We’re very happy to share that Goa ‘98’s Aeris / Grizzly has now spent two days at #1 on the Beatport Progressive House Releases chart, while also climbing to #14 in the overall Beatport Top 100 Releases across all genres. A beautiful result for his second release on 3rd Avenue.

Goa ‘98 first joined the label earlier this year as part of our Three Of A Kind #038 EP, and with this new two-track release he continues to develop his own melodic and story-driven take on progressive house.

Hailing from Goa, India, his music is naturally shaped by a region with a long history in chillout, trance and electronic music culture. Over the past years he has steadily built his catalogue with releases on Balkan Connection, Soundteller Records and AH Digital, while also sharing DJ lineups with artists including Guy J, Ezequiel Arias, Simon Vuarambon, Eelke Kleijn, Tim Green, Facundo Mohrr, David Hohme and Rodriguez Jr.

The release brings together the atmospheric title track “Aeris” and “Grizzly”, and it’s really nice to see both the music and Goa ‘98 receiving this kind of support.

Thank you to everyone who has been listening, supporting and charting the release.

Stream/download here: https://go.protonradio.com/r/rlPq_XEhowwpw

Hello CJ PAGE, how are you today, and what have you been up to lately?

Hello, thanks for asking. I’ve been ecstatic since the release of “Wayo”, and I still am today. I haven’t been up to any typical summer activities apart from watching the World Cup. England got eliminated, which made me feel a bit upset, but there’s no anger looking back because it was a valiant effort throughout the tournament.

For people discovering you for the first time, can you briefly introduce yourself and tell us where you are based?

I’d love to! My name is Can Jack Page. My name is a combination of the Turkish and English languages. My father is English, hence my middle name being “Jack” and my surname being “Page”. My mother is Turkish, and that’s where my first name, “Can”, comes from. It translates to “Life” or “Soul”. I’m 21 years old, raised and currently based in Istanbul. I’m studying Music at Istanbul Bilgi University, with plans to move to a different university in London next year.

“Wayo” marks both your Sound Avenue debut and your first-ever official release. How does it feel to finally share your first track with the world?

It is an incredible feeling to have my first-ever official release with such a respected label in the electronic music scene. I feel very blessed to have had the opportunity to work with Sound Avenue and have my music recognised and approved by them. I would love to continue working together in the future.

Can you tell us when you first started producing music and what originally pushed you toward electronic music?

I have had a deep connection to music ever since my childhood, visiting many countries in Asia and Africa while doing humanitarian work, connecting with different people’s traditions around music and life. Those experiences affected me so deeply that I wanted a creative outlet to express what I felt, and that ultimately led me to start producing music at the age of 15.

I started out making Hip-Hop and Trap beats, then focused on Lo-Fi music for a while. What pushed me towards electronic music was not exactly a change in my taste. I have always enjoyed many different styles of composition. My decision to focus on electronic music came from wanting to DJ. I enjoy dancing and getting people to have fun. Electronic music allowed me to have a more complete experience, from the production side of music to the performance side.

Do you remember the first piece of equipment or software you used when you started making music?

Haha, yes, of course I do! I used the DAW LMMS. I was a clueless teenager when it came to producing music, so I Googled, “How to produce music for free on PC?” I clicked on the first YouTube video, and it was a production tutorial on LMMS. After figuring a few things out and learning more along the way, I switched to FL Studio. Right now, the DAW I use is Ableton Live.

Your sound on “Wayo” blends elements of downtempo and Afro House, but it also feels quite personal and not too tied to one specific trend. How would you describe your sound in your own words?

I like to make music that draws from my own unique experiences. I don’t want one specific trend or genre to define my sound. I try to create music that invites the listener into my mind and inner world while allowing them to interpret things from their own unique perspective.

If I’m not deeply connected to my emotions and experiences while working on a track, I cannot be original in the way my sound comes together. It cannot be a one-of-one listening experience if the idea isn’t derived from the inspiration of my own one-of-one experiences.

What inspired “Wayo”, and do you remember how the first idea for the track came together?

I was, and still am, really missing Africa. The last time I was there I was only 14. I was listening to a lot of Afrobeats and Afro House tracks, I guess as a way to cope with the longing to go back. That ultimately led to the production of “Wayo” coming to life one fateful evening.

While I was producing the track, my mother heard it and came into my room to say she loved it. Being a psychologist, she said the female vocals were so impactful that I should emphasise them throughout the track and make them the intro.

The track has a warm, organic groove and a very natural flow at 111 BPM. How did you approach the rhythm and energy of the track?

I wanted to keep the sounds organic. Most importantly, I didn’t want to overcomplicate the track. Keeping things simple in the way I approached the production led to the natural rhythm and energy of the track. As many great producers say, simplicity is key.

There is also a vocal hook that really stays in your head after listening. How important was that vocal element in shaping the identity of the track?

The whole concept and every element in the track were centred around the vocals. Every creative decision was made so the vocals could shine more and so the listener could feel their emotion and energy better.

The idea behind the arrangement was that you never feel overwhelmed during any section. No element overstays its welcome, including the vocals, so the progression of the track feels vividly striking.

You are based in Istanbul, a city with a very rich cultural and musical background. Does the city influence your music in any way?

As you said, this city has such a rich history, with many different civilisations having left their touch and imprint on these lands. I was born and raised here, so there’s no denying that the city influences my music in every way.

Learning about the city’s history and its historical landscapes makes you connect with and become inspired by the many different cultures around art and life as a whole. With Istanbul being the most populated city in Europe, the vibrant, high-energy life that flows through the city is also a huge influence.

Many emerging producers today are surrounded by trends, tutorials, plugins and sample packs. How do you try to keep your music personal and avoid sounding too formulaic?

I don’t necessarily think of those things as bad because they are important tools in a producer’s journey. I think if you are out of touch with your inner world, the music you make will feel generic and empty of feeling.

In the end, every single one of us has a story. The way you tell that story is what makes it interesting to others.

What felt like the easiest and most natural part of creating “Wayo”, and what was the most challenging part?

I’d say the easiest part was building the track around the vocals, as they provided so much inspiration and led the way in how the track was supposed to sound.

The most challenging part of any song for me is getting the mix to where it should be. It’s not that I don’t enjoy the process of mixing and mastering, it’s just that they take a lot of time to develop the ears and expertise for. I hope to get better every day while I continue to study Music Technology.

How did the connection with Sound Avenue come about, and what made you feel that “Wayo” was the right track for the label?

The connection first came when I submitted a different track to Sound Avenue and the team offered to release it on their sister label, “Bar Melodia”. I thought about the offer, but ultimately didn’t think it was the right fit because I really wanted to land a track on Sound Avenue. It’s a label that doesn’t showcase only one sound and has been the respected home to many different styles of music for over 15 years.

I submitted “Wayo” next. The rest is history.

As this is your first official release, what have you learned from the process of preparing music for release?

I learned that it requires consistent effort from both parties involved. I’m still coming up with ideas and creating more content for Instagram Reels and TikTok to promote “Wayo”.

The team at Sound Avenue has been incredibly transparent with their vision for the track, helping me with the mastering process, listening to my ideas and always responding quickly. Their efforts showed me how to effectively communicate, prepare for and execute the shared vision of a release.

What can listeners look forward to from CJ PAGE in the near future?

There will be many more releases to come, all of them prepared experimentally as I explore different sounds and make new memories to inspire me. Hopefully another release with Sound Avenue will come naturally.

I shall continue to improve my craft with dedication. DJing at venues is also one of the things at the top of my list. I’m excited to continue, grow and have fun together with people on this journey.

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

Hello John, how are you today, and what have you been up to lately?

I’m doing great! Thank you! I’ve recently been finishing a couple of projects I’m currently working on. I am also in the process of updating my sound towards more uptempo and club-oriented tracks.

Can you briefly share when you first started producing music, what your first piece of equipment or software was, and how you look back on your earliest releases?

I started producing music way, way back in time, more than I’d like to admit. I started right after a DJ course I took in my hometown around 2010/2012. I didn’t take it really seriously until three or four years later, as I would quit, come back, quit again, and so on, out of the frustration of sounding like crap.

Regarding DAWs, I originally learned Ableton, then Cubase, and then Logic. After a few years on Logic, I returned to Ableton because its simplicity and speed are unmatched. It’s a bit more work to make the sound summing match the outputs from Logic.

The first equipment I bought with money from a part-time job was an NI Total Kontrol 1, I believe that was the name, the first interface from NI for producing, a pair of Sennheiser SP2 headphones and a small two-octave keyboard, the cheapest one there was.

When I look back at my earliest releases, I’m happy I didn’t release music until I reached a quality level I was satisfied with. I think I didn’t release anything during my first eight to ten years of producing, and I’m very happy I did it that way instead of releasing half-baked or poor material. I assume every artist is different and goes through a different journey.

I invested heavily in teachers and artists I admire, and that makes me very thankful I had that opportunity. Artists like Diego Poblets, Emilio Reyna, Matias Giunta, Heik, Gespona, Fabricio Monsoni and even one of my main influences from back in the day, King Unique.

Your music moves between progressive house, melodic techno, deep house, breakbeat and downtempo influences. How would you describe your sound to someone hearing your music for the first time?

Yes, I use elements from different subgenres within the melodic realm, which keeps the end result fresh. It’s a risky business, especially when improvising, as 90% of my sets are improvised.

Something worth mentioning is that almost all of my tracks have fat low-frequency grooves that are clubby, which makes everything feel cohesive while remaining energetic, even at slower BPMs. My sets are constructed progressively, both in intensity and storytelling.

Your biography mentions a strong focus on melody and storytelling. How important is the narrative side of music for you when creating a track or building a DJ set?

It is very important. It is the difference between a newcomer DJ and someone with 10 or 20 years in the profession.

The only challenge of presenting deeper works is that listeners nowadays have fish-like attention spans and, unfortunately, that needs to be taken into account in both track arrangements and DJ sets. Now you really need to justify a drop longer than one minute.

When you start a new track, do you usually begin with a melody, a groove, a sound design idea, or a certain emotional state?

Until very recently, I used to start with the melody and then construct everything from there. Nowadays, I find myself building both the melody and the groove together from the beginning.

Something I do from time to time, and plan to do more often, is to have a clear intention when sitting down to create. The tracks that were created with a specific intention, where I imagined the situation in which they would be played, were selected in contests and featured in other artists’ shows. There’s a certain magic in creating intentionally instead of simply making a groove and seeing where it goes.

Your recent EP on Sound Avenue, “Have You Seen My Boat?”, marks your third EP on the label. Can you tell us more about the concept behind the release, what inspired the title track, and how the first idea came together?

Yes, and I’m very happy we could finally release it. I think we worked on the EP together with the remixers for about a year. I still wanted it to be released because I loved the melody. My sound has evolved since then, but the story behind the track is still very beautiful.

The title was inspired by water, the open sea and a beautiful sense of flow. I believe the first idea came while I was playing with a mono sequencer arp from a very old Max installation I had. I was simply playing, as an act of pure joy and openness. That’s usually how I download melodies and magic from whatever you believe we’re all connected to, whatever name you choose to give it.

The track has a sound rooted in groove, atmosphere and careful progression. How do you approach arrangement and energy flow when producing this kind of progressive music?

I just make sure the groove would work in a club and that there are no hard stops or sections where someone might get bored or lose interest.

My approach is to first work on the track until it’s around 80 to 90 percent complete in terms of arrangement, effects and so on. Then I edit every section separately, phrase by phrase. Sometimes the edits aren’t necessary, but the money is in the edit.

How did your connection with Sound Avenue first come about, and how do you look back on the relationship with the label now that this is already your third EP with us?

It was a beautiful connection. I had been following Dominique and the label for many years because I knew it was a solid label from the time I was learning to DJ. Back then, Diego Poblets had released music on the label and that caught my attention.

Years later, when I was finally ready to send demos, it was an instant match.

One of the great things about Sound Avenue and Dominique is their openness to present different elements that aren’t necessarily 100 percent pure progressive house. I think that openness is one of the reasons why so many renowned DJs follow the label’s releases. I believe the whole genre is evolving, and we’ll see new artists pushing the sound in fresh directions instead of sticking to an old formula.

You have also released on Future Avenue, Hexagonal Music and Soundteller Records. How do you feel your sound has evolved across these different releases?

The sound is becoming more minimalistic and a bit more impactful. Right now, I’m working towards creating stronger locking grooves with fewer elements.

One of my biggest challenges as an artist has been creating something different within the subgenre, but not so different that it wouldn’t fit into a progressive house set.

This new EP comes with remixes by Kyotto, ZAHNA & Ignacio Tuzio, AOVA and Thaddeus X. What does it feel like to hear other artists reinterpret your music?

I love it! Especially when some of the remixers are producers I already know because I regularly play their music, like Thaddeus X and Kyotto. Not only that, but it also creates new connections between artists, and that’s magical.

One of the remixes comes from AOVA, who is also based in Mexico. How important is the Mexican progressive and melodic scene to you, and do you feel there is a strong creative energy there at the moment?

There’s definitely a scene forming. It also depends on the city. As I live in the Caribbean, strictly progressive and melodic music still has relatively few followers here, while more house-oriented sounds are more widely accepted.

Releasing music has also allowed me to discover artists I wasn’t familiar with before, and I’m looking forward to meeting and collaborating with many of them in the future.

Your early works received support from names such as Hernan Cattaneo, John Digweed, Graziano Rafa, Marco Carola, Paco Osuna and Richie Hawtin. Do you remember the first time you saw a major artist supporting your music, and what that moment meant to you?

It was a shock, especially because at that time I still had doubts about my music.

It meant the world to me because it validates the path you’re taking. Some of those names have been huge inspirations throughout my career, so receiving their support always motivates me to become a better artist, be more responsible and continue taking my work very seriously.

A recent milestone in your career was winning the Stimming Remix Competition for “Keys Don’t Match”, selected by Stimming himself from more than 350 entries. Can you tell us more about that experience, and did it influence the way you approached your own music afterwards?

I’ve followed Stimming for a few years and own some of his early EPs. He’s been a huge inspiration, especially in the way he records elements and creates unique grooves. I still think his productions are masterpieces that sound warm and timeless.

While working on the remix, I imagined exactly where and in what situation the track would be played.

When Stimming announced the winners and explained what he felt while listening to each remix, he described exactly the same picture I had in mind while creating mine. That was incredible.

We’re all connected, and if enough intention is invested in the creative process, it creates bigger waves and resonates more deeply with whoever listens or dances to it. That’s what I strive for.

As a DJ, you focus on connecting downtempo, breakbeat, deep house, progressive house and melodic techno. What does your ideal DJ set feel like from beginning to end?

A six to eight-hour set where I can move through all of those styles in a way that creates a cohesive and pulsating journey. I’ve done this several times, especially at private events, and it’s where I can really showcase my skills.

You sometimes play extended six-hour sets. How do you prepare for longer journeys compared to shorter, more concentrated performances, and how much do you leave open to the moment?

I almost never prepare sets unless it’s for a specific event with a defined sound or particular audience requirements.

I have my music collection organised in a way that allows me to adapt instantly to any situation, DJ or event because I always know where to find exactly what I’m looking for.

With so many creative possibilities today, how do you approach quality control in your work? Do you rely more on instinct, discipline, or a structured process when deciding which tracks are ready to release?

I don’t know how many tracks I’ve produced since I started, maybe somewhere around the 800 to 1,000 mark.

I find it useful to make eight to ten tracks that are around 70 percent finished, then carefully listen back to all the ideas and decide which ones deserve to be taken to 100 percent and where I’d like to send them.

I’ve been working this way for a long time, and I really practice minimalism now. I try to keep the main melodies and groove within 12 to 15 channels, so a finished track doesn’t exceed 25 to 30 channels.

More than that doesn’t make sense to me anymore.

Another approach I now use is intentional listening. Every change in volume, reverb wet percentage or saturation is done with my eyes closed. Most mixing issues can be solved simply by assigning the right volume to each element with greater awareness. That’s a concept I learned from Steve Duda, the creator of LFOTool and Serum.

Many artists have a signature sound or style. How do you balance staying true to your artistic identity while also experimenting and evolving as an artist?

In my case, I think it happened naturally.

I used to be obsessed with finding my signature sound, but I quickly realised that doing the same thing over and over becomes boring and no longer excites me as much as simply experimenting and having fun.

When I stopped thinking about it so much and simply started creating, my sound naturally began to emerge because I found myself choosing similar textures, ambient sounds and musical ideas. Even the drops and the overall structure of my tracks tend to follow similar patterns.

The music industry has changed rapidly in recent years, with streaming, social media and digital tools reshaping the landscape. How have these changes affected your path as an independent artist?

I’m fortunate enough to work in IT, something completely different from music, which allows me to fund my music project and invest in teachers, VSTs, new libraries and synths.

I believe investing is an essential part of building any company because I see this as a brand rather than simply an independent artist project.

Unfortunately, the state of the music industry, artist royalties and opportunities continues to shrink. The artists who will survive are those who remain true to themselves and consistently show who they are. That’s something I plan to work on with greater intention.

What advice would you offer to your younger self, considering all the knowledge and experience you have gained so far? And what advice would you give to aspiring artists who may be reading this interview?

Grow your vision. Keep enjoying the journey. Focus on the process, not the results. Do not compare yourself to others.

Besides music, do you have any other passions, practices, or hobbies that inspire you or help you stay balanced?

Yes! I do heavy lifting to failure twice a week, I practice Pilates, I’ve recently started working with kettlebells and, from time to time, my wife and I play Diablo on the PS5.

Most of my time outside my 9-to-5 job is still spent in the studio.

Could you share a few of your all-time favorite tracks that have had a significant impact on your musical journey?

Sure! Here are a few:

• King Unique, 20000000 Suns

• Minilogue, Animals

• Guy J, Lamur (Henry Saiz Remix)

• Guy J, Candyland (King Unique Remix)

• Manuel Satie, Flores

• Djuma Soundsystem, Les Djinns (Trentemøller Remix)

• Sol & Grimm, Exuma

• Nathan Fake, The Sky Was Pink (James Holden Remix)

• Röyksopp, Sordid Affair (Maceo Plex Remix)

What can listeners look forward to from you in the near future?

More groove, more energy, and more groove locks.

Stream/download his latest release:
https://go.protonradio.com/r/rlqHMonHOGrCs

Follow John Moblack here:
Instagram: https://www.instagram.com/johnmoblackmusic
SoundCloud: https://soundcloud.com/johnmoblackmusic

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We recently released your new EP “The Itzkoim “ on our Future Avenue label. Can you tell us more about when this track was created, how long you worked on it, what inspired it, and what felt like the easiest and most challenging parts during the process?

The Itzkoim started as an idea about a year before its release, and I spent around a month developing and refining it. I wanted to step slightly outside my usual sound, exploring a different direction, especially through sound design, which turned out to be the most demanding part as I shaped textures and found the right sonic character. The easiest part was adding the vocal. It already had strong character and blended naturally with creative sound manipulation and effects, completing the atmosphere I was aiming for.

When starting a new track, what does your creative process usually look like? Do you begin with a melody, a groove, or a certain emotional idea?

I don’t have a fixed formula. Sometimes a melody appears and I record it on my phone. Other times, a groove, kick drum, or interesting rhythm sparks the process. I let emotion and inspiration guide me, following whatever feels natural and letting the track develop organically.

Where do you typically spend most of your time when producing, sound design, arrangement, or refining the final mix?

I spend the most time on sound design. It’s where a track comes to life, and I enjoy experimenting with textures, effects, and sonic elements until everything feels unique and emotionally connected. Arrangement and mixing are also important, but sound design receives the majority of my focus.

What is your main DAW, and can you share a few go-to tools, plugins, or techniques that are essential to your workflow?

My main DAW is Ableton Live, which I use for the entire production process. I always load a reference track on the first channel for technical analysis of structure, density, frequency balance, and loudness. For synthesis and sound design, I use Arturia instruments, Serum, ANA 2, and Diva. In mixing, FabFilter plugins, especially Pro-Q, are essential for precise EQ. For space and depth, I rely on Valhalla reverbs and delays.

Are there any artists, tracks, or influences that have had a lasting impact on your musical journey?

Moshic has been one of the most significant influences. I consider him a top-level sound designer in electronic music, admired for his long-term commitment to a distinct sonic identity over more than 30 years. His artistic and personal mentorship, releases on his label Contrast Records, and our collaborations have profoundly shaped my approach to building my own sonic signature.

How did you first discover the Sound Avenue Labelgroup, and are there any releases across the labels that particularly resonate with you?

The Sound Avenue Labelgroup has been on my radar for many years and has become a “go-to” selection for me as a DJ and producer. I appreciate the diversity within the catalog, as each sub-label has its own character while maintaining a clear standard and identity. I can’t point to a single favorite release because they consistently deliver strong material, especially tracks that work perfectly as set openers.

Outside of music, what are your main passions or ways to disconnect and recharge?

I value photography for its quiet, observational creativity, and I enjoy walking and exploring cities, especially Budapest, to clear my head. Spending time with my children is also essential, providing grounding and a shift away from work that helps maintain balance and perspective.

Finally, what can we expect from you in the near future, any upcoming releases, collaborations, or projects you are excited about?

The first half of 2026 was very productive, and the second half looks similar, with many upcoming releases across labels such as Where The Shadows Ends, Anoka, AH Digital, Droid9, One Of A Kind, Wander Nation Records, Delta Records, Balkan Connection, and 3rd Avenue. Highlights include an EP on Where The Shadows Ends with a personal track and a remix by Fernando Ferreyra, an organic house track on Anoka inspired by Sébastien Léger, and new releases on InU Records and PURRFECTION. There are also several collaborations in progress that I’ll share when the time is right.

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

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We recently released your music on our 3rd Avenue label. Can you tell us more about when this EP was created, how long you worked on it, what inspired it, and what felt like the easiest and most challenging parts during the process?

This EP, titled Inertia, was created around October and November of last year. It didn’t take too long to finish; overall, the whole EP took around two weeks. The easiest part was finding the right elements for each track and building the initial ideas. The most challenging part was the arrangement, as I always try to make the tracks flow naturally and keep the energy evolving.

When starting a new track, what does your creative process usually look like? Do you begin with a melody, a groove, or a certain emotional idea?

My workflow usually doesn’t change much. Most of the time, I start with the kick, bassline, and drums, because the groove is very important to me. When I’m working on something more melodic, I sometimes start with the main melody or emotional idea and build the track from there.

Where do you typically spend most of your time when producing, sound design, arrangement, or refining the final mix?

The part where I spend most of my time is definitely the arrangement, as I’m always focused on making the track evolve properly and keeping the energy consistent. Sound design is something I really enjoy, so I usually move faster in that stage, but arrangement remains the most time-consuming.

What is your main DAW, and can you share a few go-to tools, plugins, or techniques that are essential to your workflow?

My main DAW is Ableton Live. Essential tools in my workflow include Ableton’s native EQ, Utility, Waves S1 Imager, and Voxengo SPAN.

Are there any artists, tracks, or influences that have had a lasting impact on your musical journey?

Guy J’s music has been one of my biggest influences. Another major influence is GMJ & Matter. I also really like the music of Maze 28 and Ricky Ryan, and Sasha’s “Xpander.” Additionally, I’ve learned a lot from producers such as Kris Dur, Berni Turletti, and Fran Garay.

How did you first discover the Sound Avenue Labelgroup, and are there any releases across the labels that particularly resonate with you?

I first discovered the Sound Avenue Labelgroup through Kris Dur around 2024. One of my favorite EPs from the label is Forest Beast by Forty Cats, including the remixes by Berni Turletti and Weird Sounding Dude. Another release that resonates with me is Aislado by Eugenio Sanchez Moreno.

Outside of music, what are your main passions or ways to disconnect and recharge?

I really enjoy going for a run in the afternoons or taking a walk. I also like playing guitar. Making music is my primary way to disconnect and release stress.

Finally, what can we expect from you in the near future, any upcoming releases, collaborations, or projects you are excited about?

There is a lot of new music coming soon, including releases on important labels such as The Soundgarden and Mango Alley. I’m also working on a lot of new material with a fresh sound and am excited about this new stage and everything that is coming next.

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

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Hello Florian, how are you today, and what have you been up to lately?

Hello! I’m doing great, thank you. I actually just wrapped up the academic year at the university, helping my students graduate and closing out the school term, which is always an emotional and busy time. Now that the academic cycle is complete, I am fully focusing on my studio time, mentoring at the academy and preparing new music. I’ve been working a lot on live performance setups and blending organic instrumentation with electronic elements, so the creative energy is flowing beautifully right now.

Can you briefly share when you first started producing music, what your first piece of equipment or software was, and how you look back on your earliest releases?

I started my journey over two decades ago. My very first steps were with an early version of Cubase and a hardware sampler, before I fully transitioned to Ableton Live, which became my ultimate creative home. When I look back at my earliest releases, I feel a mix of nostalgia and pride. The mixdowns weren’t as polished as they are today, but the raw emotion, innocence and desire to explore were already there. It reminds me that music is an ongoing evolution.

You are active as a DJ, producer, soundtrack creator, mentor, and official Ableton Live instructor. How did these different paths develop over time, and do they all feed into each other creatively?

They developed organically as a natural expansion of my curiosity. Teaching forced me to deeply understand why I do what I do, which made my own production workflow much sharper. Creating soundtracks opened my mind to cinematic textures, which I now inject into my club tracks. On the flip side, DJing keeps me grounded in how frequencies move a crowd. They aren’t separate jobs; they are different windows looking into the same room.

Your music moves between Organic House, Progressive House, and Melodic Techno. How would you describe your sound to someone discovering your music for the first time?

I would describe it as “hypnotic storytelling.” It’s electronic music with a human heart. I like to build deep, evolving grooves that keep your feet moving, but wrap them in melancholic melodies, cinematic atmospheres and organic textures that speak directly to your emotions. It’s music meant for both the dancefloor and the late-night inner journey.

You are described as a sonic architect who weaves intricate melodies and pulsating rhythms. When you start a new track, do you usually begin with a melody, a groove, a sound design idea, or a certain emotional state?

It almost always starts with an emotional state or a specific mental image. I rarely sit down just to “make a beat.” Once that emotion is clear, I usually look for a texture or a sound design element that captures that feeling. The groove and the melody then grow naturally around that core essence. I build the house starting with the foundation of the mood.

Your recent 3-track release “Kaïros” on 3rd Avenue feels very detailed and atmospheric. Can you tell us more about the concept behind the EP and what inspired these three tracks?

Kaïros is an ancient Greek word meaning the right, opportune, or supreme moment, unlike Chronos, which is chronological time. This EP is about those moments where time seems to freeze, and you are fully connected to the present. The tracks are designed to feel like a journey through different layers of consciousness, balancing deep, earthy grooves with ethereal, airy synths to represent that suspended state of time.

How did the connection with 3rd Avenue come about, and what made you feel that this EP was a good fit for the label?

I have been a follower and admirer of 3rd Avenue and the Sound Avenue family for a long time. They have an incredible ear for deep, emotional and high-quality progressive and organic house. When I finished Kaïros, I immediately felt that its atmospheric depth and delicate storytelling matched their musical philosophy perfectly. Reaching out to them was a very natural step, and I’m thrilled with how they embraced the project.

You also create soundtracks. How does composing for visual or narrative projects differ from producing club-oriented or listening-focused electronic music?

When making club music, the rhythm and the physical energy are paramount; you are driving the dancefloor. In soundtracks, you are serving someone else’s vision; the music must support the narrative without overpowering it. It frees you from the constraints of standard arrangement bars and club structures. You can play with silence, extreme dynamics and abstract textures in a way that club music rarely allows.

You are the founder and creative force behind Māra Frequency and Atma Music. Can you tell us more about these projects and what each one represents?

These projects represent my deepest connection to sound as healing and energy. Māra Frequency focuses on sound therapy, meditation and how specific frequencies interact with the human body and mind to create balance. Atma Music (Atma meaning “Soul” or “Inner Self” in Sanskrit) is a platform where electronic music meets spirituality, a space for deeper, conscious electronic sounds that aim to elevate the listener’s vibration beyond just entertainment.

Your bio mentions music as a bridge between art, consciousness, and vibration. How important is the spiritual or energetic side of music in your creative process?

It is everything to me. Sound is physically a vibration that alters our water molecules and our brainwaves. When I produce, I try to stay mindful of the intention I am putting into the music. If a track is made with pure joy, deep introspection, or love, that energy translates into the arrangement. Music is a sacred language, and treating it with that respect changes the final result completely.

You also run a production academy and mentor emerging artists. What do you enjoy most about teaching, and what are some of the most common challenges you see producers struggling with?

What I enjoy most is that “aha!” moment when a student suddenly understands a concept and breaks through a creative wall. The most common challenge I see today isn’t a lack of tools; it’s actually an overload of choice. Many producers get stuck in “tutorial hell” or loopitis, where they can make a great 8-bar loop but struggle to arrange it into a cohesive story or finish the track.

As an official Ableton Live instructor, what do you think separates a beginner who keeps collecting techniques from an artist who actually starts developing their own voice?

The separation happens when you stop looking outward and start looking inward. A beginner collects plugins, sample packs and tricks, thinking the magic is in the software. An artist understands that Ableton is just a mirror of their mind. Artists start developing a voice when they deliberately limit their tools, embrace their own imperfections and use technique to serve an emotion rather than just showing off technical skills.

Many producers today have access to the same tools, plugins, sample packs, and tutorials. How do you encourage your students to move beyond imitation and develop something more personal?

I always tell them: “Don’t use presets as they are, and don’t copy arrangements step-by-step.” I encourage them to record their own organic sounds, the sound of their keys, their voice, ambient noise from their city, and process them through Ableton. By injecting your unique daily life into your sampler, your music instantly becomes something no one else can replicate, because nobody else lives your life.

On your website, you mention ghost production, which is often a sensitive and debated topic in the electronic music scene. What is your personal view on ghost production, and why do you offer it as part of your work?

It is definitely a sensitive topic, but I view it with total transparency and professionalism. For me, offering engineering and co-production services is about helping individuals realize a vision they might not have the technical years to execute yet. Just like a fashion designer has a team of tailors, or a pop star has a team of writers, some figures in the industry need technical execution to bring their ideas to life. It is a legitimate service within the music industry ecosystem when done ethically.

Some people see ghost production as a practical service, while others feel it creates questions around authenticity. Where do you draw the line between collaboration, mentorship, co-production, and ghost production?

The line comes down to credit and the client’s involvement. In mentorship, I teach you how to do it. In co-production, we do it together and both share the credits. In ghost production, it is a purely corporate or commercial service where the artist provides the vision, direction, or reference, and I act as the technical architect behind the curtain, relinquishing the public rights. As long as expectations, contracts and boundaries are clear from day one, every format has its place.

Have your experiences as a teacher and mentor influenced the way you think about ghost production, especially when working with artists who may still be developing their technical skills?

Yes, absolutely. Often, what starts as a ghost production or co-production request turns into a teaching moment. Many times, an artist comes to me wanting a track done, but through the process of discussing the project, they become curious about how I achieved a sound. My goal is always to empower people, so I frequently guide ghost production clients toward co-production or mentorship so they can eventually fly on their own.

With so many creative roles and projects, how do you approach quality control in your work? Do you rely more on instinct, discipline, or a structured process when deciding which tracks are ready to release?

It’s a balance of all three, but discipline acts as the framework. I have a very structured routine in the studio regarding deadlines and testing tracks. However, the final “green light” is 100% instinctual. If a track doesn’t give me goosebumps after leaving it alone for a week and listening back with fresh ears, it’s not ready. Quality control means being brave enough to scrap an idea that is “good” to make room for something that is “great.”

Many artists have a signature sound or style. How do you balance staying true to your artistic identity while also experimenting and evolving as an artist?

Your signature sound isn’t a specific synth preset or a kick sample; it’s your musical DNA, the way you choose notes and space. Once you realize that, you lose the fear of experimenting. I can make a Progressive House track or an ambient cinematic piece, and they will both sound like me because my emotional core is identical in both. Evolving means changing the clothes, but keeping the same soul.

The music industry has changed rapidly in recent years, with streaming, social media, education platforms, and digital tools reshaping the landscape. How have these changes affected your path as an independent artist?

It requires you to be a multi-dimensional entrepreneur. You cannot just sit in a dark room and make music anymore; you have to understand community building, content and digital landscapes. It can be exhausting, but it’s also incredibly empowering. I can run an international academy from my laptop and connect directly with listeners of my EP on 3rd Avenue across the world without traditional gatekeepers.

What advice would you offer to your younger self, considering all the knowledge and experience you have gained so far? And what advice would you give to aspiring artists who may be reading this interview?

To my younger self, I would say: “Relax, enjoy the process, and stop rushing. Mastery takes time.” To aspiring artists, my advice is to focus on longevity rather than viral moments. Build your foundations deep, learn your tools inside out, protect your mental health and stay true to your authentic sound. The trends will change every six months, but authenticity never goes out of style.

Besides music, do you have any other passions, practices, or hobbies that inspire you or help you stay balanced?

Yes, staying balanced is vital. I practice meditation, sound baths and yoga regularly to disconnect from screen time and ground myself. I also love spending time in nature, hiking and traveling. Getting away from the studio and into the quietness of nature is where my batteries truly recharge.

Are there any books, documentaries, podcasts, or films that have influenced you or that you would recommend to fellow artists?

I highly recommend the book The Creative Act: A Way of Being by Rick Rubin; it’s a masterpiece on mindfulness and the creative process. For music and spirituality, anything on sound healing or ancient frequencies is fascinating. On the film side, I love movies with profound, ambient sound design like Interstellar or Blade Runner 2049. They are masterclasses in sonic emotion.

Could you share a few of your all-time favorite tracks that have had a significant impact on your musical journey?

That’s a tough one! But tracks like “Rez” by Underworld for its incredible energy, anything from Jon Hopkins (like “Immunity”) for his stunning blend of organic texture and techno, and classic progressive anthems by Sasha or John Digweed that showed me how a DJ set can be a fluid, cinematic story.

What can listeners look forward to from you in the near future?

Aside from promoting the Kaïros EP on 3rd Avenue, I am working on a new series of audiovisual live performances that blend electronic music with live sound healing instruments. There are also several collaborations in the pipeline, new educational masterclasses for Ableton users and fresh releases on Atma Music. Thank you for this beautiful conversation!

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

We recently released your music on our label. Can you tell us more about when this track was created, how long you worked on it, what inspired it, and what felt like the easiest and most challenging parts during the process?

Grimoire EP was born out of a period of writer’s block. “Aperate” came first, starting as an exercise to break that block. I even saved the project file as “writers_block”. The lead melody was already in my head, which led to the orchestral pads for the breakdown. Once that melody was in place, everything began to flow quickly.

The title track, “Grimoire”, followed, aiming for a whimsical and mysterious vibe with a pre-imagined drum pattern, resulting in a breakbeat track that maintains a lush, euphoric atmosphere. The easiest part was getting the initial melody and flow. The most challenging was overcoming the writer’s block that preceded the project.

When starting a new track, what does your creative process usually look like? Do you begin with a melody, a groove, or a certain emotional idea?

It varies. Sometimes I start with a groove, other times with a melody or chord progression, and occasionally I spend hours scrolling through samples and presets. What remains constant is that one sound or idea eventually sparks an explosion of creativity, leading to a “flow state”.

Where do you typically spend most of your time when producing, sound design, arrangement, or refining the final mix?

I adopt an “everything, everywhere, all at once” approach, constantly adjusting the mix, sound design and arrangement. I tend to linger in the arrangement phase because it can be tedious, but also very enjoyable.

What is your main DAW, and can you share a few go-to tools, plugins, or techniques that are essential to your workflow?

I work primarily in Ableton Live 12 Suite. I limit the number of plugins to master them fully, but I consistently use NI Massive, U-he DIVA, Vital and Soundbox from Audio Modern for atmospheric sounds. My technique focuses on proper gain staging, using cut EQ instead of boosting, randomising velocity and swing for a human feel, and freezing and flattening tracks to save CPU.

Are there any artists, tracks, or influences that have had a lasting impact on your musical journey?

A great many. I’ve been a fan of trance and progressive since I was young, drawing inspiration from artists such as Chicane, Armin Van Buuren, Gabriel & Dresden, OceanLab, Oliver Smith and Mat Zo, as well as artists outside the dance realm, like Enigma, Sade and Dr. Dre. The period from 1995 to 2010 was especially formative for my sound.

How did you first discover the Sound Avenue Labelgroup, and are there any releases across the labels that particularly resonate with you?

Living in Los Angeles, I attended many unofficial desert parties and raves where the progressive sound was darker, brooding and psychedelic. Tracks from the original Sound Avenue imprint played at those events, and the label quickly became a staple in my crate.

Outside of music, what are your main passions or ways to disconnect and recharge?

I’m a beach person who is learning to surf and preparing to get scuba certified. I love being in the water and hope to eventually produce with Ableton while floating.

Finally, what can we expect from you in the near future, any upcoming releases, collaborations, or projects you are excited about?

I have a demo at ClubHaus, which will be my second release on the label and a return to trance. After completing several remix projects, I’ll focus on original productions. Expect more releases on 3rd Avenue, potential collaborations with producers I admire, and continued work under the Sound Avenue umbrella.

Stream/download his latest release: click here
Follow Derek Christopher here: Instagram

We recently released your music on our label. Can you tell us more about when this track was created, how long you worked on it, what inspired it, and what felt like the easiest and most challenging parts during the process?

“Full Steam” started taking shape late last year, during a period when I was experimenting a lot with blending analog textures and more modern club-driven energy. The first sketch came together surprisingly quickly; the main chord progression and the emotional tone were already clear in the first session. I wanted something that carried warmth and nostalgia, but still had enough drive to work on a dancefloor.

I worked on the track across several weeks, usually in short sessions. The inspiration came from wanting to create something that felt uplifting without losing depth, a track that could shift the mood of a set, not just fill space.

The easiest part was definitely shaping the melodic identity. The pads and the soaring lead came very naturally, and once those were in place, the emotional direction of the track was set. The most challenging part was balancing the groove with the atmosphere. I wanted the low end to feel tight and energetic, but not overpower the warmth of the synths. Getting that balance right took a few revisions.

When starting a new track, what does your creative process usually look like? Do you begin with a melody, a groove, or a certain emotional idea?

My process usually starts with an emotional idea. I like to set the mood first, either through a pad, a chord progression or a texture that immediately creates a certain atmosphere. Once that feeling is clear, I build the groove around it. The melody and the rhythm usually grow together from there, but the emotional direction is always the starting point. If the atmosphere is right from the beginning, the rest of the track tends to write itself, in my opinion.

Where do you typically spend most of your time when producing, sound design, arrangement, or refining the final mix?

I usually spend most of my time on the arrangement and the final mix. The ideas and sound design come fairly quickly, but shaping the structure and getting the mix to feel balanced across different systems is where I really slow down. The mixdown is the final stage, but the arrangement is where the track finds its identity.

What is your main DAW, and can you share a few go-to tools, plugins, or techniques that are essential to your workflow?

My main DAW is Cubase. It’s where I do everything, from sketching ideas to the final mix. For synth work, I often use Diva, Retrologue and Nexus, especially when I need quick inspiration or layered melodic textures. On the mixing side, my go-to tools are Frequency 2, the Cubase Channel Strip, FabFilter Pro-Q 3 and Soothe2. I rely a lot on building warm atmospheres first, then shaping the groove and tightening the low end before moving into the arrangement.

Are there any artists, tracks, or influences that have had a lasting impact on your musical journey?

Yes, definitely. Artists who blend deep emotion with a strong groove have always influenced me, people like Hernan Cattaneo, Guy J, Nick Warren and the whole Global Underground era. I’ve also been inspired by the cinematic feel of Kiasmos and the classic trance and progressive sound from 1998 and the early 2010s.

Paul van Dyk was a huge influence, especially during that period; his melodic sense and emotional intensity shaped how I connected with electronic music early on. Classic progressive records with warm analog textures also left a lasting mark, tracks such as Paul van Dyk, “For An Angel”, Binary Finary, “1999” and Rank 1, “Airwave”. Those influences still guide how I build tension, space and melody today.

How did you first discover the Sound Avenue Labelgroup, and are there any releases across the labels that particularly resonate with you?

I first discovered the Sound Avenue Labelgroup through the mixes of the artists who shaped my taste, people like Hernan Cattaneo, for instance. Their selections introduced me to the label’s sound long before I followed it directly.

Over time, certain releases really stood out to me, especially the Dimensions series and tracks from the 3rd Avenue label. One release that resonated with me was Madloch, Subnode & Pedro Capelossi’s “Turmeric Latte”. It has that warm, earthy progressive feel I love: subtle, emotional and perfectly paced. Those tracks shaped how I think about atmosphere and long-form storytelling in my own productions.

Outside of music, what are your main passions or ways to disconnect and recharge?

Outside of music, I recharge by disconnecting completely, usually through travel, long walks and spending time in nature. I also enjoy photography and exploring new places, which helps reset my mind and gives me fresh creative energy.

Even when I’m not actively producing, music is always with me in some form; it naturally accompanies me through these activities and keeps me inspired without feeling like “work”. Stepping away from the studio is important for me; it keeps my perspective clear when I come back to producing.

Finally, what can we expect from you in the near future, any upcoming releases, collaborations, or projects you are excited about?

In the near future, I have quite a few remixes coming out for different labels, including Future Avenue, 3rd Avenue and Stellar Fountain, which I’m really excited about. I also have several releases lined up with new melodic and progressive material that continues the direction I’ve been exploring lately.

On the collaboration side, I’ve been working closely with Redspace over the past few months. He’s an amazing artist, and I genuinely feel honoured to collaborate with him; our workflow is really smooth, and it’s always a pleasure to create together.

Alongside that, I’m developing more solo tracks that push my sound further. It’s an exciting period, and I’m focused on building a consistent catalogue that truly represents where I am as an artist right now.

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

Hello Jon, how are you today, and what have you been up to lately, both musically and personally?

Hi Dominique, thanks for asking. I’m doing well. I just got back from a trip to the German island of Amrum. I played a concert there and spent some vacation time with my family at the same time. It was very nice there.

I’ll be playing more concerts this year. In February, I released a new album with David Bickley titled “The Prelude.” It’s a soundtrack album to a film with the same name.

Can you take us back to the beginning, when did you first start making music, and what was your very first setup or instrument?

Like almost every kid, I started out playing the recorder at a music school when I was little. But for some reason, playing soccer was more interesting to me, so I decided to join a soccer club instead :-).

I guess when I was about 12, I bought a synthesizer, a Yamaha DX11, and a drum machine, a Roland TR-505, and started experimenting with them on my own. I wanted to compose and started doing so right away, even though I couldn’t play. I then taught myself how to play. But composing was always more important to me than playing.

Then, around age 17, I took classical piano lessons. I wanted to get better at the instrument. I eventually studied classical piano starting at age 21, followed by jazz piano, jazz composition and arrangement at various music conservatories.

You have a strong background in both classical and jazz music. How did those worlds shape you as an artist, and how do they still influence your compositions today?

Yes, I love both classical music and jazz, but of course pop music too!

Ultimately, what is known today as “neoclassical” is a fusion of these three musical genres. But this fusion is also evident in the modern jazz of today. As far as my pieces and compositions are concerned, I must say that I am truly influenced by all three genres.

By the musical language of classical music, the improvisation of jazz, and the minimalist form of pop.

Did you have any mentors, teachers, or key influences during your studies that played an important role in your development?

I think it has always been other musicians and artists who have had the greatest influence on you.

In my case, in the field of jazz, it was certainly the pianist Esbjörn Svensson, who drove forward precisely this fusion of jazz, classical, and pop with his trio e.s.t. in the early 2000s. Sadly, he passed away in 2008.

Another jazz pianist and composer whom I greatly admire is Thelonious Monk.

Over the years you have worked as a composer, arranger, and producer across different contexts, from string quartets and orchestras to TV and film. Which of these experiences has been the most defining for you, and why?

I can’t say which experience has been the most formative. I’ve always loved them all.

Working with a large orchestra or a small string quartet, orchestrating and arranging, composing film music, or producing music, these are all completely different fields, but that’s exactly what I find interesting. I love the great variety and the combination of stylistic and technical skill. That’s basically what drives me to engage with music every day.

Despite working in many different formats, you’ve always continued to develop your own personal music. What does that personal space mean to you creatively?

This freedom means a great deal to me, as I can really only do what I personally like, or rather, only what truly means something to me.

I only want to make music that really moves me, and then I hope it moves others too :-).

The piano is clearly at the center of your work, but you often combine it with instruments like Sansula, Kalimba, Glockenspiel, and electronics. What draws you to these textures, and how do you integrate them into your compositions?

I really like the sound of the sansula and kalimba. It’s a very warm and soft sound that blends very well with the piano.

I have now produced two albums, “Sansula” (2017) and “My Inner Place” (2026), featuring the sansula, kalimba, and piano.

In my opinion, electronic sounds blend very well with this very warm and organic sound. However, I use electronics very sparingly. I’m a bit of a minimalist anyway :-).

When starting a new track, what does your creative process usually look like? Do ideas come from improvisation, a concept, or a specific sound?

It usually varies. Improvisation is certainly an important part of it, and it usually comes at the start.

Once I’ve found a melody or chord structure that I like, I work on it. The melodic aspect is very important to me, alongside the harmonic one, of course.

Where do you typically spend most of your time when producing, sound design,
arrangement, or refining the final mix?

That’s a tricky question, every one of the areas you’ve mentioned takes a lot of time! :-)

With some tracks, one area goes faster than the others. With others, it’s the other way round. If you want to do a good job, every area takes time! :-)

What is your main DAW, and can you share a few go-to tools, plugins, or techniques that are essential to your workflow?

I mainly use Logic Pro as my DAW. As for plugins, I’d mention FabFilter Pro-R, a reverb plugin that I always use for my acoustic piano and which I can highly recommend.

The music industry has changed a lot over the past years, especially with streaming and digital distribution. How do you experience this as an artist working in a more niche, emotional, and cinematic space?

It’s both a blessing and a curse. On the one hand, music consumption has practically no value to society anymore.

On the other hand, anyone can now release music very easily and express themselves. Whether that’s a good or a bad thing is another question.

Personally, I’m glad that I can release so much music.

You released the Forest Towers EP on our Daydreamers label, with your production partner David Bickley. Can you tell us how that collaboration came about?

I met David in 2021, actually via Instagram.

I did a cover version of the song “Sweetest Smile” by Colin Vearncombe, known as Black for his 1980s hit “Wonderful Life”, who sadly passed away in 2016.

David had worked with Colin, as Colin also lived in Ireland, not far from David.

In 2021, I then produced a whole tribute album, rearranging Black’s songs for piano. It’s called “Black Is My Piano.”

David then got in touch to ask if I’d be interested in doing a version of Colin’s track “Lost Hymn.” He still had the solo vocal tracks from when he’d worked with him. David made a dub version of it, and I created a reharmonised new piano version featuring Colin’s vocals.

That was the first time we worked together, and since then we’ve collaborated on several projects, including the new album “The Prelude” I just mentioned.

Stealing Sunlight was featured in the HBO series : “Dexter: Resurrection” How did you first hear about this placement, and what was your initial reaction?

I heard about it from my colleague David Bickley. A music supervisor had discovered the track. I was, of course, stunned :-) I never would have expected that.

Seeing your music placed in a major series like that must have been a special moment. What did it mean to you personally and professionally?

I was, of course, very happy about it and absolutely thrilled. That really doesn’t happen every day, it’s something quite special.

But you should always remember the most important thing, which is to try to make good music and not make yourself too dependent on necessarily achieving success with it.

The music itself is the most important thing.

For artists reading this, what is your perspective on sync placements like this? Is it
something you actively aim for, or more something that happens organically?

I reckon if we’d actively sought it out, it probably wouldn’t have worked out :-).

But let’s see what the future brings. After all, the best thing is to devote yourself to music, whether on your own or with others.

Looking back at your journey so far, what would you consider the highlight of your career up to this point?

For me, every completed album or production, every great collaboration, and every successful concert is a highlight.

The music is the highlight :-).

If you could give advice to your younger self, what would it be? And what would you say to emerging artists trying to find their path today?

Definitely to make the music you really want to make, the kind that gives you something and fulfills you.

Don’t chase after success and lose yourself in the process.

But that tends to happen more in commercial music. We’re all in a field where passion for music is what drives us.

Outside of music, what are your main passions or ways to disconnect and recharge?

I love to recharge my batteries in nature.

That could be a long hike through the woods or a walk by the sea, for example.

My family and sports are also big passions of mine :-)

Are there any books, films, documentaries, or other forms of art that have inspired you deeply and that you would recommend?

All forms of art move me if they are profound and meaningful to me. There are so many good books and movies that it’s hard to single out just a few.

When it comes to movies, I would personally mention “Schindler’s List,” perhaps partly because John Williams’ score is so moving.

Could you share a few tracks or artists that have had a lasting impact on your musical journey?

There are so many artists and songs from various genres that have influenced me over the years. In pop, it’s definitely New Wave music with bands like Depeche Mode, Tears for Fears, The Cure, and many others. In jazz, it’s the Swedish pianist Esbjörn Svensson, Keith Jarrett, Bill Evans, and Thelonious Monk. In classical music, composers like Debussy, Chopin, Scriabin, and Bach.

Finally, what can we expect from you in the near future, any upcoming releases,
collaborations, or projects you are excited about?

Yes, there will be a few collaborations I’m really looking forward to. I’ll be releasing a new album titled “My Inner Place,” which will feature the aforementioned fusion of piano, sansula, kalimba, and electronic elements. I’ll also be releasing more single piano solo tracks.

And I’ll be giving a few live concerts as well. One will be next year in Paris.

Thank you so much for the interview, and all the best!

Stream/download his Daydreamers release: click here
Follow Jon here: Instagram | SoundCloud | Youtube

Hello Pedro, how are you today, and what have you been up to lately, both musically and personally?

Hello guys! I’m feeling good. I came back to Barcelona in December and finally feel like being back home after 14 years in Norway. That’s what I have been doing lately, moving and reorganizing my life, and of course doing some music when I can. Apart from the EP at SA with Vusal, I also released one with Nick Newman on Manual Deep and a remix for Dovim on Seven Villas since this year started.

Can you take us back to the beginning, when did you first start making music, and what was your very first setup or instrument?

Making music, I started quite early, around when I was 15, first playing guitar and bass. Then, when I was around 18, I started doing electronic music on Music 2000 and got Fruity Loops 3 quite fast after that.

You originally studied Fine Arts before fully diving into music. How did your visual and artistic background influence the way you approach sound and composition today?

I have always seen making music as painting. In painting, you fill up a canvas, in music, time and space. In both, it is really important to know when to leave blank spaces. And in general, I find that any type of art form is connected to the next one.

You also spent time immersed in the German club scene, where your DJ career began around 2005. What are your strongest memories from that period, and how did it shape you as an artist?

My strongest memories are with my friends Christoph and Vio. They showed me the scene there, from Robert Johnson to Frankfurt Cocoon, U63 to more underground parties. There, I was really influenced by artists like Roman Flügel, Anthony Rother, Ricardo Villalobos or Sven Väth, who were playing in the area quite often, or label parties at Robert Johnson from Kill The DJ and Kompakt Records, which was normally my main option to go out. I remember a night when I finished at Heiko’s MSO (R.I.P.) birthday party at the Ongaku/Playhouse headquarters. That night will always stick with me.

Did you have any mentors, key influences, or artists who played an important role in your early development?

In my early development, Daft Punk and their Homework album were crucial. I used to play bass and guitar with a friend and dreamed of making a band, but we really had no place to practice properly. So when we heard that album and someone told us it was made at home, we were like, wait, how? And we got Fruity Loops 3 and later Reason, and started making music as Uninstalls. We never released anything.

Later on, my friend from the neighborhood, Paulino (Clase Sencilla), and owner of Sin Hilo Records, showed me the first hardware-based setup in his studio and introduced me to Guillem (Bombjack/TBFH), who at the time was working as a musical software teacher at a known school in Barcelona, who offered me free lessons after a while.

If we speak in terms of popular artists, my biggest inspiration is Laurent Garnier. He is the DJ of DJs to me. Jeff Mills, when it comes to techno, is an eminence, unique and has created school. When it comes to deep stuff, without a doubt, Pablo Bolívar, also a big part of why I am here today as an artist. I admire Ángel Molina a lot too because he is a pioneer in my city. I have seen him maybe even more times than Laurent, and he has never, ever disappointed me. He is a really forward-thinking DJ and well respected in the techno scene. I even saw him play once in Germany at an official event/ceremony celebrating Catalan culture there in Germany.

Over the years, your music has found its way onto labels like Seven Villas, Everything Will Be Ok, Loot Recordings and Univack, gaining support from artists such as Hernan Cattaneo, Pablo Bolivar and Christian Smith. What did that recognition mean to you at the time?

For me, being practically a self-taught artist, coming from Fine Arts and from painting my whole life, which made me feel like an intruder for years and also have some sort of internal conflict, as I wasn’t sure what to do, only make music, only art or do both, it meant a lot. It was not only the confirmation that I did well prioritizing music over art, even though I never stopped, but also that I was at a professional level. That meant all the sacrifices I made for this, and all the time, effort and money spent on my music career, were not wasted. And it gave me a lot more confidence in what I do.

When starting a new track, what does your creative process usually look like? Do ideas come from DJ sets, emotions, or experimentation in the studio?

If I have to be honest, I barely listen to dance music. In fact, I don’t listen to much music lately just for pleasure or inspiration, and if I do, it is mostly quite random stuff. I listen to punctual sets from other people, to mine, because not gonna lie, I play the music I like, and I see what I have to do better, apart from memorizing the transitions I would like to take to a club.

My ideas come from my environment, and my soul and mind state, from music I have heard before and the feeling of nostalgia it gives me to remember the first time I heard it, and from silence lately and self-reflection.

How I start a track changes depending on what I want to do. For deep stuff, I normally start with some dubby chord and a kick, or a linear pad with some small noises to create space and depth.

Where do you typically spend most of your time when producing, sound design, arrangement, or refining the final mix?

It depends on what I do, but by experience, I can tell you if the sound design is not good, you will suffer mixing the track and probably won’t have a professional outcome. Listening to the conversation between elements before moving forward with polishing anything is really important.

What is your main DAW, and can you share a few go-to tools, plugins, or techniques that are essential to your workflow?

I have been working with Ableton since 2015. Before, I used other DAWs, but I wanted to do live music at some point, so this was a no-brainer. My go-to bass lines or sub tool is the Crave from Behringer, which I also use for some crazy semi-modular sequences or drone stuff, MAM MB33 for acid lines, Elektron Analog Rytm and some samplers I have had for ages for drums. Normally, I use software for all atmospheric stuff and field or studio recordings.

I like to create my own percussion with stuff I find at home, or just record static noise from reality and add it to a pad to create motion, and skip using white noise OSC from synths, or some vocal weird noise which people won’t even notice is me.

The music industry has changed a lot over the past years, especially with streaming and digital distribution. How do you experience this evolution as an artist?

Well, taking the risk of being called boomer or any other name, I’m gonna say that I don’t know if it was the excitement and innocence I had as a younger self, that electronic music was not a massive industry but a niche for weird and different people, and sounded truly new and fresh, or the streaming, phones and socials thing, but it was definitely better before from an artist point of view. There was a real option to make a hit, there were real options to sell physical formats and make money making music, and there was for sure more respect for the scene, the music and everyone involved. Today, it feels like you have to spend more time doing online marketing than actually making music. The streaming system is amazing as a user, cheap and easy to use, but it is detrimental to musicians’ economy and to a diversified music catalogue when it is based on what an algorithm pushes on you instead of your own curiosity to learn. Socials are detrimental to the perception of the art, which becomes a soulless show for money, and phones to the dancefloor vibe.

Yes, I love the internet. I can reach people all around the world with my music, I have made an incredible network with people I have never met in person, and there are many good things, but the established capitalist systems that run today, the internet and the industry, are killing it slowly but steadily in benefit of the future, AI music-generated crap.

Twenty years ago, I think with all I have accomplished today, working with top professionals, playing for radios in Ibiza, releasing two albums and having music on vinyl, I would have been touring the world probably. Today, that’s a marketing and PR game, not about hard work, talent or artistic creativity. I mean, how can music or DJs be getting gigs or arriving to people through visual apps when they are auditive and sensorial arts? Because who has the most rock star look wins the game, the music has no weight on that.

You have been part of the Sound Avenue journey for several years now, from your first appearance on Correlation, Vol. 2 to your Immersive Experience EP and now your recent return. What does the label represent to you?

Well, counting that it was Dominique who connected with me through SoundCloud around 14 or 15 years ago, when I had only released on local labels and netlabels, and gave me the opportunity to release my first track internationally on Crossfade Sounds, a sublabel of the family, and that now I have several works on the main label, which has become a global reference for deep progressive and beautiful electronica, releasing well-respected producers, the label, together with Seven Villas, are some of the main responsibles of my motivation and success, if you want to call it like that, behind my career. So I’m thankful to Dom for the opportunity and trust, and happy and proud to keep working with you after all these years.

As Sound Avenue celebrates its 15-year anniversary, are there any releases from the label that stand out to you as personal favorites?

Oh, you guys have such a big and good catalogue that it is difficult, but Joe Miller, The Last of the Great Days, Nopi, Where To Go, or anything from Ercos, who has an incredible sensibility printed in his music.

Your latest release sees you collaborating again with Vusall Insun on the Reaching EP. How did this collaboration come about, and what makes your creative connection work so well?

Well, I discovered his music on Sound Avenue and he liked mine, so we connected. We have hypnotism and deepness as similarities in our sound. He asked me if I was interested in collaborating, and I had some material I was working on to send him and start working on an EP.

Can you tell us a bit more about the idea or feeling behind the tracks Reaching and Playful? What kind of story or atmosphere were you aiming to create?

I wanted something deep for sure, and after talking to Vusall, we decided to add some groove and hypnotism to it.

When collaborating with another artist, how do you usually approach the process? Is it more structured or intuitive?

Normally, one of us works on a simple sketch and some sound design, sends it to the other artist, who freely develops the idea. It’s about having a bit of both in it, so after that, there is always some reflection time and discussion about what works, what does not, where to go next and who is the best suited for the task, always trying to keep a balance on the identity of the track.

Looking back at your journey so far, what would you consider the highlight of your career up to this point?

Without a doubt, my album debut at Seven Villas in 2022, the presentation of it at Nitsa Club and Ibiza Sonica on live format, and the release on vinyl of the track “Vesania” from the album, two years after. And as a DJ, playing with Guy J in Oslo, or my two years at A.D.E. with Tanzgemeinschaft and Chrom Records.

If you could give advice to your younger self, what would it be? And what would you say to emerging artists trying to find their path today?

Less party, more hard work, hahaha, and always listen to your gut, not to people. Life is a competition with yourself, not with others, about becoming better, in this case as an artist, than you were yesterday. With others, we learn, grow or share.

Outside of music, what are your main passions or ways to disconnect and recharge?

I have many. I also tattoo, draw and sometimes paint watercolor normally. I like to read all types of stuff, listen to podcasts, meditate and exercise to feel well, and swim, if it is in nature even better. And of course, I like to spend time with the people I love.

Are there any books, films, documentaries, or other forms of art that have inspired you deeply and that you would recommend?

Many of them. Books: Dance, Music Culture and the Politics of the Sound from Ewan Pearson, a pretty good producer from the UK, and Jeremy Gilbert, Loops: A Story About Electronic Music, Neuromancer, Energy Flash, Do Androids Dream of Electric Sheep?, 1984, A Happy World. Movies: Interstellar and its amazing OST, The Matrix, Ghost in the Shell, Akira, Limitless, Dark City and anything from Hayao Miyazaki.

I like classic art, like the Renaissance. I think those artists were geniuses. They learned many different techniques, they knew how to paint, draw, sculpt, architecture and even physics, and had a great observation capacity and patience. Also Van Gogh, he was a misunderstood genius, not a crazy man like people present him.

Could you share a few tracks or artists that have had a lasting impact on your musical journey?

Yes, as mentioned before, Laurent Garnier and Jeff Mills, but also the sound of different labels, like DJ Hell and Gigolo Records, or Kompakt with releases like the first ones from Rex the Dog, Kaito, Brutalga Square from Koze, Sino Records from Delaze, where old Technasia and Christian Smith stuff was released among other gems of deep, loopy and mental techno. Future Mix from Technasia, Aril Brikha and his Departure In Time, some Plastikman, and lately artists like Luigi Tozzi, Edit Select, Joachim Spieth. I really enjoy atmospheric and repetitive techno.

Finally, what can we expect from you in the near future, any upcoming releases, collaborations, or projects you are excited about?

To be honest, after some crazy years producing, I have decided to take a small lapsus and focus on my private life. I am not taking requests at the moment from labels or artists. I have a remix on Manual Deep for a Swedish artist and a collaborative single with Egil W., a cinematic musician from Norway, which we did while working on a theater show a while ago, on your Correlation series. Apart from that, I am working on my own material slowly, probably to send to Seven Villas, and I will focus on learning my new hardware setup and developing my live with my other project focused on techno and electro, Basic Shape, with which I released an album last December, while working on more material of my own as Pedro. The plan is to release less music, but more personal and, if possible, of more quality.

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

We recently released your music on our label. Can you tell us more about when this track was created, how long you worked on it, what inspired it, and what felt like the easiest and most challenging parts during the process?

Both tracks came together over time. I usually don’t finish things in one go, I keep going back to them, so it took a few weeks from the first idea to the final version.

Drifting Motion is more driven by constantly evolving synths, with small changes happening all the time, which gives it more movement and tension.

Silent Flow is more stripped back, but with a stronger low end that carries the track in a more direct way.

I don’t know if there’s really an easy part. I think it’s more about having a clear idea of the mood and atmosphere I want to go for from the beginning. The challenge is not overworking it. It’s easy to keep adding layers, but much harder to take things out and still keep it working.

When starting a new track, what does your creative process usually look like? Do you begin with a melody, a groove, or a certain emotional idea?

It depends. Sometimes I start from a groove, sometimes from a melody, or even just a simple sound or idea that catches my attention.

There’s no fixed rule. What matters more for me is the mood and direction I want to reach, not the starting point itself.

From there, I start building around it, usually rhythm and low end first if it’s groove driven, or expanding the harmonic idea if it starts from something more melodic.

I always keep in mind how it would work in a DJ set in terms of moments within a set. Sometimes you need more energy, sometimes something more emotional, and other times tracks that give people a bit of space while still keeping the groove going and setting up what comes next.

Where do you typically spend most of your time when producing, sound design, arrangement, or refining the final mix?

I’d say most of my time goes into sound design and the harmonic side of the track. I usually spend time shaping the actual sound and finding the right atmosphere before moving into anything else.

Once that part feels right, I start developing the structure around it. Arrangement comes quite naturally after that, but refining is where things can take longer.

It’s easy to keep tweaking small details, and knowing when to stop is probably one of the more challenging parts of the whole process.

I also pay a lot of attention to how everything sits together in terms of mix, but I try not to overwork it. If the idea is strong, I prefer to keep it as clean as possible rather than over processing it.

What is your main DAW, and can you share a few go to tools, plugins, or techniques that are essential to your workflow?

I work with Ableton. I don’t rely on a large number of plugins. I prefer to know a few tools well and use them depending on the type of sound I want to achieve. Nowadays I’m using Hive and ANA.

I also spend some time on the percussion side, focusing on small variations and groove details to create a constant sense of movement throughout the track.

For effects, I use Infinite from Toolroom mainly to build tension and shape transitions, especially leading into breaks so they have a more defined impact.

Are there any artists, tracks, or influences that have had a lasting impact on your musical journey?

There are definitely a few artists that had a strong impact on how I understand music and DJing.

Hernán Cattáneo was one of the earliest references in terms of how to build a journey and control energy over time, not just track selection, but how everything connects.

Guy J has been a big influence on the production side, but also in the way he keeps the dancefloor constantly moving. There’s always a sense that something is evolving, even in more subtle moments.

More than specific tracks, it’s the way these artists approach progression, tension and structure that stayed with me and influenced how I work today.

How did you first discover the Sound Avenue Labelgroup, and are there any releases across the labels that particularly resonate with you?

I came across the Sound Avenue group quite naturally over time, mainly through digging, and also through 3rd Avenue, which always stood out to me for the quality in their releases.

More than specific releases, what I’ve always appreciated is the consistency across the label. There’s a clear identity, and the music always feels focused and relevant within the scene.

Outside of music, what are your main passions or ways to disconnect and recharge?

Outside of music, I try to keep a healthy and structured lifestyle. Training is an important part of that, it helps me clear my head and stay focused.

I’m quite a calm person, so I value having time without too much noise or distraction. Music already takes a lot of space, so having that balance helps me come back with a clearer perspective.

Finally, what can we expect from you in the near future, any upcoming releases, collaborations, or projects you are excited about?

I already have several releases scheduled for the coming period and, fortunately, also some planned for 2027, so there’s a long term flow of music in place.

Right now I’m in a phase of finishing and refining some projects, and also working on new ideas.

I’m looking forward to when these tracks start coming out, as they represent a direction I’ve been working on for a while.

Follow Federico Asensio here:
https://www.instagram.com/fede_asensio/

Stream/download his latest EP here:
https://go.protonradio.com/r/rlVQQmXsiVY9w

We recently released your music on our label. Can you tell us more about when this track was created, how long you worked on it, what inspired it, and what felt like the easiest and most challenging parts during the process?
The track is called “Echoes”. I started working on it in April 2025, and it took several months, with the final version completed in autumn 2025. Inspiration came from watching the film The Jacket, the final scene and the phrase “How much time do we have?” sparked the idea for the breakdown. The easiest part was building the initial groove and atmosphere, while the most challenging part was finding the emotional key of the track and integrating all elements without losing that feeling.

When starting a new track, what does your creative process usually look like? Do you begin with a melody, a groove, or a certain emotional idea?
I usually start with the main groove, bass, drums, and some background atmosphere, as the foundation. I often add a few top loops at the beginning to find the right movement and energy, later removing or keeping them subtly. After establishing the groove, I look for the mood, a texture, riff, pad, or small detail that gives the track its identity.

Where do you typically spend most of your time when producing, sound design, arrangement, or refining the final mix?
I spend a lot of time on sound design, staying in that experimental stage as long as possible. I also focus on the final details, even when a track is about 80% finished, the last 20% is crucial to make it feel complete. The final mix requires patience and discipline.

What is your main DAW, and can you share a few go-to tools, plugins, or techniques that are essential to your workflow?
My main DAW is Ableton Live. Favorite tools include Serum 2, Arturia FX, Eventide H9 Series, Soundtoys Bundle, and DS Tantra 2 for resampling. I rely heavily on reverbs and delays such as Valhalla Supermassive, NI Replika XT, and the updated Auto Filter in Ableton.

Are there any artists, tracks, or influences that have had a lasting impact on your musical journey?
Depeche Mode has been a lifelong inspiration. In Progressive House, I am influenced by Meeting Molly, Digital Mess, Montw, and Serbian producer Hobin Rude.

How did you first discover the Sound Avenue Labelgroup, and are there any releases across the labels that particularly resonate with you?
I was introduced to the label by Meeting Molly. I am drawn to the labelgroup’s deep, melodic, progressive sound with strong atmosphere and emotion, which aligns closely with my own musical preferences.

Outside of music, what are your main passions or ways to disconnect and recharge?
I work in software development, which provides a structured, logical focus that helps reset my mind. I also enjoy running, participating in a corporate running club and local races. Walks, visual impressions, and changes of environment also inspire me.

Finally, what can we expect from you in the near future, any upcoming releases, collaborations, or projects you are excited about?
My track “Reflections” will appear on VA Dimensions_04 on Sound Avenue. I am continuing to develop new music, aiming for a more personal, mature, and detailed sound while maintaining emotional and progressive energy. Several ideas and demos are in progress.

Stream/download his latest release: https://go.protonradio.com/r/rl8lzZOVSmUZI
Follow "Outlandtale" here: https://www.instagram.com/outlandtalemusic

Hello Kallisto! How are you today, and what have you been up to lately?
I’m doing really well, thanks. It’s mid summer here in Melbourne, so I’m just getting back into routine after the crazy holiday period. I’ve been playing a lot of great gigs recently, supporting artists like Rodriguez Jr. and Romain Garcia, and I also ran my own event last weekend in collaboration with two other artists, Leah Marie and Bridget. It’s been a busy but really rewarding period, and overall I’m feeling pretty excited about what 2026 has in store.

Can you briefly share when you started producing music, your first piece of equipment or software, and reflect on your debut release or first public steps as an artist?
I started taking production lessons in 2022, not long after teaching myself how to DJ. Ableton Live was my starting point, along with Serum as my first synth. Early on, my YouTube channel and social media played a big role in landing local gigs, but honestly, what really made the difference was showing up, supporting local events, meeting people and becoming part of the Melbourne scene. Things didn’t happen overnight, but once I started putting myself out there consistently, everything began to flow more naturally.

Did you have a mentor or take any lessons, either offline or online, that helped shape your skills and confidence early on?
Yes, I had production lessons with a local sound engineer who still supports me today. I’m really grateful for that guidance. Beyond that, I’ve been lucky to receive advice and encouragement from a lot of people along the way. I don’t see my growth as the result of one mentor, it’s more like a collective effort. The support network around me has played a huge role in getting me to where I am now.

Do you feel more at home behind the decks or in the studio, or do DJing and producing serve different purposes for you creatively?
Definitely behind the decks. DJing gives me so much energy. I can’t help but dance, smile and get completely lost in the moment. I love being able to take people on a journey and feel that shared connection in real time.

Producing, on the other hand, has been more of a love hate relationship and probably one of my biggest personal challenges. Although it hasn’t been easy, my love for music and my desire to keep growing as an artist is what brings me back to the studio. I hope that one day I’ll be able to look back and see what was once my biggest challenge turn into one of my biggest achievements.

Your DJ sets are known for moving fluidly across different house styles, guided by instinct rather than sticking to one lane. How do you approach reading a crowd and deciding where to take a set in the moment?
I try to read the room and set the tone for the space I’m in, rather than read the crowd specifically. Things like the venue and the time of day make a big difference. If I get that right, the crowd usually gives back. I like starting with a warm, groovy energy, getting people moving, building trust early on and letting the rest unfold naturally.

You have played opening sets for artists such as Rodriguez Jr. and Eelke Kleijn. What did those experiences mean to you, and what did you take away from sharing a night with artists like them?
It’s always such an honour to open for any artist, especially ones I’ve admired for a long time. Opening sets come with their own challenges, you’re setting the tone for the night, building anticipation without overdoing it and helping create a positive energy in the room.

I still get those pinch me moments when I’m supporting artists I’ve looked up to for years. It’s incredibly motivating and something I never take for granted.

Based in Melbourne, you are part of a very distinct Australian electronic music landscape. How would you describe the scene there, and how has it influenced your musical identity?
Australia’s club and festival culture has had a huge influence on me. Rainbow Serpent in 2016 was a turning point. It completely changed the way I experienced music and community. There’s something really special about the freedom, openness and connection at those events, and that sense of belonging has stayed with me ever since.

Melbourne’s scene is also incredibly supportive and diverse, which has encouraged me to stay open minded and trust my instincts rather than forcing myself into one sound.

Looking ahead, do you have ambitions to play more internationally, and what kinds of venues or festivals would you love to experience next?
Absolutely. Playing internationally is definitely a dream. Festivals like Balance Croatia would be incredible, as well as playing in places like Germany, Argentina, Mexico, Sri Lanka and Malta. For now though, I’m focused on continuing to grow locally and working towards more Australian festival lineups.

Alongside DJing, you run a popular YouTube channel where you post monthly video mixes. How important is this platform for you as a DJ, and what role does it play in staying connected with listeners around the world?
The YouTube channel has played a massive role in my journey. It’s helped me connect with listeners all over the world and with artists who appreciate me sharing their music.

Recording a new mix every month alongside a full time job, producing, social media and gigs has been a big commitment, but consistency is still really important to me. Moving forward, some months might be live recordings instead of studio mixes, but the aim is still to share something regularly and stay connected with the people listening.

Consistency seems to be a key part of your growth, both online and in clubs. How do you stay motivated and grounded while building things at your own pace?
It really comes down to routine. Setting goals, planning ahead, eating well and exercising all play a big part in keeping me balanced. When I’m looking after myself and staying on top of things, I’m way more motivated. When that falls apart, everything else usually does too. It’s a juggle, but the progress makes it worthwhile.

The electronic music world can still feel quite unbalanced at times. What has your experience been like as a woman building a presence in the underground scene, and how do you navigate that in your own way?
It’s definitely still a male dominated space, but I’ve also seen a really positive shift over the years. Personally, I feel like lineups here in Melbourne are curated based on skill and experience, and I’ve felt supported rather than held back. It’s encouraging to see more women stepping into the scene and being recognised for their work.

Do you feel that perspective, sensitivity or intuition play a role in how you connect with crowds and shape your sets?
Yes, definitely. I rely a lot on intuition when I’m playing. Being present, aware of the room and trusting how things feel in the moment plays a big role in how I connect with people. I think that sensitivity helps me create sets that feel natural rather than forced.

In the studio, you are steadily developing your sound and working toward future releases. How would you describe the direction you are moving in musically right now?
I’m still figuring it out, which I’m totally okay with. About six months ago I was very focused on progressive house, and now I’m exploring a much wider range. Organic, deep, afro, house and tech influences all find their way into my sets now.

In the studio, I’m currently enjoying working on organic house in particular, but I’m not putting pressure on myself to lock into one genre. I’m having fun experimenting and letting things evolve naturally.

How did you first discover Sound Avenue and Future Avenue, and are there any releases on the label that particularly resonate with you?
I’ve been downloading music from Sound Avenue and Future Avenue since I first started DJing. I’ve always admired how they support both established and emerging artists, and the quality of releases has remained consistently strong. I’m always discovering new artists through the labels, which is something I really value.

What other record labels or artists inspire you at the moment, and do you have a long term goal for where you would love to see your music released?
Releasing on labels like Balance, Soundgarden or Vapour Recordings would definitely tick a few bucket list boxes. Artist wise, my inspirations change constantly, but recently Deep Dish and Super Flu have really stood out. Seeing their performances opened my eyes to how powerful storytelling, genre crossing and energy can be when it’s done with confidence.

Besides music, are there any other passions or interests that help keep you balanced or Inspired?
Right now most of my spare time goes into music. One day, when things slow down a bit, I’d love to learn Spanish. It’s been on my list for a while.

Are there any books, films, documentaries or podcasts that have influenced the way you think about music, creativity or life in general?
I wouldn’t say there’s one specific book, film or documentary that’s shaped my music directly. Most of my influence comes from experiences at events, festivals and gigs, and from paying attention to how music makes me feel in the moment and how people around me respond to it.

Outside of music, I’ve gotten a lot from Atomic Habits and a few Diary of a CEO podcasts. It’s more about life and mindset than music, but it all filters back into how I approach being an artist.

Could you share a few tracks that have had a lasting impact on you, either as a DJ or as a listener?
There are so many, and my taste changes constantly. But thinking back to before I was DJing, these tracks hold a lot of sentimental value because of the memories attached to them.

DIM KELLY, Glow, Original Mix
Michael Mayer and Kölsch, Dogma 1, Original Mix
Röyksopp feat. Alison Goldfrapp, Impossible, and ME Remix

They take me back to some of the happiest moments of my life.

Looking back, what advice would you give to your younger self at the beginning of this journey? And what advice would you share with aspiring DJs and producers who are just starting out?
I’d tell myself to put myself out there, literally. Go to events, support local artists, show your face and get involved. I used to put this off and make excuses, but once I committed to it, everything changed.

It didn’t just help my music journey, I met so many great people and going out became something I genuinely looked forward to. That’s the biggest advice I’d give to any new artist.

Finally, what can we look forward to from you in the near future, both behind the decks and in the studio?
I’m playing an iconic Australian festival in March, which I’m incredibly excited about. I’ll likely record the set and share it online. There might even be a new original to test out by then.

In the studio, I’m hoping to release some organic house this year, but I’m not locking myself into one direction or putting unnecessary pressure on myself. I’m feeling really good about where things are heading and excited to see what unfolds next.

Stream/download her latest release: click here
Follow Kallisto here: Instagram | SoundCloud

Hello Jordan! How are you today, and what have you been up to lately?

I’m doing pretty well. I am settled in for the winter on Salt Spring Island, just off the coast of Vancouver Island on the West Coast of Canada. I recently got back from Australia on a golf trip with some friends, and we had an amazing time, making incredible memories.

Music hasn’t been on my mind for a month or so, but Ruben Karapetyan was just in Vancouver, and I had the chance to play during the event, and it was an incredible night! There’s a great community of Sri Lankans in Vancouver who love Progressive House, and they brought Ruben in. It was also lovely to connect with and build deeper friendships with a few producers in Vancouver.

Can you briefly share when you started producing music, your first piece of equipment or software, and reflect on your early steps as a DJ and producer?

I started in early 2020, right after covid hit, but I struggled. I purchased Logic and Diva from uh-e. It wasn’t until I began coaching lessons with Dowden in 2021 that I could make music good enough to be considered. Just finishing a track was, and still is, challenging for me, as I struggle to come up with creative ideas that stick.

You started DJing back in 2003 after listening to countless Armin van Buuren and Tiesto mixes. What was it about that era and sound that immediately clicked for you?

During those years, I was lost. My dreams of playing pro golf were gone, and then I lost my brother in 2002 and then my father in 2005. I needed something in my life to provide some positive moments and happiness. Trance was introduced to me in early 2000, and I never looked back. The uplifting Trance from those years really reminded me that music is an excellent source of positive energy and emotions. Before my father passed, he built me a table to put my turntables on, and he really enjoyed the music as well. It was really cool to see him connect with a form of music I never would have thought of. My brother, as well, was taking an interest in Trance just before has passed.

In 2023, I recorded an all-vinyl mix, and although I have listened to digital versions of a few tracks over the years, creating that mix brought up a lot of sadness. It brought me back to those days when I was lost, hurting and missing my brother and father.

Did you have a mentor or take any lessons, either offline or online, that helped shape your skills over the years?

Yes, as I mentioned, Dowden has been invaluable. Alberto Hernandez from Mexico and I did a few sessions in 2022 as well. There are also lots of great YouTube videos of producers walking you through tracks to help you learn specific skills. It’s truly a fantastic community of artists who want to lift each other up and see others succeed.

Do you have a preference between producing music and DJing, or do they fulfill different needs for you creatively?

I don’t DJ much anymore. I think I played out three times this year and only recorded four mixes. Granted, I was travelling a lot. The majority of my time goes into producing. For me, creating my own music gives me a lot of pride and a sense of accomplishment.

Your mixes and live sets are known for being carefully curated around how you feel at a given moment. How do you translate emotions into a musical journey for the listener?

I curate my mixes and create a flow of tracks that reflect my daily life and how I am feeling at that time. Last night I started to map out my next mix, as it’s been almost four months. Based on this fall, the start of winter, and this latest EP, there will be some darker vibes for sure.

Through projects like your Chasing The Vibe mixes, you invite listeners into something very personal. How important is honesty and vulnerability in your artistic expression?

Very important, as I always want to share the human side of me to help listeners connect with me. I try to be as vulnerable as possible, but I also balance what I share, as it’s essential to keep some things private.

What do you consider the highlight of your career so far, both as a DJ and as a producer?

As a DJ, I have had the chance to open for Tim Green, Khen, and Roy Rosenfeld, along with my friend Victoria Bastian Garcia, over the last two years, and it has been rewarding. Back in 2008, I opened for Andy Moor and really enjoyed that night.

But recording my Chasing The Vibe mixes and having them played all over the world means a lot to me. Every so often, I receive some positive private messages from people saying how much they appreciate the series. It wasn’t until a few years ago that I learnt one of my love languages is words of affirmation, so when people provide that feedback for me, it feels really nice!

As a producer, it was no doubt hearing Nicolas Rada play my remix for Phillopsher’s The Etheral Path on Kodai at Balance in Croatia. Up until this point, I’ve been thankful to have my music supported by many DJs, but not to the level or stage as Balance and by a DJ like Nicolas. I have never felt that high in my life, and I want to experience it again, so that has been my fuel since August. There’s a longer backstory to this moment; if you want to read more, check out my Instagram post here.

You are based in Victoria, Canada. How would you describe the local electronic music scene there, and how has it influenced your musical path?

I have lived my whole life in this part of Canada, and I love it, but the music scene for organic and progressive house is tiny. Along with Bastian, and another fellow lover of progressive, Yogi, who works at one of the clubs in town, we have tried to expose the city to artists like Tim Green, Khen, Roy Rosenfeld, Christoph and a few others. It’s a challenging market because the city has only around 400,000 people. Some people travelled from Calgary and Vancouver to experience those artists, which was really cool. Other forms of electronic music are more popular, but we are trying to make a difference.

The thought has crossed my mind more and more over the last two years to move to a city like Montreal or Vancouver to see if I can get more opportunities to DJ. I am currently single and can work remotely, so it’s easy for me at this stage of my life.

Have you had the chance to perform your music locally or internationally? Can you share some of your most memorable gigs so far?

I’ve played a fair bit locally and have now had the chance to play in Vancouver a couple of times over the last few months, which has been exciting. Last summer, my good friend, Ben aka Desert Raven, invited me to play in Denver, which was my first gig outside of my local area, and I played alongside him and Veytik. That was a lot of fun to connect with both of them in person. Ben and I have known each other since 2020 and have chatted a lot over those years.

Looking ahead, do you have ambitions to perform more frequently abroad, and what kind of venues or events would you most love to play?

I have some ambitions to travel and perform, but it’s competitive, and I am not well-known or the hungriest when it comes to promoting myself. Based on connecting with the large Sri Lankan community in Vancouver over the last few months, I love their energy and kindness, so playing in Sri Lanka at some point would be amazing.

For years, I wanted to perform at two summer festivals in British Columbia: Basscoast and Shambhala. I’ve applied twice to Basscoast and not been accepted, so I have stopped pursuing it. Shambhala is all about connections, which I have not made yet.

You made your label debut on 3rd Avenue in late 2023 with the Three Of A Kind EP. What did that release represent for you at that stage of your journey?

How challenging making music was. I was pleasantly surprised that they were accepted for release on 3rd Avenue, as it’s been such a quality label for years. During this time, I had insecurities about my music and its quality compared to that of producers I admire. A few days spent at a regional Burning Man event on Vancouver Island a couple of years ago shifted my mindset and focus more and more. Art is art, and I shouldn’t be judging it as much, including my own. We all start somewhere, and I am proud of my evolution as a producer.

Since then, you have released several remixes on 3rd Avenue. What do you enjoy most about remixing compared to working on original material?

Having some stems and ideas to work off makes it slightly easier to create something unique. My favourite remix I’ve done is Rising Hope from Rossalto. That was created in a short period of time and flowed really easily. That said, deadlines for remixes can be more challenging to manage than for originals.

Your recent EP “Into The Darkness” on Sound Avenue explores a deeper, more progressive sound, quite different from your more organic house oriented productions. What inspired this shift, and what does this EP represent for you artistically?

I had been wanting to explore creating more progressive house. That Rising Hope remix was as close as I have come to my idea of progressive house. Being at Balance in Croatia really reignited my love for progressive again. As mentioned, having one of my remixes played at Balance brought back feelings I had not experienced in a very long time, so I would love to hear my music played in more settings like that.

I had been focused on creating and mixing organic house for a few years. But even the organic house is evolving. Many labels and artists are known for organic house and pushing the boundaries. They are releasing and creating tracks that are bordering on progressive, but I am trying more and more not to fit music into these genres. Organic house wasn’t even a thing until 2020-ish. It was all “Melodic House” in Beatport before that. Anyway, this is a more extended conversation! Let me say that progressive has been in my roots since I moved on from trance in 2006.

Beyond releasing music, you have also been a great help with A&R for 3rd Avenue, especially when it comes to finding remixers for upcoming releases. What do you listen for when selecting the right artist for a remix?

This has been a rewarding opportunity to reach out to hidden talents I have been following for some time, or to seek out new ones. I am looking for artists who fit the feel of the track that needs to be remixed, and also the feel of the label. Most of the time, I am looking for artists who haven’t been on the label and artists who are just getting their careers started. Then I will look for

Growing up, you focused heavily on sports, particularly golf. Do you see any parallels between golf and music in terms of patience, discipline, or mindset?

Absolutely. My father introduced me to golf when I was six or seven. I joined the local club at eight and got hooked right away. I had big dreams when I was younger and believed I could achieve anything. What I loved about golf was working hard to improve and lower my scores. Seeing these improvements became an addiction, and within a few years, I was playing off a + handicap, winning local junior tournaments and even a couple of regional events.

I have tried to tap into my mindset, but it hasn’t been easy. The older I have gotten, the more I have shied away from things that are difficult for me; producing does not come easily. But I feel like I have made some significant improvements over the last year and learnt new skills, where making tracks has become easier.

You also love traveling. How do new places and experiences influence your creativity and perspective on music?

When I travel, I spend more time outside exploring cities, and nature has always inspired me. I could be on a walk, taking in other art forms like architecture, sculptures and paintings and get motivated to create my own art when I get back to where I am staying.

How did you first learn about Sound Avenue and 3rd Avenue, and could you mention some of your favorite releases on the label?

From 2009 to 2016, I wasn’t focused on DJing at all, and I only made a few mixes during that period. I do remember in 2013 falling in love with Eze Ramirez’s Hareal on Balkan Connection. A few weeks later, he was featured on 3rd Avenue’s We Are The Future 2013. That was my first introduction to the label as I fell in love with Lautaro Varela’s The Lonely Forest. I have very emotional memories listening to both of these tracks while driving on a highway that summer.

It wasn’t until 2020 and 2021 that Sound and 3rd Avenue became prominent for me. GMJ’s Azimuth Remix, Madloch and Subnode’s Utopia are my favourites on Sound Avenue. RIGOONI’s Mornings Remix, Domingo + Loveclub’s Heaven Holds Remix, Fears from Ilya Gerus and Jiminiy Hop are my favourites on 3rd Avenue.

What are some of your favorite record labels, and do you have any goals or aspirations to release on specific labels in the future?

The Soundgarden and Meanwhile labels are ones I would love to be released on someday.

Besides music, golf and traveling, do you have any other passions or hobbies that play an important role in your life?

In late summer 2019, I stepped back from golf and gave up my membership, which has freed up a lot of time in my schedule. Over the years, I have explored different hobbies, from hiking and squash to yoga and cycling, but nothing really sticks. As you can tell, I love sports and being active.

At the moment, there isn’t much in my life outside of watching films and solving Sudoku puzzles. I was in the gym lifting weights last year, which I enjoyed, but with so much travel this year, I fell out of that routine. But I have gained a lot of weight and will be back in the gym once I hit my breaking point!

Are there any books, documentaries, podcasts, or films you would recommend to your fans and fellow artists?

Absolutely!

Documentaries

• The Defiant Ones

• Everything Is A Remix

• Psychedelica

Books

• The War Of Art

Podcasts

• Peter Crone on Aubrey Marcus’ podcast in 2020

• Peter Crone on Aubrey Marcus’ podcast in 2021

Could you share some of your all time favorite tracks or songs that have had a lasting impact on your musical journey?

I have to go back to my trance days, and three tracks stick out for me. These tracks were my gateway drug to exploring progressive house in 2006.

Bedrock - Heaven Scent. It was grade 12, and my close friend had been going to raves. I listened to rap music throughout my teenage years, but primarily for the beats. So when a friend played Heaven Scent, my mind was blown, and I went down the trance rabbit hole.

Firewall - Sincere (Lange Remix), so emotional and uplifting. I ended my all-vinyl Chasing The Vibe mix with that track.

Three Drives - Carrera 2. Everyone knows Greece 2000, but this track and the build get me every time. Plus, it takes me back to seeing Tiesto in 2002 at the Commodore Ballroom. It was my first time in a live setting, hearing any music. It was a night I will never forget, and it was the first time I felt so connected to people through music.

What advice would you offer to your younger self starting out in 2003? And what advice would you give to aspiring artists who may be reading this interview?

I’ve tried not to live with any regrets, but I wish I had explored music production then. I just fell in love with the idea of sharing the music I loved and building a community of people who heard the beauty in trance as I did back then. That still is the main reason I DJ today.

As for advice, nowadays, you have to produce music to travel and get booked for gigs. DJing has become much easier to learn, but music production takes time. New artists need to do this for love, not fame. Be true to yourself and have the music come from the heart.

Finally, what can we look forward to from Joca in the near future, both musically and personally?

Musically, I am experimenting with more uplifting, deeper progressive house to help get tracks released on the labels I aspire to be on. More importantly, I am trying not to put pressure on myself or set lower expectations, because I want to create music for myself, not for anyone else.

As for my personal life, I have a beautiful spot on Salt Spring Island for the winter so I can dive Into The Darkness and work on myself. I have had a few habits creep back into my life this past year, which I had done a good job of removing. A few months of dedication, with minimal distractions, will help.

If you made it this far, thanks for reading, and I hope to connect with you over social media!

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

Hey Rossie, How are you today, and what have you been up to lately?
I’m very well, thank you. I’m so grateful to be part of this community. Lately, I’ve been a bit busy with new releases, closing some projects, and performing at events in my country as well as internationally. Additionally, I’m focusing on new productions that reflect a more introspective stage of my career, exploring my sound in greater depth and nuance. I’m quite excited for people to hear what I’ve been working on.

Can you briefly share when you started producing music, your first piece of equipment or software, and reflect on your debut release?
My journey as a producer began in 2020, although music has been a part of my life since I was very young. I started singing alongside my father while he played the piano. Later, I formally studied singing and guitar, and I was part of a band as a vocalist for many years. From a young age, I always knew music was my path and that I wanted to dedicate myself to it.
Over the last few years, I’ve been training and working intensively, experimenting with Ableton Live and developing my ideas using just a laptop and good headphones. After much effort and learning, I released my first EP, Bohemya, through the prestigious label Café de Anatolia. It was a very significant moment for me, as it represented the first step of my career as a producer, allowing me to present my style to the public and gain support from artists and labels in the genre. Hearing my own compositions and seeing them reach people in different places was a unique sensation.

Did you have a mentor or take any lessons, either offline or online, to enhance your skills?
Although I began my journey as a self-taught producer and complemented my training with courses at an academy where I acquired essential theoretical foundations, I was very fortunate to have Tiefstone as a mentor. His guidance and support were key to my artistic and professional development, allowing me to delve into creative aspects that marked a turning point in my career. I am deeply grateful for everything I’ve learned, which continues to be the solid foundation upon which I build my music.

Do you have a preference between producing music and DJing?
For me, producing and DJing are two worlds that coexist within me and feed different aspects of my artistic essence. Production is my most intimate moment, a space where I connect with myself, my emotions, and my learnings. It’s an introspective process of deep and personal creation, where I enjoy spending hours in the studio perfecting every detail.
On the other hand, DJing allows me to connect directly with the energy of the audience, guiding a collective journey through music in real time. I experience it as a unique and unrepeatable moment that fills my soul and reminds me why I love what I do. Both are part of me, and I couldn’t choose one over the other. Each nurtures my career and artistic expression in a different way.

The electronic music scene is still largely male-dominated. What has your experience been like as a female DJ and producer in this environment?
Although the electronic scene has been historically male-dominated, my experience has focused on concentrating on my music and my development as an artist. I’ve learned to face challenges with dedication and perseverance, trusting in my own artistic value and transforming difficulties into opportunities for learning and growth.

Have you ever faced challenges or stereotypes because of your gender, and if so, how did you overcome them?
As in any industry, challenging situations sometimes arise. What has been important for me is to maintain professionalism and confidence in my work, always focusing on improving as an artist.

What do you consider the highlight of your career so far, both as a DJ and a producer?
The most significant moments in my career will always be receiving support from artists I admire and hearing how my music integrates into their sets. It’s a deep satisfaction. I also value the ability to travel, discover new places, and connect with people and different cultures, experiences that have enriched my growth as a DJ and producer.
Every release, collaboration, and live performance has been a key step in evolving and consolidating my artistic identity. Even so, I consider the idea of a highlight to be relative. I always strive to go further and take my art to a deeper level.

How did you first learn about Sound Avenue / 3rd Avenue, and could you mention some of your favorite releases on the label?
I first discovered Sound Avenue and 3rd Avenue through artists I follow who release music on the label, as well as through sets I found on streaming platforms. I was quickly drawn to their sound, style, and the care they put into each release, which resonates strongly with my own style.
I like how the label combines deep and atmospheric sounds while maintaining a consistently high, delicate, and refined quality. Among my favorite releases are Kamilo Sanclemente’s remix of Edenwilde by Mariner and Domingo, as well as Embers by Eric Lune.

Do you feel a sense of responsibility or motivation to inspire other young women who want to enter the electronic music scene?
I believe that every person who is part of the scene has a responsibility to inspire, whether it’s women or any artist who dreams of dedicating themselves to music. For me, it’s essential to show that with work, passion, discipline, and creativity, it is possible to grow on this path and achieve great things.
If my work and dedication motivate other women to believe in their projects, I consider it a source of pride and, without a doubt, an achievement in itself.

Many artists have a signature sound or style. How do you balance staying true to your artistic identity while also experimenting and evolving as an artist?
In my experience, artistic identity is built over time, but it requires flexibility to evolve. I try to stay true to certain elements that represent me, sounds, emotions, atmospheres, but each project is an opportunity to explore something new.
I’m always in motion, testing different textures, techniques, and sensations. I believe the key is to respect your own essence while allowing yourself to evolve. That constant pursuit keeps my creativity alive and makes my music authentic.

The music industry has undergone significant changes in recent years with streaming platforms and digital distribution reshaping the landscape. What are your thoughts on the current state of the industry, and how have these changes affected your career?
The music industry has changed a lot with streaming and digital distribution. On one hand, it offers huge opportunities to reach global audiences and experiment with new formats and release strategies. On the other hand, it requires constant adaptation, increased competition, and involvement in areas like social media and marketing.
For me, these challenges are not negative. They are an invitation to professionalize and combine both worlds, maintaining the quality and authenticity of my music while leveraging digital tools to grow and genuinely connect with the audience.

What are some of your favorite record labels, and do you have a specific goal or aspiration to release your music on a particular label in the near future?
Without a doubt, Sound Avenue is one of my favorite labels, and I feel very grateful that they gave me an opportunity from my early beginnings. I also greatly admire labels like Anjunadeep, All Day I Dream, and Soundgarden, which have always been references for me and have promoted electronic music with personality and authenticity.
My aspiration is to release my music on one of these labels in the near future. I don’t see it only as an achievement, but as an opportunity for my work to reach an audience that values care and authenticity in every project.

In Argentina, the electronic music scene has been growing rapidly. How does being part of that local scene influence your music and career opportunities?
Being part of the electronic scene in Argentina is very enriching. We have so many talented artists, which makes growth challenging but also inspiring. The competition and expansion of the scene motivate me to constantly improve, learn, and seek connections with other artists.
Being involved in this local context allows me to explore unique and distinctive sounds, build my identity, and open opportunities both nationally and internationally, demonstrating that quality and authenticity can stand out anywhere in the world.

What advice would you offer to your younger self, considering all the knowledge and experience you’ve gained in your career so far? And what advice would you give to aspiring artists who may be reading this interview?
If I could speak to my younger self, I would tell her to trust her instincts and her work, to be consistent, and to value every step of the learning process, even the mistakes, because all of it is part of growth. I would remind her that discipline and dedication are just as important as creativity and passion.
To artists who are starting out, I would say something similar. Listen to lots of music, practice constantly, and above all, experiment while always maintaining the authenticity of your own sound. Don’t compare yourself to others, and remember that every career is unique. It’s a long path that requires patience, consistency, and love for what you do.

Do you have a day job, or is it possible to make a living solely from your music career?
My music career is my main focus, which allows me to fully dedicate myself to production, releases, and live performances, as well as explore collaborations and opportunities that drive my artistic growth. Currently, I am fully committed to my music and the development of my project as a producer and DJ.

Besides music, do you have any other passions or hobbies?
Besides music, I’m passionate about acting and singing. I even studied acting at university, although I decided not to finish in order to focus on music, and I plan to incorporate my voice into my upcoming productions. I also greatly enjoy reading, being outdoors, and exercising. All of these activities are part of my creative world. They inspire me, allow me to explore emotions and experiences, and then translate them into my music.

Are there any books, documentaries, podcasts, or TV shows that you’d like to recommend to your fans and fellow artists?
Some of the books that have influenced me the most are The Artist’s Way by Julia Cameron and 12 Notes by Quincy Jones, which help explore creativity and musical vision. In the spiritual realm, The Power of Now by Eckhart Tolle and Conversations with God by Neale Donald Walsch have been key for my personal development and growth.
As for documentaries, I recommend This Is Pop on Netflix, which reveals the mystery behind major musical hits.

Could you share some of your all-time favorite tracks or songs that have had a significant impact on your musical journey?
Among the tracks that have most impacted my musical journey, I would highlight After Earth by Ben Böhmer, a modern classic that combines melody, progression, and emotion flawlessly. I am also inspired by tracks such as Ascension by Volen Sentir and So Flute (Remix) by Simon Vuarambon for their deep and melodic atmospheres.

What can we look forward to from you in the near future?
You can expect a lot of new work. I’m always trying to give my best and pushing my abilities to the limit. Without a doubt, there will be more original music, and I have several releases and collaborations with artists I deeply admire planned. Above all, my focus is and will be on creating authentic, high-quality, soulful music.

Stream/download her latest remix: click here
Follow Rossie here: Instagram | SoundCloud

Hello Garance and diSoul, how are you today, and what have you been up to lately?
We’re feeling really productive and enthusiastic, so overall, very good.

Can you briefly share when you each started producing music, your first piece of equipment or software, and reflect on your debut releases?
We both started producing music several years ago, driven by curiosity and a love for exploring sound. At first, it was very simple, just a MacBook Pro, an Akai keyboard, and a good pair of headphones. Over time, we gradually expanded our home studios, but our DAWs have always remained at the heart of our creative process. For us, the essence has always been capturing emotions rather than relying on complex gear.

Did you have a mentor or take any lessons, either offline or online, to enhance your skills?
Yes. It all started with Dubfunk, who introduced us to music production. He had incredible mastery of DAWs and computer systems and was also a talented DJ and producer with releases on labels like Global Underground, Armada Music, and Brown Eyed Boyz Records. His guidance was crucial for understanding the foundations of production. Garance also learned a lot at EMA (Ecole des Musiques Actuelles) from her good friend Ladislav Agabekov, a master sound engineer in Geneva who has worked with Peter Dundov, Gregor Tresher, and Laurent Garnier.
Afterward, we followed our own paths. diSoul worked for many years as part of the duo Central Rodeo, while Garance focused on a solo career. More recently, we’ve been collaborating with Dowden, an inspiring and very talented artist, on mixes and mixdowns during live sessions, which has been another invaluable learning experience.

You are both from Geneva and have been active in the Swiss underground scene for many years. How did your paths first cross, and what led to the decision to collaborate on the Banana Moon EP?
We first crossed paths around 2006. At the time, diSoul was working in a bar while studying, having temporarily stepped away from DJing, which he had started back in 1995. Garance played there regularly, and we met quite naturally. We immediately felt a strong chemistry behind the decks, which convinced us to play together, and it worked effortlessly.
Life eventually led us on different paths, but we stayed close. Recently, we reunited in the studio just for fun, and we quickly realized that the magic between us was still very much alive.

When two artists with distinct sounds come together, chemistry can make or break the result. How did you balance your individual artistic identities while shaping a unified sound for this release?
No particular compromise was necessary. Everything came together naturally. Our sounds and sensibilities blended organically, creating a shared space where both identities could coexist. We’re both drawn to deep, hypnotic, and groovy sounds, which made the process feel effortless, as if the music itself was guiding the direction.

You have released music on respected labels and played at renowned venues. How do you maintain a consistent creative flow and sense of inspiration over time?
It’s a challenge. With our day jobs and other commitments, Seb also has a son, we have to manage our time carefully. We try to meet in the studio once a week, which works well so far. Some sessions are more productive than others, and we’ve learned to accept that some tracks take time to develop. Sometimes a session is spent adding small details, which only reveal their value when we listen again the next day.

The Banana Moon EP feels coherent yet diverse, moving between deep, melodic, and atmospheric moods. Did you have a specific storyline or concept guiding the production, or did it evolve naturally from your sessions?
These were the first tracks we created together in the studio. Initially, our only goal was to have fun and enjoy making music without expectations. Very quickly, we realized the tracks felt right. They had a natural coherence and flow. That’s when we decided to compile them as an EP. We also included one solo track from Garance from the same period, which she composed for the birthday of her sweetheart, and it naturally fit the overall atmosphere. Sometimes, the best projects are born organically, from the joy of creating together.

Both of you have performed in iconic venues such as Hive, D-Edge, Culture Box, and Ritter Butzke. How does your experience behind the decks influence the way you produce music together in the studio?
Our productions are always designed with the dancefloor in mind. We aim to create tracks that fit seamlessly into our DJ sets. At the same time, we like to explore musical worlds beyond club-oriented music and dive into more ambient sounds as well. Balancing club-ready energy with experimental freedom shapes the way we work together in the studio.

Geneva has a vibrant but often overlooked electronic music scene. How would you describe its current state, and what makes it unique compared to other European cities?
Geneva’s electronic music scene is rich and multifaceted, even though it flies under the radar compared to other Swiss cities such as Zurich or Basel, or larger European cities. The main challenge is the lack of clubs and spaces for expression, especially for genres like progressive and deep house, which we are very attached to.
What makes Geneva special is its underground roots. The squatting culture of the 1980s fostered DIY venues, illegal afterhours, and a spirit of experimentation. The Swiss rave culture of the 1990s further nurtured energy, endurance, and community. Today, Geneva combines a tight-knit underground community with global reach, producing internationally recognized artists like Luciano, Sonja Moonear, Dachshund, Laolu, Mendo, or Quenum.

Garance, your sets are often described as cosmic and immersive, while diSoul’s sound leans toward deep and sensual grooves. What was the most surprising thing you learned from each other during the collaboration?
What surprised us most was how smoothly our collaboration worked in the studio. We knew we had great chemistry behind the decks, but we didn’t expect it to translate so effortlessly into studio work. It’s been a real joy to create music together. Seb is more into percussions, and on my side, I go deeper into pads and layers.

The EP title “Banana Moon” has a poetic, slightly mysterious tone. What inspired that name, and does it carry a story or symbol behind it?
From the start, we were inspired by the ideas of journey and cosmos, which naturally emerged from the tracks we made. We also like words that feel unusual or don’t immediately go together. The name represents our duo, two different personalities coming together to create something playful, unexpected, and a little mysterious.

Working as a duo can be creatively enriching but also challenging. How do you handle moments of artistic disagreement or different creative visions?
We rarely have major disagreements. When differences arise, we always approach each other with listening, kindness, and respect. Open communication helps us move past any differences, and in the end, it strengthens our collaboration and makes it more inspiring.

You’ve both shared stages with many international artists. Are there any memorable gigs or unexpected moments that stand out in your memory?
For diSoul: Some of my most memorable gigs include opening for Kollektiv Turmstrasse. Playing that set with Garance was really special. I’ve also performed at the Montreux Jazz Festival and Caprices Festival, as well as held a residency at Silencio Club with Central Rodeo. Silencio is a small but legendary club in Geneva, and it holds a special place in my heart. Together, we played after Michael Mayer in Bern and several times at Audio Club or Geneva Pride.

For Garance: I have so many unforgettable memories, from my debuts at L’Aiglon Café in Pâquis in Geneva to more recent ones. If I have to name a few, I think of the night I played with Guy J at Audio Club in Geneva on March 7, 2019, the last night before the shutdown due to Covid. The energy that night was incredible, almost as if it was the last dance of the rest of our lives. I also have special and vibrant memories playing at D-Edge in São Paulo and Armando Club in Bogotá in front of such passionate and expressive crowds, for Geneva Pride with my talented friend singer-composer Billie Bird in front of thousands of people supporting the LGBTQIA+ cause, as well as for the 30 years of Street Parade in Zurich at Rakete Stage. It was insane.

What do you consider the highlight of your careers so far, both as DJs and producers?
For diSoul: In terms of production, a highlight has been hearing some of our tracks under the Central Rodeo alias played repeatedly by well-known DJs like Guy J. More recently, returning to the studio with Garance has been extremely rewarding, and the results have been very satisfying. As a DJ, playing with Garance at Caprices Festival is a major highlight, but I also hold my performances at the Montreux Jazz Festival close to my heart, as it carries special significance in Switzerland.

For Garance: My artist residency at the Museum of Art and History in Geneva in 2023 to 2024 was a career highlight. It gave me the time and space to create and experiment and allowed me to realize one of my goals, presenting a live set. I performed a one-hour live set with my own music, accompanied by my friend, violinist Marion Devaud, in front of a full house. It was incredibly intense.

With so many projects and influences, how do you approach quality control in your work? Do you rely more on instinct or a structured process when deciding which tracks to finish and release?
We work mainly instinctively, following our feelings and creative impulses. At the same time, we remain disciplined and make the effort to finish the pieces we are working on. Garance is often more structured in this regard and acts as a driving force, helping move projects forward and motivating the duo to finalize important tracks.

How did you first learn about 3rd Avenue, and could you mention some of your favorite releases on the label?
We’ve been following Sound Avenue and 3rd Avenue for years. There are so many unique and incredible tracks on these labels that it would be too long to list them all. Big up to Madloch for his great work. But if we have to mention a few, we especially love Kyotto’s “Would You Be There When the World Fails (Original Mix)”, a striking track released in 2020, Ether by Reuben Lowe, the remix of Juan Sapia’s Lonely Mountain by Dexter Curtin and Marcus Jahn, which is so deep, and the remix of Daniel Testas’ Bending Light by Leandro Murua and Zahna.

Many artists have a signature sound or style. How do you balance staying true to your artistic identity while also experimenting and evolving as artists?
Our influences are wide-ranging, deep house, dub, soul, groove, trance, melodic sounds, and rave culture. We stay true to these roots while exploring new directions and letting experimentation guide us. We never use templates, starting each track from zero, so every time the way a track evolves is a surprise. Over the years, we’ve also become much more agile with our DAWs and Ableton, which makes it easier to be truly creative, go with the flow, and shape the sounds we genuinely love and enjoy playing as DJs. As huge fans of deep and progressive house, we are thrilled to now have the knowledge and skills to produce the sounds we’re truly passionate about.

The music industry has changed rapidly in recent years with streaming and digital platforms reshaping the landscape. What are your thoughts on the current state of the industry, and how have these changes affected your paths as independent artists?
We started long ago, at a time when you had to travel to cities like Zurich or London to dig for vinyl, carrying a big, heavy bag of records. Tracks didn’t come and go as quickly as they do today. Now everything revolves around image, social media influence, and speed, things we didn’t grow up with. Sometimes it all feels like it’s moving too fast for us.
For us, it’s important to cultivate a personal touch and create something a bit different, especially with so much music being released every day. That might even be the strength of our collaboration, each of us brings a distinct artistic sensibility to the table.

What are some of your favorite record labels, and do you have specific goals or aspirations to release your music on a particular label in the near future?
Some of our favorite labels are, to name a few, 3rd Avenue (lol), Balance Music, Stripped, Mango Alley, Meanwhile Recordings, Lost and Found, Early Mornings, Soundgarden, Sudbeat, Solis, Moments.

What advice would you each offer to your younger selves, considering all the knowledge and experience you have gained so far? And what advice would you give to aspiring artists who may be reading this interview?
We started when DJing and producing music required a lot of effort, digging for music, learning production, and dedicating countless hours to practice. Our advice is to believe in your dreams and surround yourself with skilled, kind people who are eager to grow together. Most importantly, never stop feeding your curiosity. Stay open to difference, novelty, and creativity, and let them guide your journey.

Do you have day jobs, or is it possible for you to make a living solely from your music careers?
Yes, we both have day jobs and other personal projects. Seb works in teaching, while Garance works as a nurse and in communication and fundraising at a foundation specializing in outpatient addiction treatment. We love the human aspect of our work, and it gives us life balance. Honestly, we think it’s difficult to make a living solely from electronic music in Switzerland, especially in Geneva, which isn’t an electronic hub like Zurich and doesn’t have a strong scene for deep and progressive house. The costs of maintaining a certain level of comfort are high. You need a lot of dedication and energy, develop a strong network, meet the right contacts at the right time, and produce a hit, lol.

Besides music, do you have any other passions or hobbies that inspire you or help you stay balanced?
For me, Garance, dancing as much as possible, cooking, learning as much as I can, enjoying time with my loved ones, and inventing things, lol, are my main passions outside of music, and I am hopefully about to give birth to a new personal project soon.
For me, diSoul, besides music, my family life is a big part of who I am. Taking care of it keeps me grounded and brings me a lot of joy. I also look forward to the ski season every year. It’s a sport where I feel completely free. The sensations I get on the slopes are very close to the feeling of floating above the decks when I play.

Could you share a few of your all-time favorite tracks that have had a significant impact on your musical journeys?
For diSoul: I started DJing in 1994, beginning with house and garage, and my journey has evolved a lot since then. Many tracks shaped my taste for deep, hypnotic sounds while keeping house-influenced rhythms. A few classics that inspired me in many ways are Metro Area, Miura, Pepe Bradock, Deep Burnt, the Nuyorican Soul album, Trentemøller, Le Champagne (Original Mix), and Massive Attack, 100th Window.

For Garance: A few ones, Oxygène by Jean-Michel Jarre, Love on a Real Train by Tangerine Dream, The Things You Said by Depeche Mode, Watercolors by LTJ Bukem, Hypnodelic by François K, which gives me an emotion that’s hard to put into words. Open Cage by Daso is a track I’ve played for years in all my DJ sets. Urania by Alex Orion, All These Worlds Pt. II by Murcof, and the album The New Age of Earth by Ashra all hold a special place in my heart.
In terms of shared influences, we immediately connected around deep, dreamy, and atmospheric sounds. We’ve always had a strong interest in labels like Plastic City, Mojuba, Lost My Dog, Drumpoet Community, and Visionquest, as well as artists such as Guy J and Terry Lee Brown Jr. If we had to choose one track that perfectly reflects this common ground, it would be Hermanez, Bullish Divergence.

What can listeners look forward to from you in the near future?
We are currently working on a new EP that again blends our two universes, and we’re excited to share some new sounds soon. In 2026, there will also be the release of remixes of our tracks released on 3rd Avenue.

Stream/download their latest release: click here
Follow Garance here: Instagram | SoundCloud
Follow diSoul here: Instagram | SoundCloud

You will find new versions of tracks from artists such as Faithless, Gorillaz, Madonna, Fatima Yamaha, The Smashing Pumpkins, Tears for Fears, Radiohead, Billie Eilish, Moby and Paul van Dyk. Each remix gives a familiar track a different color while staying close to the atmosphere that made the original special.

You can explore the full playlist here:

We still have a few open slots for January.
If you would like to feature your track in our Free Download series, you can fill out the form here: https://soundavenue.short.gy/freedownload and we will get back to you asap.

Hello Ewan! How are you today, and what have you been up to lately?
Great to see you again, it has been a while. Thanks a lot for the invitation. These days, I dedicate myself entirely to music production and teaching.

Can you briefly share when you started producing music, your first piece of equipment or software, and reflect on your debut release?
If we start from the very beginning, my first equipment appeared back in the late 1990s, some DJ gear by Stage-Line, and I started experimenting with music production in Acid Pro, Reason, and later Fruity Loops. At first I was barely known, but in the early 2000s I began to focus more on producing and performing as a DJ in many nearby cities as well as in my hometown, Kemerovo.

Did you have a mentor or take any lessons to enhance your skills?
I never had a mentor who taught me directly, but of course there are artists I look up to and learn from. For example, I always enjoy talking with Henri (Cid Inc). It is always interesting to hear about his mixing and mastering techniques.

You have released over a thousand tracks across more than 100 labels. How do you maintain such a high level of productivity and creativity over time?
I guess it is my technical mindset and the drive to optimize the creative process. I have always been searching for the perfect formula for making club music. The structure, the psychological and even magical aspects of how music affects people fascinates me. Producing in Ableton has made the whole process faster and more enjoyable. And of course, being deeply involved in club culture keeps me inspired constantly.

Do you have a preference between producing and DJing?
At the heart of it all is DJing, because it is about communicating with people. The interaction, the shared energy, the dancing, that is what keeps my passion alive. Producing is more of a hobby for me. Maybe someday I will take it seriously enough to create a few dozen thousand tracks.

You’ve shared the stage with many artists. Are there any memorable gigs or unexpected moments that stand out?
There have been many, from wild and punkish to sweet and heartfelt. Some unforgettable 5 to 6-hour sets, invitations with artists from the UK or Ibiza, performing with Barry Gilbey, Matt Darey, Jerome Isma-Ae, Ferry Corsten, and John Digweed. Once I even ran several kilometers with a crate of vinyls to make it to a DJ battle in the Altai Mountains. Another time, I performed blindfolded just to prove I could mix without seeing anything. Many funny stories, but the most important thing is that no matter where artists come from, we share the same life and spirit.

What do you consider the highlight of your career so far?
Performing at Fusion Festival in Germany was very inspiring. Becoming a Certified Ableton Trainer in 2019 was another big milestone. On the production side, my first releases on The Soundgarden and Sudbeat felt very special.

With so many releases, how do you decide which tracks to finish and release?
As someone with a technical mindset, I like to organize and optimize my workflow. I focus on the idea, sound design, and function of the track. Inspiration has never been a problem for me. Sometimes I finish and release a track quickly, sometimes I leave it for weeks to understand how I feel about it later.

How did you first learn about Sound Avenue / 3rd Avenue?
Before we met in Vilnius, I was already releasing on Sound Avenue. I have always liked the deep sound and groove quality that defines the label and its affiliates.

How do you balance having a signature style while still experimenting and evolving?
It has always been difficult for me to stick to only one genre. I want to express different emotions and sometimes blend techno, deep, acid, progressive, tech house, electro, even trance. Still, I chose progressive house as the main direction while leaving space to experiment.

What are your thoughts on the current state of the music industry?
I try to stay optimistic. I remember the times when club culture was not considered legitimate entertainment and everything had to be built from scratch. After seeing that, I appreciate progress, even with mistakes and challenges. It is important that we support each other and keep evolving the community.

What are some of your favorite labels, and do you have a dream label to release on?
Early Morning, Bedrock, Replug, Sudbeat, The Soundgarden, Meanwhile, Warpp, Mango Alley. I would probably like to release something on one of Guy J’s labels when the right track appears.

What advice would you give to your younger self, and to new artists?
Work hard, stay consistent, and do not be lazy. Dedication is what matters most. If you want respect in this industry, you must earn it through effort.

Do you have a day job, or do you live solely from music?
I teach online students from all around the world at Resonance Academy, both private and group lessons.

Besides music, do you have other passions or hobbies?
Art, museums, travel, nature, traditions, ancient culture. I also enjoy anime, gaming, and cycling when I have energy left.

Any books, documentaries, or films you recommend?
I recommend “Electroshock” by Laurent Garnier, and cult classics like Hackers, Berlin Calling, and Human Traffic.

Could you share some of your all-time favorite tracks that influenced you?
Rich Curtis – Freeloader (Cid Inc Remix)
Tone Depth & Ampish – On a Boat (Jerome Isma-Ae Remix)
Jelly For The Babies – Cosmopolis (Mohn Remix)
Damian Mazzeo – Recollections (Subandrio Remix)

What can we look forward to in the near future?
I plan to spend more time in the studio and perhaps create an album or new project. Expect new releases and more DJ sets soon.

Stream/download his latest Sound Avenue Remix: click here
Follow Ewan Rill here: Instagram | Soundcloud

Hello Paul! How are you today, and what have you been up to lately?
I’m good. Thanks for having me for this interview! Next to my normal day-to-day work as owner of the Manual Music company, I’ve mainly been busy with Manual’s 20th anniversary stuff and the upcoming ADE.

Can you briefly share when you started producing music, your first piece of equipment or software, and reflect on your debut release?
I actually started in the mid-nineties using a piece of software called Fasttracker. Sampling beats and sounds from CDs, TV, and games, and creating tracks from it. Lots of after-school fun! Also fun because when my ears needed a rest, I could play Snake, which was part of the software as well :)

You’ve been part of the electronic music scene for more than 25 years. Looking back, how do you feel the scene has changed since your early days in Rotterdam?
When I started, it was still early days of superstar DJs. Of course, there was already a big electronic music scene for over a decade, and people were making (good) money but not to the extremes it moved towards in the years after. No social media yet, no camera phones. Just spinning vinyl in clubs with lights, maybe a smoke machine and sometimes a laser :)

You started out at Rotterdam’s legendary Basic Beat record store. What did you learn from those early years, and how did it shape the way you later built Manual Music?
It truly shaped me, and I’ve learned most of what I know now. I worked in the record store but also started helping out at the record company, which was located in the same building, one floor up. I met DJs, producers, promoters and all kinds of creative people day in day out, and learned everything about the music industry, from a demo coming in to a final product going out to the stores, mastering, licensing, publishing, music rights etc. Working at Basic Beat absolutely laid the foundation for me.

Over the years, you’ve held residencies at some of the Netherlands’ most iconic nightclubs and played events like Awakenings and Dance Valley. Which shows or tours stand out as particularly memorable, and why?
Tough question as it’s super hard to single out one particular highlight. I guess looking back I just feel incredibly lucky and grateful to have been able to play at so many different places in so many different countries. If I have to name one thing then I must say I’ve got particularly fond memories of a Furrr & Hazendonk summer tour I did together with my buddy Raymond (Furrr / Qbical) back in 2010. Location wise, I was lucky enough to have had the chance to play at Ambasada Gavioli in Slovenia multiple times, a truly magical place. When it comes to the crowd I always feel at home when playing at the Bergwacht parties in Cologne, though the enthusiasm of the crowd when I played in Sri Lanka was incredible as well.

What do you consider the highlight of your career so far, both as a DJ and a producer?
Being able to make a full-time living working in the music industry since I was 17 years old is something I could have only dreamt of when I was a kid. As cheesy as it may sound, for me that’s bigger than any particular gig or release.

Manual Music has become a respected brand in the industry, with multiple sub-labels, a publishing arm, and a distribution company. What was your vision when you first launched it, and how has that vision evolved over the years?
When Manual Music, the label, started out, I started it because I received very cool music that didn’t fit the labels I was running at the time, so I started something new. There was no deeper thought behind it really. But it took off right from the beginning so that’s how it became the name of the company I started a few years later. Digital distribution was never the plan, I just wanted to DJ and release cool music. But then I started helping out some friends in the industry and before I knew it, by word of mouth many other labels wanted to join too, and here we are :)

What do you look for when signing new music for Manual Music and its sub-labels? Is there a certain “Manual sound” you try to maintain, or do you prefer diversity across genres?
I sign purely based on gut-feel. So a song either does something with me, or it doesn’t — it’s as simple as that really. I enjoy a lot of different kinds of music (also outside of electronic music), and I’m lucky enough to have multiple labels under the Manual Music umbrella so I can release a wider variety of music than just one particular sound in a certain genre, which would be quite boring to me.

Running a label, producing music, DJing worldwide, and being a family man is a lot to balance. How do you manage your time and keep a healthy work–life balance?
It was manageable for many years without any issues, until my kids were born. I then decided to take a couple of steps back from DJing and now only DJ every now and then instead of almost every weekend. For my productions, nowadays I work together with a lot of talented artists like Return To Saturn, Riigs and Erik Berger (Amanic) for example, which allows me to still be creative without having to create a song solo from A to Z. Long story short: my main focus nowadays is running my company and working normal hours so I can see my kids grow up. DJing and producing music will always be a part of me, it’s just not my absolute main priority in this stage of my life.

You’ve experienced the industry shift from vinyl to digital, and now the dominance of streaming. What was the hardest transition for you personally and for your label, and what opportunities did it bring?
Without a doubt vinyl to digital. I mean, I worked in a record store and ran various labels, putting out vinyl. Within a few months time vinyl pretty much died. One record store after another closed down and Basic Beat closed down as well eventually, it was inevitable. Vinyl sales quickly dropped to a point where each release was costing (a lot) of money. With digital came illegal downloading, and whilst digital made it much more affordable for people to start producing music, which brought us many talents from many parts of the world, it also opened up the floodgates for sub-par productions being released on the download stores, making it easy for music to be overlooked.
During the Basic Beat days we already spoke about the fact that ownership of music (avid fans and collectors aside) would be something of the past, so when streaming came along I instantly jumped on it. I read a lot of negativity about it, and whilst of course there are many negative things to say, for my company it was definitely a lifesaver compared to just selling digital downloads and trying to fight illegal downloading.

Where do you see the industry going in the near future, especially with the rise of AI in music production, curation, and distribution? Do you see it as a threat, a tool, or both?
Right now I see it as a super interesting and useful tool that can really boost creativity. I’ve just started exploring options myself and I must say, as a producer, I really like what I can do with it. It’s like an extra pair of hands in the studio. From a music business perspective these are, once again, interesting times. Like with the transition from physical to digital, it will probably take years before the rulemakers have figured out how to handle it. I’m not too worried though. Like with everything else, it will find its way.

How did you first learn about Sound Avenue / 3rd Avenue, and could you mention some of your favorite releases on the label?
Well, I actually did a remix for the label in the early days, so I was an early adopter :) The catalogue is so incredibly huge, I wouldn’t even know where to start to pick a favorite track to be honest.

You recently delivered a remix for Secretly Famous on Sound Avenue together with Riigs. What made you connect with the original track, and what inspired you to take on this remix?
I love the housey warm chords of the original track, they instantly stuck with me and it felt like a track we could give our own unique twist to, complimenting the original song and its elements.

What advice would you offer to your younger self, considering all the knowledge and experience you’ve gained in your career so far? Additionally, what advice would you give to aspiring artists who may be reading this interview?
Whilst I think mistakes are there to be made and to learn from, I was green as grass when I first entered the scene. I’ve learned that sometimes it’s best to keep your mouth shut. I said some things in early interviews which were misinterpreted, and naturally the internet being the internet, it was made much bigger than it was. Since then I’m more aware of this, without being too politically correct. I mean, I still have my own opinion on certain things of course. Sometimes you can say the same thing in different wording, and then people won’t take offence. So I guess the best advice would be: think, rethink and rethink again before typing something on the internet haha.

Besides music, do you have any other passions or hobbies?
I love to travel — or actually not the travelling itself, but exploring other cities, countries, cultures. I can appreciate good food and nowadays I’m actually part of a group of men here in the town where I live where we take high-end cooking classes, preparing multiple course meals, and then eating them of course. I love to watch documentaries. And next to that… it’s mainly music, music, music I’m afraid. Collecting records, crate digging, reading about artists / record labels / producers etc. Really nerdy stuff.

Are there any books, documentaries, podcasts, or TV shows that you’d like to recommend to your fans and fellow artists?
There are two podcasts I really enjoy listening to. Both in Dutch language though, so they aren’t interesting for everyone: De Machine (a great weekly podcast about the music industry) and Als Muren Konden Praten (translated: If Walls Could Talk) about famous nightclubs in the Netherlands.

Could you share some of your all-time favorite tracks or songs that have had a significant impact on your musical journey?
Cybersonik – Technarchy
Petter – Robotfood (Manual 001 – the one that started it all)
Pascal FEOS – I Can Feel That
Annette – Dream 17
Zhana – Sanctuary Of Love

After such a long and varied career, what keeps you motivated and inspired to continue pushing forward in music?
I can’t really see myself doing anything else really, because I’ve never really done anything else. So if anything I need to stay on top of things to assure I (or my business) doesn’t have an expiration date. Next to that I’m still eager to find music that excites me. It’s just the love for music and creativity that drives me.

What can we look forward to from you in the near future?
Right now I’m mainly busy with Manual’s 20th anniversary celebrations. We’re going to bring the old crew back together for a once again Manual Movement 4-hour live radio show, like we did in the early days. There will be a special vinyl-only release to celebrate the 20th anniversary and some limited edition merchandise as well. And of course ADE is on our doorstep where we’ll be hosting our annual Manual Family Get Together at Kadinsky Cafe on Saturday night, and the closing party together with Mango Alley on the Sunday night at Akhnaton.

Stream / download his remix here: https://go.protonradio.com/r/rlucdWCHUv4gI
Follow Paul Hazendonk: Soundcloud | Instagram

Hello Rivvo and RAFZ! How are you both today, and what have you been up to lately?
(RIVVO) Hello Dom! We're fine thank you! Lately it's been all about work, on- and off- studio and decks!
(RAFZ) Hi Dom! I think the same as Rivvo, haha! Now I'm already thinking about next year's schedule!

Can you briefly share when you each started producing music, your first piece of equipment or software, and reflect on your debut release?
(RIVVO) Well... Officially, I started producing music because of the 2020 pandemic lockdowns – so Ableton was the first and only love, and Ableton is all there is, there is no other DAW greater than Ableton, hahaha (yes, teasing the other DAW users 😀😀)
Kidding! I had some experience with Cubase and Logic as well. 😇
But my first ever contact with any “music software” was an ancient version of SoundForge! It was 2006… and the result.... was TERRIBLE! I never tried anything musical again for many years
A much different situation from my debut track in 2020, “Darkest Love,” which was a super high-quality collab with renouned DJ and producer, mentor and friend Re Dupre. It was released as a co-winner for a remix contest for Sony Music (Hub records, major label on mainstream electronic music in Brazil) - which made me really happy to “start” out with such a bang!

(RAFZ) I started around the same time as RIVVO, also in the pandemic, also with Ableton, and I don't intend to change—it suits me perfectly! At the time, I had a really bad PC, haha. It was a PC, a gaming headset, and a dream! But I soon realized I needed to upgrade it so I could get more out of the DAW.
Fun fact: I ended up buying a pair of Yamaha HS5s from Maz, who is a great friend of ours here in Rio! I think it's bringing me luck! haha

Did you have a mentor or take any lessons, either offline or online, to enhance your skills?
(RIVVO) YES. A LOT. During the 1st year as a producer, I took on the matter heavily. Weekly and sometimes bi-weekly one-on-one (4h usually) lessons in studio with Re Dupre, very talented producer and DJ and harsh teacher, along with complementary free YouTube courses, helped me acquire software and audio skills quickly and pave the way to self-learning when he eventually moved to Mexico.
Fragmented bits from WhatsApp (WhatsApp use is completely widespread in Brazil) groups also was part of the learning process in the beginning, but later in the production pathway the tips and tricks from experienced friend/fellow producers were important on consolidating and improving skills
(RAFZ) As soon as I started, I joined some very famous communities here in Brazil, such as Comunidade Fluxo (DJ Zac), and to this day I am still part of the André Salata audio community, which is where I keep up to date with all the latest news, both in terms of music itself and new tools we can use. Not to mention my mentor, RIVVO, who has always helped me a lot too. Without these three, I would hardly be the producer I am today.

What do you consider the highlight of your careers so far, both as DJs and producers?
(RIVVO) As a DJ, I would say that it would be the gig at D EDGE / SP – Meca of electronic music in Brazil and top 20 club worldwide – and soon, another gig on the same D EDGE on the 20th!
As a producer, I can’t pinpoint a single pinnacle fame moment...
I can highlight the release of ‘Coldest Nights’ on AME Records, with my dear friends Duh Project and Silvio Soul, which was significant (Zamna Playlists, Zamna Supports, Ibiza supports, etc) as one that caught the most media attention. But also I would like can list some little big personal victories:

• The Claire de Lune EP on One of a Kind Musik – remixing the piano mega-hit made me feel rejoiced since it was done with pure art in mind. The raw freedom of electronic music and the art of classical music are blended in one single track. The “Touch of souls” track, on the same EP, is also a very special one. Both convey a very high level of musical storytelling that I have been able to reproduce only once again.

• Landing tracks for both “Night” and “Day” compilations for Transensations Records’ VA 2024 – getting a welcoming compliment from the same guys who 3 years before would outright reject my tracks

• Last but not least, this very release of “Nebular Dreams” - Because of the nouvelle musique aspect of the original track, because of the stellar team of remixers, because of how well these remixes represent the TRUE progressive house sound of today

(RAFZ) I can quickly recall three moments that were dreams come true for me. The first was getting Durante to perform at one of our label parties here in Rio de Janeiro, something that was unthinkable, impossible, until we did it. He has always been my biggest international reference in music, and I swear I cried when I managed to close the deal. Not only that, but we did a b2b set for almost three hours, so I also fulfilled my dream of playing with my biggest idol, which is incredible.

Second: Debuting at Privilège Buzios, a world-renowned club with a history of over 20 years where names like Carl Cox, David Guetta, Alok, and other giants have performed. For me, it was an incredible honor. I hope to return more often and experience other incredible moments there.

Third: This release by Future Avenue! I've always been a guy from other areas, and producing has always been difficult for me. Overcoming this difficulty and releasing a song, with an EP of remixes by such a renowned label, is undoubtedly a great victory and a turning point in my career.

Let’s talk about Nebular Dreams. How did this collaboration come about, and what was the creative process like between the two of you?
(RIVVO) Well. It all started when we were in the studio and needed to check back some concept on Diva Synth we were confused about and we opened this online course I had bought, and one of the lectures had this beautiful chord progression with a sweet synth timbre. We knew it right there and then: LETS DO A TRACK OVER THIS THING – a totally eureka moment!
About the creative process... That story is actually quite funny, hehe. Rafz is more a Melodic House Anjuna bright major key blip melodies guy, and I’m a more Progressive house Sudbeats/meanwhile power/dark hoover/trippy spacey vibes minor key guy.... so, during the creative sessions on studio, comments like ‘Dude keep away from the dark pit’ / “Dude that is too cheesy” were flying around hahaha!
We eventually found our common ground and we were able to create a beautiful track with a story told in itself – without losing dancefloor power!

Was there a particular concept or mood you wanted to capture with the tracks on this EP?
(RIVVO) The original track is supposed to mirror our tastes in music and our visions for the dancefloor – blending melodic house elements and Progressive house constructs, to create something unique
Mixing constructs of house and progressive house created a complex track with different progressions and combinations of polyrhythmic layers, ARPS, melodic leads, Synths, and MANY protagonist changes.
The remixers were chosen not only by their skill, but also for their approach to Progressive House influences nowadays. They were given full freedom, and the result was incredible – each bringing to the table a prime example of what Progressive House is today

How did you first discover Future Avenue / Sound Avenue, and what made this the right home for your collaboration?
(RIVVO) The first ever discovery was still as a DJ, researching where did it came from so much music that I liked! 😊
As a producer, I had a previous releases in Future Avenue with my friend Teclas and as remixer.

The choice for Future Avenue was simple: The label is widely respected in the community and has sonic flexibility for accepting a wider array of constructs within the progressive house umbrella – hence, was perfect for this release.
Another very important factor was.. Well... that YOU [Dominique] allowed it to make it happen haha - I must thank you for letting me muster the team remixers
I confess though, that 10 seconds after you gave me green light .... I started regretting that ahhaha
It came to me that the remixers had yet to ACCEPT the task and since I didn't have any official ties with FA... it would be HARDER for them to accept my invitation!
But thankfully, my strategy worked, and here we are!
(RAFZ) Well, I usually study target labels where my music might fit, and Future/Sound Avenue has always been in my plans, mainly because the label is a great source of new music for me to discover, not to mention the influence of RIVVO, who has been a long-time partner of yours. We feel at home here.

When working together, how do you divide the workflow? Do you each focus on different aspects like melodies, groove, or mixing—or is it more fluid?
(RIVVO) Well. We separately selected samples, grooves, reference tracks, constructs, and concepts that we wanted to incorporate in the trac,k and then together in the studio we tested them out combined.
Out of that soup of sounds, we created a cohesive, complex, beautiful, bright yet powerful and dancefloor-ready unique track.

Rivvo, Your background includes 10 years of classical piano studies and orchestra experience. How does that foundation influence your approach to producing electronic music today?
(RIVVO) Oooohh It does. A LOT. In many ways!
For starters, I very often try and use classical instruments in my tracks! Not only the piano, but the violin, oboe, cello, the horns, etc
Also, whenever creating a melody or chord progression, it's almost unavoidable to take inspiration from classical music. If not directly transcribing some progression or melodic passage, then from the sheer influence of years of listening.
Trivia: The two proton-pack charted tracks, collabs with my friend Matt Oliver, bear heavy influence from classical music. ‘The Elven Town’ has a very emphatic lead from transversal flutes and other classical music instruments, which were used as if electronic music components
The other one, The Peaceful Forest, also has many classical music instruments occupying roles usually made for synths. Key to the track is a very deeply emotive violin melody, much inspired on Vivaldi's "Summer”.
Another sign of classical music influence is the richness of sounds and chords, and how I like and produce tracks with strong melodic lines.
Other ‘classical music’ perks are giving you a picky ear, faster ear training and sharper note tuning from if you didn't have an instrument/music background
Curiously though, I only started to note this positive effect much later into production life!

You’ve described music as a powerful tool for neural state modification and something that should be treated with respect. Can you elaborate on this philosophy and how it guides your productions?
(RIVVO) Well. Not really a sole philosophy anymore, but backed with Scientific data! Research shows that music HAS a pharmacological-like non-voluntary effect on our brain (and our bodies?) just as if you were taking a med pill. Musical therapy is not anymore just about doing some yadda-yadda ludic singing exercises.
Nowadays, people are receiving science-endorsed treatment for resistant depression with IV Ketamine + music sessions!
And that is before even going into the ‘vibration & holistic energy’ side of it!
Neurobehavior researchers link patterns of music to certain behaviours, and we as ravers/clubbers already know that. How does Tech-housers dress, drink, pose, speak? How do- people party? What psychological profile do we ProgHousers fit?
So, with that in mind, we DJs and producers need to be aware that our work will have impact on people’s lives. During my experiments and exercises in music production, I have produced some tracks that I wouldn't dare play to the public, since I KNOW for a fact that those tracks would throw people in a much darker pit than they already were in.
Remember, when People go to clubs and parties, very often they are in sensible states. Love life, financial life, work stuff, family problems.
And certainly, I wouldn’t want to get that to worse.
My motto in music is to make the listener or the clubber to leave my set or the track in a better state than (s)he entered. Either happier, more energized, more confident, lighter, or relieved.

Your debut came in 2020 through a remix contest win on Sony’s Hub Records, and later a praised collab on Harabe that even charted on Proton’s Top 10 Weekly. How did these early achievements shape your confidence and direction as an artist?
(RIVVO) It was awesome! I was really happy, especially for the Proton Pack Charts
The two first years of production are the worst. You are insecure about your choices, haven't trained your ear yet (unless you have daily/constant access to a treated room studio), you are still developing your mix skills, your creativity, and you doubt yourself ALL THE TIME. Despite everybody tells you not, you DO COMPARE yourself to others ALL THE TIME. Self-doubt slaps you in the face hard, very hard!
In this context, to have a national and then global level of recognition is VERY VERY reassuring. After that, you get to start and feel more confident of your musical choices.
Curiously, the two proton packs nominations were very close to each other, and I got some DMs popping asking “how does one do to get featured in Proton Pack” haha (like, is it a sponsored playlist?)

After a short hiatus, you came back stronger with highly melodic productions. What motivated you to restart, and how has your sound evolved since then?
(RIVVO) It was a time for reorganizing routines and systems – and make them scalable.
Organize Project folders; listen, classify and filter Sample packs; listen, save and organize preset packs for different VSTs.
Where to save them, how to save them, automatic backups, crash or disaster fallbacks, etc.
It was also a time when I tried to learn more efficient use of the plugins that I had at my disposal (Nebular dreams was born just because of that!)
All these under-the-hood things took time but were needed for optimizing production and lay the foundations to an evergrowing and efficient collection.
The productions that came afterwards are more compelling and took me much less time to make.

RAFZ, You were a passionate clubber in Rio de Janeiro before stepping behind the decks yourself. How did that transition from audience to DJ/producer change your perspective on music?
(RAFZ) I believe that during the time when I only went out to clubs and parties just to have fun, I experimented with different sounds and sometimes identified strongly with some of them, but unfortunately, they were very rare to hear around there. As you well know, Rio de Janeiro is the land of samba, so it's not one of the biggest hubs for electronic music here in Brazil. My move to the decks was partly for this reason, to play all those sounds that I always missed on the dance floors and, of course, to heal people through my music.

In your very first year, you debuted at Ava Club in Copacabana, Melodic Soul, and became a resident with Innerbright Records’ INNERSOUNDS parties. How did these opportunities impact your development as an artist?
(RAFZ) They had a huge impact because today I am also a partner at INNERSOUNDS and, together with my partners and collaborators, I carry out the mission of bringing a little more melodic/progressive house to the region. Without a doubt, those first opportunities not only put me on the market, but also inserted me into the scene in a very important way at that time.

You describe your sound as mysterious grooves combined with happy, progressive, and groovy melodies. How do you bring that unique energy into your productions and DJ sets?
(RAFZ) Look, I have this mission within me to heal people through my music, so when I put together the playlists for my sets, I always think about creating different moments in my performances, moments of great groove and also great emotion. I always go up to the booth with the intention of making people dance and bringing healing and happiness to them, which fulfills me as an artist.

Do you feel Rio’s scene and its dancefloors directly inspire the kind of music you want to create?
(RAFZ) I'm more inspired by the quality of life and the beautiful beaches and landscapes here than by the scene, you know? The scene is pretty lively around here, but there's not much diversity in terms of music, and that's something we're trying to change through our events.

What are some of your favorite record labels, and do you have specific goals or aspirations to release on certain imprints in the future?
(RAFZ) I believe that Anjunadeep has always been a major reference for me, and although I always aim for major labels, the only one I have as a major goal is Anjunadeep.
(RIVVO) Yeahh, I would say that Anjunadeep is a major common ground! But from there, I would also divert to Meanwhile, Sudbeats, MangoAlley – and also organic house labels such as Shanti Radio Moscow, All Day I Dream, Hoomidas, TRYBESof...

What advice would you each offer to your younger self, considering the knowledge and experience you’ve gained so far? Additionally, what advice would you give to aspiring artists who may be reading this interview?
(RAFZ) Work, study, prepare yourself thoroughly, as with everything in life. Understand that working with music is like any other profession that requires preparation time, discipline, a lot of study, patience, and that in order to get results, you need to be persistent and, above all, make sure you are putting 100% of your heart into it! Your music is your truth.
(RIVVO) I would repeat pretty much everything that RAFZ said. Keep the hard work, do your best, keep improving!
And yes, results do take long to appear. What you are seeding today takes usually 2 years to sow. To the newcomers, I would even dare to say that music career is just like any other career. You need a lot of time invested in education, investment in equipment/software, (as you would in college) and a LOT of hard in order for things to start returning to you (as you would be a good student with good grades!)

Besides music, do you have other passions or hobbies that inspire you or balance your creative work?
(RAFZ) Today, I have other professions besides music, so in order for everything to work out, I end up not having much time for other activities, I confess. I'm kind of a workaholic, hahaha.
(RIVVO) I'm an eye doctor/surgeon, so alongside with music profession, there is pretty much almost no free time whatsoever! I found out, though, that the bumpiness/stress of medical life is quite the booster for creativity and music energy. Even after a long day of work I feel ZERO tiredness when opening ableton and find music production to be quite stimulating to me. Perhaps because of the different areas of brain use with medical and musical activites!
But still, I do take some rest during the weekends.

Are there any books, documentaries, podcasts, or films you’d recommend to fans and fellow artists?
(RAFZ) Books and films from the Sherlock Holmes and 007 series. In fact, here's a fun fact: I have a tattoo with a phrase inspired by 007, and that same phrase is the name of my series of sets on SoundCloud: Old Dog. New Tricks! Haha.
(RIVVO) I basically only do technical reading (including softskills and corporate skills, lately), recommending very much the “diary of a ceo’ podcast as an excellent mindset-forming show for everyone, including music producers as now they must be an all-in-one
Movies.... now that's when I go fully outside music (no music docs or music history movies). There are MANY MANY excellent movies: Inception, Interstellar, Shawshank Redemption, most of Marvel heroes ones for the eye-candy, the list goes on....

Could you share some of your all-time favorite tracks or songs that have had a significant impact on your musical journeys?
(RAFZ) Durante, Enamour - Taos Hum / Tinlicker - Fractal / YOTTO - Personal Space
(RIVVO) PROFF, EKSF – Another Try / NAHS – Birds in mount Zion (Fabri Lopez Remix) / Stan Kolev – Listen / Corren Cavini – 37 Sessions / Hermanez – Storyteller / Volen Sentir - Na Dvore Dozhd' / Vdol Po Rechenke

All had a humongous impact either as listener or as producer;

Finally, what can we look forward to from both of you in the near future—individually and as collaborators?
(RAFZ) I am very excited about the near future. I have been performing at major clubs here in Brazil, such as Privilège Buzios and D-Edge, fulfilling my dream of playing at places I used to just go as a clubber. I believe that now is the time to spend a lot of time in the studio. I believe I have a lot to do and a lot to show artistically speaking, and RIVVO is a big part of that. He has become like a brother to me, with whom I can share a lot of knowledge, and I'm sure we have a lot to do together as well. I really enjoy working with him!
(RIVVO) Thanks my friend! Likewise!
As RAFZ said, good things have been happening and a spiral of positive events – I believe the results of the efforts and hard work we have been doing are coming back to us and Rafz is in the middle of it all!
The least you can expect from us is more musical mayhem – on-studio and on-decks! I have also more music to be released on OneOf A Kind and Balkan Connections, as well as some more special gigs coming!
We would like to thank you for inviting us for this interview and certainly looking forward to work with you and FA again in the future!

If you’d like to dive deeper into the creative process behind the Nebular Dreams EP, make sure to also check out our Remix Spotlight with Gorkiz and Mind Echoes, where both artists share their perspectives on reimagining the originals.

Stream/Download their “Nebular Dreams EP” here: https://go.protonradio.com/r/rlxKpKWfz4pnE

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