Area




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



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



Event Details on RA




Circoloco Miami @ Factory Town 12/07

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



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

Event Details on RA




elrow Closing Party @ Factory Town 12/08



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



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

Event Details on Gray Area

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

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

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

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


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

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



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

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



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

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



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

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

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

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




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

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



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

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

Person B: Dude, like four.

Person A: That had me geeked all night!



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

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



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

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



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

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

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



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

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



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

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

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

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



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

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



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

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



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

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



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

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

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



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

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

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



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

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



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

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



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

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



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

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

IYKYK: 20 Essential Slang Terms from the Music Scene

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






The Early Years




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




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




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




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













The Birth of Elements

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




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




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




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




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




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






Elements Today

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




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




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




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

D&B in Focus: Lenore

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

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



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

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



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


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



What’s the most memorable moment of your career?


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



Who’s an artist that inspires you right now?


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

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


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



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

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



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


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

How would you describe your sound in three words?


Melodic, emotional, moving.



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


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

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


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



What is simple that makes you smile?


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



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


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

The Many Layers of Marten Lou

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



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

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

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

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






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

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



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



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

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



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

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



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

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



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

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



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

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





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



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

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



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

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



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

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



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

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



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

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



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

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

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

The Evolution and Future of UK Sampling Practice

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



Why UK Sampling Stood Out

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



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



The Role of Scarcity

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



The Present: Challenges and Opportunities

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



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



What’s Next?

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