We’ve added a fresh batch of new bootleg remixes on our Bandcamp page!
You can explore them here:

Apart from this we also have a lot of new free download compilations on our labelpages!

We’ve added a fresh batch of bootleg remixes our Bandcamp page!

Expect reworks of some well-known names such as Deftones, ATB, Disclosure, Gorillaz, Purple Disco Machine, TOOL, London Grammar, Chicane and more. A wide mix of styles, all with their own interpretation and character.

If you’re into discovering new takes on familiar tracks, there’s plenty to explore.

Alongside that, we’d also like to highlight a selection of recent compilations across our labels. All are available as free download or pay as you want.

Explore the latest releases here:

Feel free to explore and support if you enjoy the music.

Today Bandcamp waives its revenue share, which means all income goes directly to the labels and artists.

To mark the occasion we prepared a series of compilations on our different labels, featuring hidden gems from our back catalog. All of these releases are available as free download or pay what you want, so you can explore the music freely or support the artists if you wish.

• Sound Avenue

• 3rd Avenue

• Future Avenue
  

• Forward Music

• South America Avenue

• The Audio Atelier

• Crossfade Sounds

Feel free to explore the catalog and discover music from across the labels.

Thank you for supporting independent artists and labels.

hey Zabi, How are you today, and what has been occupying your mind and studio time lately?
Hi guys. Today I’m feeling great in almost all aspects. I have a good job and I’m living my dream of traveling, making music, and learning on the road. At the moment, I’m staying in Playa del Carmen, Mexico. Next year it might be Berlin or maybe another city, but the plan is still to keep traveling.
This month I rested a little from music, but I’m still doing related things, like composing music for a short film in collaboration with a good friend who is a director. And obviously doing necessary nonsense projects for inspiration, haha.

Growing up in Mar del Plata, how has the city and its rhythm shaped the way you listen to music and approach production?
Mar del Plata is one of the most beautiful cities in the world. I have zero proof and zero doubts. In January we have a party every day with international and national DJs of great level. However, during the rest of the year the city feels like a big town. It’s cold and doesn’t have much movement, so if you live there you have to be open to imagination. The large and beautiful coast makes that easier.

Can you briefly share when you started making music, your first tools or software, and what initially drew you toward electronic music?
When I was 10 I started playing drums and being part of a percussion group. I also learned to play guitar in a self taught way. I was part of a rock band and composed a lot of songs, but we didn’t make much impact. Along the journey I discovered FL Studio and started making beats for fun, and the rest is history.
Electronic music came to save me from leaving music behind. That’s what electronic music means to me.

Before working on your remix of On Melancholy Hill, what relationship did you already have with Gorillaz and that particular track?
I really like the song and the whole work of Gorillaz is just brilliant. I’m not a huge fan, but after listening to so much music I often find myself coming back to them.

When reworking such a well known song, how do you decide what to preserve emotionally and where to allow your own voice to take over?
In my opinion, when you remix a well known song you limit your creative potential, so we focused on finding the most emotional moments of the track. I had the chorus looping in my head, so we built it using the same melodies and harmonies as the original. I added some extra melodies at the end, all recreated with our own library sounds and progressive house drums. That’s when we realized we could give it its own identity.
We knew the vocals had to be in the drop, so we added them to the project and it worked on the first try, which blew our minds. We decided to finish it that day and went to sleep at 6 a.m.

How did the collaboration with Mycelium come together, and what did you each bring into the process that might not have emerged alone?
To be honest, making a remix of this song was Mycelium’s idea. I already knew the song and liked it, but I mainly wanted to produce music, learn, and share. I usually talk with my DJ friends and suggest doing tracks just for fun and experience. I did that with other friends too, but with Luke it was different. He came to my place one day and said he wanted to do this remix, and we did almost all of it in one night. He wanted a pure progressive remix and I added some house elements, because I can’t go against who I am.

How do personal experiences, emotions, or inner journeys find their way into your creative process?
I would say life goes on whether you make music or not. The simple act of creating a connection with music, whether in the studio, playing guitar, listening at home, at work, at parties, or analyzing it, makes inspiration find you working.

Did the melancholic tone of the original song resonate with something personal for you at this moment in your life?
Not really. In other moments of my life, maybe it would have.

Looking back, were there mentors, key moments, or turning points that helped shape your sound in the early stages?
I took several music production courses, the last one with Agustin Giri, who is a great producer. He helped me create a standard production process that brings a lot of fun and inspiration.

As a producer with one official release so far on the Future Avenue Fall Sampler, how did that release change your confidence or sense of direction?
That opportunity made me realize for the first time that what I do can be heard somewhere other than just my home. That it’s possible. For that reason, I know I have to keep working on it, because making music gives life to my days.

Do you feel a stronger connection to the studio or to live performance, and how do these two worlds influence each other for you?
I haven’t done any live sets yet, but it’s something I’d like to do in the future. To be honest, I’m not a very experienced DJ. I’ve always preferred the studio. However, I have to admit that even if I don’t prefer it, DJing is necessary because your songs need to be tested in a mix, and no one is better than yourself to do that.

How would you describe the evolution of your sound so far, even within a relatively short time and limited number of releases?
I spent three years working a precarious job and dealing with anxiety and frustration, while spending countless hours in front of FL Studio or Ableton. I did it all for one reason: to find my musical identity, share it, and create supportive social spaces for creative expression.
I realized you have to invest financially in your progress by buying tracks, plugins, production courses, mixing and mastering courses, DJ lessons, and more. So I did. I went to fewer parties, gave up alcohol, and dedicated myself to saving money for it.
Day by day I saw progress, but I still feel I have a lot to learn.

What attracted you to releasing music through Future Avenue, and how did that opportunity come into your path?
A friend recommended Future Avenue to me when I was looking for a place to send the track “Murga Melodica.” I hadn’t heard of the label before, and when I discovered it, I really loved it. There’s a lot of great music there all the time, of many different styles.

What did you learn from creating an unofficial remix compared to working toward an official release?
I think that whether you’re making originals or remixes, there’s always a preliminary process. The search for the groove is essential for me. First I look for a loop that inspires me to continue, and then if you add several vocals from other songs you have a remix. But if you only add small samples or don’t use vocals at all, then you have an original.

What do you consider the most meaningful milestone in your journey so far, whether professional or personal?
I believe that this year’s releases have been the most significant so far, and I will never forget them.

Are there artists, labels, places, or creative disciplines outside of music that continue to inspire your work?
I have a filmmaker friend and I compose music for his projects. Today we finished a short film, and that makes three in total. Broadening my perspective gives me more tools when it comes to making music.

Looking ahead, are you planning more collaborations, original tracks, or perhaps another remix or reinterpretation?
On December 26 I will be releasing an EP with Electric Eden Records, and more things are coming later, but it’s still too early to talk about them.
It’s peak season here in Playa del Carmen, and these will be my last months here. I want to go to Europe to continue traveling and producing music.

What can we expect from you next, whether in terms of new productions, future releases, or live performances?
You can expect a renewed Zabi, ready for whatever comes next.

Finally, for listeners discovering your music for the first time, what would you like them to take away from your sound and your story?
I would like them to feel movement, imbalance, and fluidity. That’s what I feel and what I try to convey. From there on, any feeling is valid, and that’s the beauty of the journey.

Follow Zabi here:
https://www.instagram.com/_zabi_g/
https://soundcloud.com/gabi-zabaljauregui

Hey Steve, How are you today, and what has been occupying your mind and studio time lately?
Hi, I’m doing great, thanks. Lately I’ve been trying to split my time between producing some new music and putting together music crates for a couple of DJ gigs I have coming up. Add to that family stuff and a day job and it’s a busy time.

You recently released an unofficial remix of Faithless – God Is A DJ as part of the 3rd Avenue Free Download Series. What made you choose this particular track to reinterpret?
I’ve always been a massive fan of Faithless and Maxi Jazz’s vocal style was absolutely incredible. The obvious choice for a remix was Insomnia but there are a few excellent remixes already out there. God Is A DJ is a personal favourite of mine, amazing vocal and a sound that just grabs you.

What does God Is A DJ personally mean to you, both musically and emotionally?
It represents a whole era for me, when dance music was at its best. The track itself just has so much power and emotion. It’s a guaranteed floor-filler.

Can you briefly share when you started making music, your first tools or software, and what initially drew you toward electronic music?
I’d tried music production several times in the last few years but time and the perceived steep learning curve would always hold me back. But I always felt that it was something I could do. It wasn’t until 2024 that I decided to have another try.
I’d played around in FL Studio previously so I felt more comfortable in that DAW than others. I have a good laptop, decent studio monitors and a small keyboard. That’s all. You don’t need a lot of gear to get going.

You have been listening to electronic music since the 1990s, starting with early rave and trance. Do you still hear those early influences in your productions and DJ sets today?
I hope so. I think my track structure is similar to those from the 1990s, the way I introduce sounds and phrases as the track builds towards the breakdown.
I also love to bring in a more gritty bass sound when I can, although I think you’ll hear that more in my original productions and DJ sets rather than a remix.

When approaching this remix, how did you decide what to keep from the original and where to take creative freedom?
God Is A DJ has such an iconic melody and such an emotional vocal that I knew I had to include them as much as possible, and I wanted to keep them closer to the original track. The freedom I allowed myself was more in what sounds surrounded that and how to structure the track. For example, it needed to have a slower BPM and a nice, long build up to give it a more Prog House feel.

Can you walk us through your creative process for this bootleg, from the first idea to the final version?
I started with the elements I knew I wanted to keep so I focused on finding good samples and engineering the right sounds. After they were designed and arranged it was time to focus on how I was going to hook the listener in and build energy. It actually came together quite quickly for me. Concept to completion was only really a couple of weeks, working a few hours a day when I had time.

You are a resident DJ at Ottawa Prog Vibes and have played alongside many respected Progressive House artists. How has being part of a local scene shaped your sound and musical identity?
Being part of Ottawa Prog Vibes has given me opportunities in the industry, both locally and internationally, that I would have struggled to get if I had continued on my own. Alain M., the founder of Ottawa Prog Vibes, is an inspiration to me artistically and is also a really good guy. I’m really grateful to him for inviting me into the group.

What do you personally enjoy most about working on bootleg remixes compared to official remixes or original productions?
In my mind there isn’t that much of a difference. Both processes are similar for me. The main issue with an official remix is that you might have a deadline to work to and this extra pressure can make it more difficult. On the flip side of that, it does force you to declare a track as finished, whereas with a bootleg you can be tweaking it for weeks.

In your opinion, what makes a good bootleg remix stand out while still respecting the original track?
I like the original track to still be identifiable within my bootleg productions. But it’s also a challenge to build your own identity into that track. You don’t want a bootleg to simply sound like the original track at a different BPM.

Your sets move from organic and uplifting sounds into deeper Progressive territory. How do you balance groove, atmosphere, and energy when building a set or a track?
One thing I love about building Progressive House sets is that a good set almost sounds like one huge Progressive track. You can start with something more chilled and then gradually build the energy as you take the listener on a journey. Finding that balance is hard but I find that it helps to have a few key tracks in your playlist to act as anchors. They are the points you want to bring the listener to.
I try to use a similar approach playing live, but you have to use the energy of the crowd and the type of venue you are playing in to influence that journey. There have been many times when I haven’t even made it to the anchor tracks due to the fact that the vibe in the venue at that time just wasn’t matching up.

Emotion and connection seem central to your musical approach. How do you try to translate those feelings into your productions?
I try to produce tracks that I like. If I feel an emotional connection to it then it’s good. I hope other people feel the same.

What attracted you to releasing this remix through the 3rd Avenue Free Download Series?
That’s simple. 3rd Avenue was already a favourite label of mine and having the opportunity to have my music connected to a label with their prestige is amazing.

How do you see the role of free downloads and bootlegs today in an artist’s journey, especially for reaching new listeners?
Bootlegs are a great idea early on in your production journey. You don’t have to worry as much about finding a hook or a melody, and this can allow you to spend a little more time learning the process of production, how a DAW works, where to find good samples, how a synth works. There’s so much to learn and it can be overwhelming at first.
If you can make the original track identifiable in your bootleg then there’s a high chance fans of the original will find it and, hopefully, be positive about your interpretation.

Are there any artists, classic tracks, or eras that you would still love to reinterpret in the form of a bootleg or remix?
I love revisiting tracks from my youth, 90s and early 00s. I’m always finding older tracks that I think I can remix but balancing that with creating original tracks means that I can’t do them all.

What can we expect from you next, whether in terms of new productions, remixes, or DJ projects?
I’m just putting the finishing touches to a three track EP, all original productions. As a DJ, I have a project I’m working on called Substance and have a huge gig coming up in Ottawa, Canada, in March, but it hasn’t been officially confirmed yet so I can’t give you any more details. Follow me on Instagram at @djstevefinney and @substance.progressive for updates.

Finally, for listeners discovering your music for the first time through this free download, what would you like them to take away from your sound and your story?
I hope they find that my sound gives them a feeling of nostalgia along with a modern progressive twist. I also hope that they feel that they can also give DJing and production a shot. It looks daunting at first but it’s pretty accessible and is a great way to express yourself.
Thank you for giving me the opportunity and space to share my music. I look forward to continuing to work with you in the future.

Stream/download his latest release: click here
Follow Steve here: Instagram | SoundCloud

Bandcamp Friday is here. We’ve added several new bootlegs to the Bootleg Bazaar Bandcamp page, ready to explore.

While you’re there, feel free to check out some of the latest compilations across our labels as well. Most are free downloads or pay-as-you-want, so you can support the artists directly.

Sound Avenue

3rd Avenue

Future Avenue

Forward Music

The Audio Atelier

Free download or pay-as-you-want. Thanks for being part of it.

Hey Bo, How are you today, and what has been occupying your mind and studio time lately?

Hey guys, first of all thanks for having me. My main focus right now is my label 3RD Act. I am working on a various artists release and a lot of releases planned for 2026, so that is incredibly exciting and motivating.

You have been immersed in electronic music since the late 90s. Looking back, what first pulled you into this world, and what kept you there over the years?

Growing up in the 90s, dance music was everywhere. When I was 15, I went with a friend to a Drum and Bass club night at the Mazzo in Amsterdam, and that completely blew my mind. From that moment on, I wanted to DJ and produce. I later bought turntables and started using Serato, constantly making albums in different styles. In my twenties, I was also creating mashups for the parties where I was DJing. The constant evolution of electronic music is what kept me engaged all these years.

Can you briefly share when you started making music, your first tools or software, and what initially drew you toward electronic music?

I have been making music since the days of FastTracker 2, which was a DAW for DOS. In the early 2000s, I got my hands on a copy of FruityLoops 3. I clearly remember seeing the video clip for Start the Dance by The Prodigy, and something just clicked. That moment made me want to participate, not just listen. That is also one of the reasons I later remixed the track and promoted it with you earlier this year.

Living and working in Amsterdam for so long, how has the city’s culture and scene shaped your musical values and direction?

When you are 25 in Amsterdam, culture is everywhere. Parties in strange industrial buildings, the Light Festival, friends hosting their own events, and of course ADE and Awakenings. I was never really a club socialite though. I always had a strong drive to express myself and create art. Having worked in design and animation for 14 years also gave me a different perspective on music and creativity, which definitely shaped my approach.

In 2020 you shifted more clearly toward deep alternative techno. What prompted that transition at that particular moment in your life?

I started the Engelbert project in 2020 together with two of my best friends (Shout out to Bart Bam and the Manke). They are still very supportive, although they are no longer part of the collective. Up until then, my main focus had been design and animation, which is what I studied. When Covid hit, I suddenly found myself with seven months of free time. In terms of music production, that period was pure heaven. It was then that I knew I wanted to shift my focus. At the time, melodic techno was often referred to as ethereal techno, and it felt very open and free. As the genre grew more popular, it also became more boxed in, something that happens to almost every genre, like Drum and Bass, Trance, or House. That’s why I describe what I do as alternative techno. I like to move through genres and create whatever feels right. I don’t deny that trends exist, but I don’t consciously try to jump on or off them either. I prefer to go with the flow. Dance music moves fast and is very much about the here and now, and that’s something I truly love about it.

Your unofficial remix of Zombie Nation’s Kernkraft 400 revisits one of the most recognizable tracks in dance music history. What made you want to engage with this track now?

That iconic track had been on my shortlist for a long time. It is also the ultimate test for me as producer, because it has been remixed so many times already. That meant I really had to push myself to make it my own and find a fresh angle.

When approaching a track that carries so much collective memory, how do you decide what to strip back, what to preserve, and what to completely reimagine?

I usually like to rebuild a track completely from scratch and only bring in elements from the original at the very end. In this remix, the vocal is the only original element. I want to understand what makes the melody work and how the structure functions. I made several versions of this remix before settling on the final one. I always aim to find a balance between being recognisable, staying true to my own style, and delivering a contemporary mix and master. It does not always work out, and I have many tracks that never found that sweet spot.

Many of your unofficial remixes are offered as free downloads. What role do these reinterpretations play in your artistic practice compared to official releases?

I come from the blog era, when the best music was underground and shared through blogs that I checked daily. For me, free downloads represent a bit of that spirit. They are also a different way to connect with an audience, even if it comes with limitations, like the fact that people cannot Shazam them. Every now and then I receive messages from DJs telling me that my tracks worked really well at their parties and that they are waiting for my official releases. That kind of feedback is incredibly rewarding.

How do personal experiences, emotions, or inner journeys find their way into your creative process?

Making dance music, for me, is closely tied to escapism. It’s about being fully present in the moment. I draw inspiration from everything around me to create music that offers a way to step outside of it all.

You have collaborated with artists such as Whirl, Nick Devon, Monarke, QuiQui and Pentia. What do you value most when entering a collaborative process?

I value a respectful and professional approach above all else. All of the artists you mentioned have a great mindset and work ethic. Whirl was one of my favourite producers and also the first artist I collaborated with. I learned so much from him about both production and the industry, and I am forever grateful for that experience. Right now, I am collaborating with several amazing producers, and it is honestly one of my favourite aspects of making music.

Running your own label, 3RD Act, places you on both sides of the creative equation. How has that responsibility influenced your approach to music making?

Sometimes it is hard to keep full focus on 3RD Act while producing. I really want to concentrate on the creative side, the music and the artwork. I struggled with the distribution side, royalties, and contracts for a while. I am happy to say that I found Manual Distribution, who will now handle distribution, royalties, and contracts. This allows me to focus on the artists, the music, and the visual identity and promotion. I am very excited for what next year will bring.

Do you feel a stronger connection to the studio or to live performance, and how do these two worlds influence each other for you?

In 2022, I built my first proper studio to control the acoustics and get a better grip on my mixes and masters. That was one of the best decisions I have ever made, and I feel that the quality of my music has improved immensely since then. I do love DJing, but with a family and two kids, it is not my main focus at the moment. For me, the studio is definitely my happy place.

Organizing NEW ELEMENTS during Amsterdam Dance Event requires a curatorial mindset. How does curating nights and lineups affect the way you think about your own sound?

I organized NEW ELEMENTS during ADE as a way to bring producers together. It was not a classic club night. The idea was that only producers and labels were present, and all the music played consisted of unreleased tracks and IDs from the producers themselves. Last ADE was the first edition, and I loved how it turned out. I met new producers that I am now working with, such as Mike Kohl and LackOfAffekt. Paul Hazendonk from Manual Distribution was also there, which is where our collaboration started. Everything changes when you meet face to face. I am aiming to do another edition in spring, so if producers are interested and able to come to Amsterdam for such an event, they should definitely reach out.

Working with your sister Luke van Veen on the Leven and Hart Loopt Over EP introduced a very personal dimension to your music. How did that collaboration differ emotionally from your other projects?

That collaboration started after my sister began writing poetry. It turned out she has an incredible talent for writing and singing. I also produced her solo album HERBOREN, which was a huge learning experience for me, especially when it came to recording vocals and writing songs. Together, we are also pioneering deep techno with Dutch vocals. It feels special to have a release on Steyoyoke and hear it played in sets in different countries. There is still a strong emotional connection to that project.

Looking back, were there mentors, key moments, or turning points that helped shape your sound in the early stages of your journey?

My father plays alto saxophone and focuses mostly on free improvisation. He has always supported my musical endeavours. Even though he could not really teach me anything about music, mainly because I would not listen, he was there from the start, from my first drum kit to many different computers over the years. Without him, I would not be the producer I am today. Launching my own label and events was also a major turning point.

How would you describe the evolution of your sound over time, especially across such a long relationship with electronic music?

It has been in constant motion. In dance music, you cannot stand still because everything keeps changing. One important thing I had to relearn as I got older was to trust my gut feeling again and not get too caught up in technical production details.

Are there artists, labels, places, or creative disciplines outside of music that continue to inspire your work?

Musically, I listen to all genres as long as they give me a feeling I connect with. That can be metal, jazz, hip hop, or gabber. Outside of music, I love theatre, film, visual art, and any form of creative expression. At the same time, I am also very much a product of the present, so sometimes inspiration comes from something as simple as an Instagram reel.

What do you consider the most meaningful milestone in your journey so far, whether professional or personal?

I always tend to look ahead, but many beautiful things have already happened. Making music with my sister is definitely one of the most meaningful gifts in my journey so far.

What can we expect from you next, whether in terms of new productions, collaborations, label work, or events?

You can expect my label to come out swinging. Later this year, a various artists release will drop featuring some of my favourite artists. There will also be more free downloads, as I already have one ready to go. NEW ELEMENTS will return in spring, and there are many collaborations in the works. I really hope to find my audience more clearly this year and let everything grow together.

Finally, for listeners discovering your music for the first time through this unofficial remix, what would you like them to take away from your sound and your story?

I hope people connect with my energy and my sound and feel curious for more. I will be there with plenty of music to discover.

Follow Engelbert here:
Spotify
Soundcloud
Beatport
Instagram

How are you today, and what has been occupying your mind and studio time lately?
Today, I personally feel overjoyed and grateful to have had the great privilege of discovering my passion for music. I truly enjoy every time I sit down to produce and create in the studio.

Lately, I’ve been focusing on discovering new sounds that allow me to expand my horizons, with the sole purpose of keeping this process as a constant source of joy. Making repetitive tracks or relying on familiar formulas are not my thing, I’m always looking forward to exploring and evolving, both sonically and creatively.

Starting out during the pandemic is a shared experience for many artists. How did that period shape your discipline, routine, and relationship with music?
During the pandemic, music became a refuge for me. Since I had so much free time on my hands, it was a way of keeping my mind occupied and channel my emotions during this very particular moment.

In many ways, it was also the beginning of my career as a producer. A friend introduced me to a DAW and gave me some basic tips, which sparked a curiosity that has never stopped growing. From that moment on, I was eager to learn more and more, feeling the same sense of joy as a child discovering a new toy.

Can you briefly share when you started making music, your first tools or software, and what initially drew you toward electronic music?
I started making music during the pandemic using Reaper, and thanks to the amount of free time I had, I quickly discovered Ableton Live through YouTube, which helped me push my first productions further.

When I realized how much joy producing gave me, and noticed that it wasn’t just another hobby, I bought my first MIDI controller, which I still keep today for its great sentimental value.

I’ve always listened to all kinds of music, but there was a key moment for me. One day, while browsing YouTube, I came across Hernán Cattáneo’s set at Forja, day 2. I was amazed by the story he was telling through music and deeply impacted by realizing how electronic music can be so profound, musical, and seamlessly connected.

From that moment on, I’ve always tried to get closer to that feeling I experienced in that set, while adding my own signature and trying hard not to be influenced by trends. My goal has always been creating something authentic, something that truly represents me and fulfills me.

Coming from Montevideo, how does the local scene or the pace of life there influence your sound and creative focus?
While Montevideo and Uruguay are relatively small, and the scene related to genres like progressive house and melodic music isn’t very large, I’ve been very lucky to cross paths with incredible artists.

I met people who not only supported me, but who I can now call close friends, such as Char Spinelli and Diego Acosta, two great Uruguayan DJs and producers who advised me and helped me grow from the very beginning.

Currently, Char Spinelli and I have a duo project called Even Matter, which has been building a growing community on YouTube and beyond. It’s been a very enriching creative experience.

I also had the opportunity to join Soulmate Studio, an academy created by Diego Acosta and Luciano Elvira, which opened its doors for me to study and expand my knowledge. It played a key role in my development, and today I have the privilege of being part of the academy as a production teacher, something I deeply value.

You regularly create bootleg remixes. What draws you to reinterpret existing songs rather than only focusing on original material?
I always try to make sure that the time I spend producing is joyful. Since I truly love making bootlegs, I see them as a way to reinterpret timeless classics that were important in my life, or songs that I feel can work very well within progressive house.

Also, I find bootlegs to be quite challenging. Each new project pushes me as a producer, because I always aim to give my best to preserve the essence of the original track while blending it with a modern sound and the genre that represents me.

When choosing a track to remix, what usually sparks the initial idea, the vocal, the memory attached to it, or its emotional tone?
Honestly, there isn’t a concrete answer. It’s something I simply feel when I hear the song. Almost immediately, I start imagining how it could sound within the style of music I make, or I perceive certain nuances that allow me to visualize the final result.

Many times, these ideas come during everyday moments, like when I’m at the gym or walking while listening to music. Suddenly, the idea just appears, and that’s when the creative process begins.

With Wonderful Life and the inclusion of Cerati’s voice, what emotional or cultural meaning did this remix hold for you personally?
The idea of making a Wonderful Life bootleg came from Diego Acosta, who has a deep musical culture and felt the track could perfectly convey joy, nostalgia, and what we often call here the urge to hug a friend.

During the creative process, while working on the breakdown, we felt it would fit beautifully to use some phrases of Gustavo Cerati talking about music, words we deeply identify with. Once we decided to use his voice, we looked for elements from his songs to complement the idea and bring emotional and conceptual closure to the remix.

How do you approach balancing respect for an iconic vocal with the desire to reshape it into something new and personal?
I incorporate as many original elements from the track as possible, either by using the original sounds or recreating them through MIDI to capture the perceived timbre.

I also research which synthesizers the band or artist used in that track. From there, I modernize the sound by adding more contemporary percussion elements and more powerful bass tools.

The vocal is a separate chapter. I always aim for it to be part of the rhythm, functioning as another instrument. Beyond its emotional message, I strategically place it so it adds surprise and freshness to the track and has a real sonic impact.

How do personal experiences, emotions, or inner journeys find their way into your creative process?
At first, I didn’t pay much attention to that aspect, but after a deep conversation with my friend Char Spinelli, who is more spiritual than I am, I understood how important it is to include personal experiences and emotions in my productions.

It was one of the best pieces of advice I’ve ever received. Since then, I always aim to leave a piece of my soul in each work, using my anger, insecurities, and joys as raw material to express through music.

Looking back, were there mentors, key moments, or turning points that helped shape your sound in the early stages?
One of the people who influenced me the most on a production level was Enzo Paradiso, who was a teacher at Soulmate Studio when I started studying there. He never held anything back and was always willing to share everything he knew.

Meeting Cristian Hidalgo and Fefo Carfagna, two great Argentine producers, also helped elevate my productions tremendously. You could say they were my first internet friends, something I remember fondly.

And of course, the almost symbiotic connection I developed with Char Spinelli was fundamental. He opened the doors of his home to me when I was still a shy young person who didn’t fully believe in himself, and that support was decisive for my personal and artistic growth.

After several official releases across labels like 3rd Avenue, RYNTH, MNL, AH Digital, Hoomidas, and Balkan Connection, how has releasing music officially changed your perspective compared to sharing bootlegs?
Original music is always very special as a producer, because it’s something that didn’t exist before and comes entirely from within. The satisfaction of creating a track from scratch, finishing it, and having a label like those you mentioned believe in it is incredibly meaningful. It’s a form of validation of your growth as a producer.

I always send my music to labels I feel emotionally connected to, labels with a strong identity and a particular aura. I’ve never liked feeling like just a number in the industry or in life, so I choose labels that I know will take care of my music, give it proper exposure, and treat it with the same love I put into it.

Do you feel a stronger connection to the studio or to live performance, and how do these two worlds influence each other for you?
The studio is my safe place, where I can explore my creativity calmly, without the vertigo that often comes with live performance.

That said, I also truly love playing live. I enjoy feeling exposed and facing that challenge, going into the night with a plan while still allowing myself to explore creatively in the moment, even incorporating music that wasn’t originally intended. My love for live performance was passed on to me by my first mentor, Oscar Valdez, an old school DJ and a reference in our country, whom I’m proud to call a friend.

Production has a longer term form of feedback. The audience’s response may arrive weeks or even months after a track is finished. Live performance, on the other hand, is immediate, and the energy of the crowd feels much deeper and warmer when you’re sharing that moment together.

How would you describe the evolution of your sound so far, from your first experiments to your most recent productions?
I’d describe it as an evolution toward having more discernment when selecting sounds. From the beginning, I’ve always focused on creating a sense of depth.

Early on, due to inexperience, this sometimes resulted in music that wasn’t very danceable. Today, I put effort into preserving that depth while balancing it with stronger rhythmic foundations, adding drums and basslines that bring groove and movement.

What attracts you to certain labels or communities when deciding where to release your original work?
What attracts me most is a label’s sonic identity, knowing clearly what it represents and where it’s headed.

Once the music is signed, I deeply value the human warmth behind the label and the care they give to my tracks. Artwork and visual aesthetics are also very important to me, as I feel everything is part of the same artistic piece.

I’m not interested in releasing music just for the sake of it. I need to feel a genuine connection with the label, its identity, style, and the way the project is handled as a whole.

Do bootleg remixes give you a different kind of creative freedom compared to official releases, and if so, how?
I try not to place creative limits on anything I do, but it’s true that bootlegs, since they don’t require a formal release process, allow for freer exploration, as long as I feel I’m respecting the original work.

Bootlegs also make it possible to create unexpected crossovers between artists from different eras and, in a way, allow more room to play, experiment, and let creativity flow naturally.

What do you consider the most meaningful milestone in your journey so far, whether professional or personal?
Without a doubt, receiving support from Hernán Cattáneo during the Sunset Trip in Mendoza with the remix I made along with Fefo Carfagna and Cristian Hidalgo.

It was one of the days I cried the most from happiness in my life. It felt like a deep moment of validation, like all the effort, learning, and dedication suddenly made sense. I felt very connected to the pursuit of happiness in that moment.

Are there artists, labels, places, or creative disciplines outside of music that continue to inspire your work?
I don’t usually seek inspiration consciously outside of music, but I do believe that everything we live through somehow influences our creative process.

Quiet places, moments of introspection, and everyday experiences that allow me to connect with myself are very inspiring to me. I’m also inspired by disciplines like cinema and visual art, especially in how they build atmospheres and convey emotion without needing literal explanations.

Looking ahead, do you see yourself focusing more on original productions, continuing with bootlegs, or balancing both paths?
My grandfather once gave me a piece of advice that has stayed with me: all extremes are bad. It’s something I apply in many areas of life, including music.

For me, that means always seeking balance. I see myself continuing to work on original productions while also creating bootlegs whenever they naturally emerge. Both paths nourish me creatively and are part of who I am as a producer.

Finally, for listeners discovering your music for the first time, what would you like them to take away from your sound and your story?
Honestly, I’d like them to feel that I truly put a part of my soul into every piece of music, and that I’ve always been conscious of pursuing depth and that element of surprise.

I know I still have a lot to learn, and that’s what motivates me the most, knowing there’s still a path ahead. Over time and through personal growth, I hope people can genuinely connect with my music by always staying true to my identity, to who I am and who I want to be, both as an artist and as a person.

Follow Rodrigo here:
Instagram: https://www.instagram.com/rodrigopochelu.uy/
Soundcloud: https://soundcloud.com/djrodrigopochelu
Youtube: https://www.youtube.com/@EvenMatterSessions

Hello Juan, how are you today? What has been occupying your mind and studio time
lately?
Hello everyone! Thank you so much for the invitation. It’s a real pleasure to share a bit about myself with you. I’m feeling very good at the moment, working on a new EP and fully focused on making sure that each upcoming release is a little better than the previous one.

Growing up in Necochea, on the Argentine coast, how did that environment influence your listening habits and the atmosphere you aim to create in your music?
Without a doubt, being born and raised in a city surrounded by nature and beautiful landscapes played a big role in shaping both my identity and my inspiration when creating music.

Could you briefly share when you started making music, what your first tools or software were, and what initially attracted you to electronic music?
Although I learned how to use Ableton at a young age, it wasn’t until early 2022 that I truly started taking music production seriously and becoming consistent with it. Before that, it felt more like a game or a hobby. What initially attracted me to electronic music was the idea of being able to share the music that represents me with other people.

You started DJing in 2014 and spent many years focused on the dancefloor before
releasing music. What did DJing teach you that later became essential in the studio?
Spending so many years as a DJ before focusing on production taught me a lot. Most importantly, it helped me find my musical identity and understand what I want to transmit on a dancefloor, something I now try to translate into my productions.

When did Progressive House begin to feel like your natural musical language rather than just one option among many?
Honestly, from the very beginning I knew Progressive House would be the language that identified me, not only in my music selection, but also in the way I mix and build my sets.

Your unofficial remix of Billie Eilish’s Lunch takes a very contemporary pop track into a different emotional and rhythmic space. What attracted you to this song in particular?
I truly believe it was Billie’s very distinctive voice that attracted me and inspired me to create this remix.

How did you approach translating the character of Billie’s vocal into a progressive
context without losing its identity?
I really love the original track, and in general I think all of Billie’s music is excellent. Her voice feels ideal for Progressive House, so I tried to create something where both worlds could coexist naturally.

When working on an unofficial remix, do you allow yourself more freedom or do you feel a stronger responsibility toward the original material?
Making unofficial remixes is something I really enjoy, and I approach them with total freedom because they’re fun and creatively inspiring for me, always with a lot of respect for the artist and the essence of the original track.

How do personal experiences, emotions, or inner journeys influence your creative
process?
They influence it a lot, honestly. Whether I’m happy or sad, calm in my hometown or more restless while traveling, everything ends up being reflected in the creative process.

Performing across Argentina, Mexico, the United States, and Peru exposes you to very different crowds. How have these dancefloors influenced the way you build tension and release in your tracks?
Having the chance to share my music in different countries and connect with culturally diverse crowds is a beautiful challenge. It really helps develop dancefloor awareness and provides invaluable experience.

Looking back, were there mentors, key moments, or turning points that helped shape your sound in the early stages of your journey?
From a very young age, I never missed Hernán Cattáneo’s residency shows every Saturday. He was and still is someone I deeply admire and look up to. Nowadays, the artist I feel most connected to musically is Guy J.

You began releasing original music in 2022. What shifted internally that made you feel ready to share your productions publicly?
The main shift was starting to take production more seriously, studying consistently and making it part of my daily routine. This has allowed me to improve with each release. Even though I know there’s still a lot to learn and refine, I feel I’m on the right path.

How did releasing music on labels like AH Digital, 3rd Avenue, Stellar Black, and
Soundteller help define or refine your artistic direction?
I feel a deep sense of gratitude toward every label that opened the door for me to share my music. Each release represents a stage in my growth as a producer, and all of them are very important to me.

Do you feel more connected to the studio or to live performances, and how do these two worlds influence each other for you?
Both have their own magic. Being in the studio is something I truly love. It helps me disconnect from daily routines, and it’s where time flies without me noticing. Live sets are also incredible. The sensations and energy you experience in those moments are completely unique.

How would you describe the evolution of your sound so far, from your first releases to your most recent work?
Achieving a sound that fully satisfies you doesn’t happen overnight. I can clearly recognize my evolution over time, which makes me very happy. At the same time, I’m aware that learning never stops, and I still have a long way to go.

What role do unofficial remixes like Lunch play in your development compared to original productions?
They play a very important role. It’s something I genuinely enjoy doing, and at the same time it’s a great way to reach many more people with my music.

Are there artists, labels, places, or creative disciplines outside of music that continue to inspire your work?
Traveling, without a doubt. Staying in motion and constantly discovering new places and cultures works like fuel and keeps inspiration alive.

What do you consider the most meaningful milestone in your journey so far, whether
professional or personal? What can we expect from you next?
Professionally, having my music supported by many respected figures in the scene is incredibly meaningful and motivating. Looking ahead, you can expect a lot of new music and a constant evolution of my identity and sound.

Finally, for listeners discovering your music for the first time through this remix, what would you like them to take away from your sound and your story?
I’d love for them to enjoy it as much as I enjoyed creating it. And if they connect with it, I hope they continue following my releases, because there’s a lot of new music coming.

Follow Juan Cruz F here:
Instagram: https://www.instagram.com/juancruzf.dj
SoundCloud: https://soundcloud.com/juancruzfdj

All releases are available as free downloads or pay what you want. Your support means the world to us.
A huge thank you to everyone who donated throughout the year. Your contributions keep this project alive and help us continue bringing you unique edits and bootlegs.

Enjoy the new music and have a great Bandcamp Friday!

We’ve just added a fresh wave of bootlegs featuring classics from Adele, Skye Riley & Naomi Scott, Kenan Dogulu, Temper Trap, Attack on Titan, The Stranglers, Black, Emile Mosseri, Gorillaz, Michael Jackson, iio featuring Nadia Ali, Chable & Bonnici, Tears For Fears, Andain, Martin Garrix, Arijith Singh, The XX, Daft Punk, Radiohead, Bad Flamingo, John Graves, Oliver Koletzki, Camouflage, Enanitos Verdes, Stefan Superanti, Billie Eilish, Duran Duran, The War on Drugs, and Tame Impala.

And that’s just the beginning. Our full catalog of 240 bootleg remixes is now available as a bundle deal for only €37 – an absolute steal for any music lover.

👉 Dive in here: bootlegbazaar.bandcamp.com

Hi everyone,

It’s been a while since our last newsletter, and we want to thank you for your continued support over the past months. We’ve been busy releasing music we love every week, and we’re excited to share what we’ve been working on with you.

Over the last weeks and months, we’ve published a wide range of fresh bootlegs and reworks for artists including Daft Punk, Radiohead, The War On Drugs, Tears For Fears, Depeche Mode, Supertramp, The Cure, Pachanga Boys, Members of Mayday, Gorillaz, Pink Floyd, RY X, and many more.

👉 Check them out here: https://bootlegbazaar.bandcamp.com/music

To celebrate, we’ve lowered the price of our entire bootleg catalog: this weekend only, you can get all 200+ bootlegs with 85% off! Don’t miss the chance to grab them at a super low price.

And while you’re here, make sure to also check out our latest Free Download compilations:

• Retrospective 009

• Fragments Vol. 7

• Going Deeper Vol. 4

• Atmospheric Progressive 015

• Progressive Pulse 6

• The Sound of Bar Melodia Vol. 1

Thanks again for being part of our journey and for supporting the music!

1. Introducing Bar Melodia – Free Downloads for a Limited Time

Our new imprint Bar Melodia is now live, dedicated to lush, hypnotic progressive and melodic house. To celebrate the launch, all singles are available as free downloads (or pay-what-you-want) for a limited time.
➔ Explore Bar Melodia

2. Bootleg Bazaar Nears 200 Remixes – Free for a Limited Time

We’ve been busy—our Bootleg Bazaar collection now includes nearly 200 remixes, reworks, and edits of tracks by Depeche Mode, Pink Floyd, Guy J, Orbital, Massive Attack, Trentemøller, Coldplay, Gorillaz, Hans Zimmer, Underworld, Billie Eilish, Gustavo Cerati, and more. Grab them for free while you can.
➔ Discover the Bootlegs

3. Free Compilations Across Our Labels

Dive into these fresh, free collections from our family of imprints:

• 3rd Avenue: Retrospective 007 – Download Here

• Future Avenue: Spring Sampler 2025 – Download Here

• Sound Avenue: Retrospective 008 – Download Here

• The Audio Atelier: Melodic Moments 003 – Download Here

4. Daydreamers – Ambient Explorations (Free/PWYW)

For the heads-down, headphones-on moments, our ambient label Daydreamers offers all singles as free downloads or pay-what-you-want.
➔ Drift Away

5. Crossfade Sounds’ First Cassette Release

For fans of dub techno and analog warmth, we’ve launched our first-ever cassette: Tape From The Dub 01. Limited quantities available.
➔ Get the Tape

We’re thrilled to announce that our Bandcamp page now features 160 bootleg remixes! 🎶🔥 We’ve just added fresh bootlegs from incredible artists like Billie Eilish, Rufus Du Sol, Edu Imbernon, Chet Faker, Above & Beyond, Red Hot Chili Peppers, Trentemøller, Dolly Parton, The Prodigy, deadmau5, Axwell, Wham!, and many more!

To celebrate, we’re offering ALL 160 remixes at a massive 75% discount – now just 32€! �💥

And if you’re unable to support financially, no worries – you can still download them for free. We’re all about sharing the music love! ❤️

A huge thank you to everyone who supports our channel. Your love and encouragement keep us going! 🙏

👉 Grab the remixes here

t’s Bandcamp Friday again! That means Bandcamp is waiving all their revenue so 100% goes directly to the artists and labels! As always, we’ve got tons of fresh compilations across all our labels, packed with hidden gems. And as usual, they’re available for free download or “name your price.” Huge thanks to everyone who supports us financially—your help is essential in covering basic costs like mastering, promo, and ads for every single, EP, and compilation! This week, we’re excited to present these new compilations:

• 3rd Avenue:

• Crossfade Sounds:

• Future Avenue: Click here

• Forward Music:

• One Of Those Days:

• Sound Avenue:

• South America Avenue:

Dear Music Lovers,

We’re thrilled to share 9 exclusive compilations available for free download on our Bandcamp pages! Whether you're a longtime fan or just discovering us, these compilations are filled with incredible sounds to enjoy. Download for free or contribute what you feel – every bit of support helps us continue bringing you more amazing music.
 
In addition, we've also added some fantastic bootlegs on our Bootleg Bazaar page, featuring iconic artists such as Fatboy Slim, The Smiths, Limp Bizkit, Hernan Cattaneo, Thom Yorke, and more! Don't miss out on these special editions!
 
Check out the links below to dive into some great music:

• Fragments Vol. 4
• Madloch Collection Vol. 1
• Atmospheric Progressive 11
• A 40-Track Compilation (Cologne)
• Deeper Underground 10
• Life Memories Vol. 4
• Progressive Pulse 3
• Deep Dark Underground 01
• Euphoric Paradise 011
 
Thank you for your ongoing support – it helps us keep the music flowing! 

Happy listening,
Team Sound Avenue

We've just hit a major milestone—our 100th remix is now live on the Bootleg Bazaar Bandcamp page! To celebrate, we're offering a huge 60% discount on our entire catalog of 100 tracks for the next 3 days only. It's an incredible deal you won't want to miss!

Our collection includes bootlegs from legendary artists like Massive Attack, The Doors, Pink Floyd, Britney Spears, Daft Punk, Moby, Gustavo Cerati, Rhye, BENT, Madonna, Depeche Mode, Bob Moses, Drake, Faithless, Phil Collins, Kraftwerk, Parcels, Queen, Whomadewho, Dido, London Grammar, The Rolling Stones, James Holden, and many more!

Check out the full collection here: Bootleg Bazaar on Bandcamp

Happy Bandcamp Friday! Today, Bandcamp passes all profits directly to labels and artists, and we're thrilled to participate with seven incredible new compilations. As always, these are available for free download or at a pay-what-you-want price. A heartfelt thank you to our loyal fans who contribute with a donation—it makes a significant difference and enables us to continue releasing fantastic music through these compilations.

Looking to expand your collection with other releases or perhaps interested in exploring our entire back catalog? We understand that not everyone may have the funds ready, so from today until Sunday, enjoy an additional 25% off across all labels in our catalog. Just use the promo code may2024 at checkout!

Dive in and enjoy crate digging through our diverse offerings. Your support not only celebrates our music but also directly contributes to the vibrant ecosystem of independent artists and labels.

Thank you for being part of our community, and happy listening!

3rd Avenue: Retrospective 004

Sound Avenue: Retrospective 007

Future Avenue: Atmospheric Progressive #09

Forward Music: A 40 Track Compilation: Annapurna

Crossfade Sounds: Deeper Underground 9

South America Avenue: Progressive Pulse 02

One Of Those Days: 1 Year Compilation

Bootleg Bazaar: Several new bootleg remixes!

As we reach the midpoint of April, we are excited to unveil our latest monthly free download compilation from all the Sound Avenue labels!

Here's a glimpse of what we have lined up for you this month:

• Sound Avenue: Memory Lane, Vol. 2

• 3rd Avenue: Spring 2024

• Future Avenue: Atmospheric Progressive #008

• Crossfade Sounds: Throwback Vibes, Vol. 3

• South America Avenue: Otoño 2024

• One Of Those Days: Life Memories, Vol. 3

• Electric Eden Records: Euphoric Paradise 007

• Daydreamers: Fresh ambient singles!

• Bootleg Bazaar: Exciting new bootlegs!

These tracks are available for you to download for free, or you can choose to pay what you want. Your contributions are greatly appreciated and help us continue to release exceptional music.

Enjoy the sounds of our global community, and thank you for supporting our artists and their creative endeavors!

We're thrilled to announce an exciting update to our Bandcamp page: a collection of stunning new bootleg remixes! Immerse yourself in the revamped sounds of iconic tracks from legendary artists such as Faithless, Depeche Mode, Solarstone, Aurora, Coldplay, Fred Again, and many others.

Explore these innovative reinterpretations and experience your favorite classics in a whole new light. Don't miss out on this unique musical journey – visit our Bandcamp page now to start exploring!

This remix from Kalima got tons of support from the legendary Hernan Cattaneo!

Make sure to also check this groovy remix of Faithless:

The perfect intro track for your sets: