Mad Motel is the brainchild of Derek Kamm, aka Kidislive, an American producer raised on Long Island who has been DJing and producing for almost 20 years. He has previously worked with Wareika and Henrik Schwarz on Visionquest and ran his own Local Raider Records, but now branches out with a new project which will combine music and visuals in the world of micro house, minimal techno, and experimental electronica. We sat down with Kidislive to discuss the release of his new EP, Mad Motel, and his experiences as a DJ.

1. Hi Derek, thanks for sitting down with us today. How are you doing?
Doing great, grateful for the endorsement, and have been busy working on my vinyl project coming out this year

2. Break You Heart is your first release on your new label, Mad Motel. Can you tell us about these tracks?
Of course… Beak Your Heart is the type of track that scores your life story nicely. I think most people can relate to the words. Either being the one who broke someone’s heart or had their heart broken, the track came along nicely during production, and all the sounds just fit well with one another. Monsters R Us is more of something I would want to hear in an afters environment on big powerful old dusty speakers where I can enjoy that hypnotic groove it creates, Ussy Bop I actually made fairly quickly in the sudio, there is not a lot elements to the song but it just grooves very well, an ideal ibiza brunch track with party people taking in the vibes.

3. You’ve previously worked with Wareika and Henrik Schwarz on the Visionquest label and run your own, Local Raider Records. How did that inspire you to start Mad Motel? 
Well, as far as working with Wareika and Henrik Schwarz, at that time, many years ago, that was the biggest deal for me EVER. I was living in Berlin, and 2011 was just a magical time there. I had made friends with all the right people there, especially the crew at Renate. Local Raider Records was started, but lacked a clear vision at the time for me, it was a fuzzy time period as I was juggling a lot of different businesses, and the math wasn’t making sense. Now with Mad Motel, I have a very clear vision as far as what I want to create, and I feel my voice as an artist is more defined, and I plan on using my new imprint as a launch vehicle for my own personal work, plus different edits of my work. Possibly release solo artist releases down the road, let’s see.

4. You’ve been DJing and producing for over 20 years. How has the music landscape changed over the years, and how has this impacted you as an artist?
When I was living in Brazil in 2010, there was this mystique of international DJs playing local parties. I feel that has left now that the world is more interconnected on social media. The whole cell phone record revolution has its pros and cons, as there are certain epic moments in the history of our scene that can’t be relived without seeing it; however, there is still this amazing vibe of no-cell phone parties like Berghain that keep alive the old aesthetic of the original ravers.

5. You grew up in Long Island, a place that’s been home to many successful artists. What was the music community like growing up in there? How did it influence your work?

The Long Island scene, to me, since day 1 has always missed the boat, not including the Hamptons or Montauk, which is a different scene all together. From my earliest memories of partying, you had to travel to NYC in the 90s to experience the sound and energy at places like Sound Factory, Tunnel, Twilo, and Limelight to really convert. Then, eventually, those clubs changed, and so did city politics. That’s when you had the birth of NYC warehouse parties in Brooklyn with the Blackmarket Membership crew. This was a special run during the 2000s. Blackmarket was bringing in all the upcoming talent from overseas and showcasing their sets in illegal warehouse parties; it was magical. Now you have a bunch of splinter cell parties doing the same, which is good for the industry.

6. You’ve played all across the globe. Where is your favourite place to play? How do you prepare for your shows?
Brazil, for me, is always magical. The people are wired and programmed to party hard and party long; it’s in their DNA, and it’s in mine as well, as I am half Brazilian. Preparing for shows is different now then back in the day, where back in the day most of my sets were vinyl. So, really spending time with my records and knowing how they all mesh with one another would allow me to experiment with new combos in a live scenario. Now most of my sets are with CDJs and it just makes things so much more faster and easier to experiment more, as I can see BPM and wave size of the audio, also being able to loop on the spot with tracks that are sub 5 mins, there is just so much more you can do on the fly these days with less tedious preparation and more on the spot improvisation, which is fun.

7. What are some of your favourite releases from this year?
Damiano von Erckert has been on fire for me lately and seems to be dialed in on every track, along with Jimi Jules, he’s a phenom in my opinion. Lastly, Gerry Read is an enigma to me, so talented, and a dear friend of mine.

8. What artists can we expect to hear on Mad Motel in 2026?
In talks now for some edits with Gerry Read, Dave DK, and Paula Tape. But primarily, most of my own work, as I have a lot to release this year coming up, some of my best work.

9. It’s been great to chat with you today. Do you have any plans for the rest of the year?
Just spending time in the studio relentlessly finding the next groove, and time with my two little beautiful sons and wife.

Fresh off his Solid Grooves smash debut, Patrick Topping marks six months of his summer anthem ‘Want U’ by recruiting breakout duo Murphy’s Law for a blistering new rework. The brothers twist the original into a hazy, heads-down club roller, blending soft neon synth colours, a raspy 90s bassline, and a euphoric vocal glow. Classic piano stabs cut through the mix with razor-sharp precision, pushing the track into full peak-time pandemonium.

“We are really excited to put this remix out for Patty T on his infamous imprint, Trick. We have been fans of his music for the past 10 years, so to be asked to put our spin on his single ‘Want U’ is a huge honour for us. We wanted to take the remix in a completely different direction from the original, and we thought that a moody club roller was the perfect way to go. The first time we ever tested this out was b2b with Patrick in Tenerife, and we knew from that moment on that it had a special spark about it! It’s been doing the business in our sets over the past few months, and we are super happy to finally be able to share it with you all.” – Murphy’s Law

Murphy’s Law – brothers Sonny and Finn Murphy – have cemented themselves as key voices in modern house, thanks to their emotive hooks, infectious grooves, and high-energy sets. In the studio, they’ve racked up millions of streams across releases on Hot Creations, Ministry of Sound, and Deeperfect, along with heavy rotation on BBC Radio 1. Now, the Leicester-born duo cap off a landmark year with their most anticipated moment yet: a speaker-rattling remix of Patrick Topping’s ‘Want U’ for Trick.

Patrick Topping ‘Want U (Murphy’s Remix)’ drops via Trick on 12th December 2025.

Murphy’s Law: Instagram – Soundcloud – Facebook – Spotify
Patrick Topping: Instagram – Soundcloud – Facebook – Spotify

Talal Hakim is a go-to producer for top DJs around the world. He has released numerous tracks over the last few years on labels such as Renaissance, Joris Voorn’s Spectrum, Booka Shade’s Blaufield, and many more. They have charted in more than 100 countries worldwide, broken into the Beatport Top 10, and firmly established Talal at the heart of the contemporary melodic house and techno landscape. He was last on this label in the summer when he contributed ‘Eleven Thirty’ to their annual VA Incanto release, and now impresses with solo EP ‘Delta’.

1. Hey Talal, thank you for sitting down with us today. How have you been?

I’m ok, just in the middle of an apartment move process which is taking some time.

2. Your new EP ‘Delta’ is out on the 26th of December. Could you tell us a bit about the release and how it came about?

I had a prior release on Black Rose, so I have been in touch with the label manager, Ciro, with some new demo materials. The batch of demos is a bit large,r but some of them are still in the review process with some other potential recipients, which will be finalized for 2026.

3. This is your first release on White Rose Records. How did you hook up with the label?

I previously had a release on the sister label Black Rose, so I have stayed in touch with new material, which was decided might better suit the White Rose direction.

4. Do you find that when producing music, you have potential labels in mind for release, or does that come later?

I try to avoid overthinking the big picture and focus more on the basics by testing and trying sounds that appeal, and then go from there. However, with that said, I think the sound lately has drifted into someplace between melodic techno and indie, Bicep playlisted a recent track, and I did a remix for Booka Shade recently – and some other similar artists are regularly testing material – so the tone somewhat fits in that area.

5. You’ve been releasing music for over 15 years now. How have you found your music style and production have changed as your career has progressed?

I have mostly been releasing regularly since 2015/2016; however, there was one release back in 2010 or so, but I stopped then for half a decade or so. I think styles are always changing; however, my production/idea development process has become much more productive. In the early days, I worked a song from start to finish almost as though reading from left to right, but over time it became more working from inside to outside – by first finding a core sound I like and then expanding it from there.

6. Your catalogue spans several genres. Do you have quite an eclectic music taste? How does this inspire your sound?

During university days in Los Angeles, I think I went to at least one concert per week for a few years, so you inevitably learn a wide range of music. I like to think that the best music will be appealing to listeners beyond a genre type and beyond a time period. This can be challenging because most record labels develop a footprint for a specific promo pool, which then also carries over into distribution and audience expectations – I think you see similar with film production too. But then, who would have expected Liam Neeson to go into action later in life and Robert De Niro into comedy. One of my favorite items to consider is how strong the old Jim Henson film works remain decades later.

7. You’ve received support from some big names in music, including Armin Van Buuren, Benny Benassi, and John Digweed. Who are some of your favourite artists that you support?

Any support is good support, so I am grateful for all. Lately, things seem to be drifting into a more indie sort of orbit with Bicep playlisting a track, a remix for Booka Shade’s new album, and other artists in that area are currently testing more items. Dave Seaman just playlisted this new White Rose release, Delta, which was great to see. I’ve been a fan of his work for as long as I can remember.

8. You’ve performed at some major venues like Amnesia Ibiza, The Standard Los Angeles, and La Torre Ibiza. What have been your favourite places to perform at? Have you got any shows coming up?

There have been some great experiences all over. Ludo and Tom Pook’s Family Piknik has been great, South France is a wonderful area, and it’s been a good experience all around, from the event to the people and landscape, and getting to collaborate with a range of artists from the festival label. Denis A of DAR Label was very kind to invite me to play at Beonix festival in Cyprus. It was my first time in the country, and it was nice to talk with Nick Warren in the hotel cafe for a while about a lot of music (we covered a lot of ground from the 1990s to the present day). Jason Swamy, way back, invited me to Robot Heart’s Further Future Festival in Nevada, which was a great experience and landscape. Logan Baker’s Shipwrecked festival in New Zealand was a great opportunity to get to see the nature/greenery of that country, and the festival crew very kindly invited me over after the festival in Auckland for a rooftop gathering. At the moment, I am likely playing in East Asia in March and Central/South America in April. There are a number of items still in discussions, but for now will be at Hong Kong’s Casa Dao early March, and potentially Tokyo + Bali. In April, I think I will likely start in Mexico City or Guadalajara, still in talks – Felax runs a label out there, PitchBend, which I am hoping to do a remix for in the near future.

9. It’s been great chatting with you today! What can we expect from you in 2026?

There is a larger demo that’s been in some review process since September 2025. I am hoping to get that done for 2026 shortly – beyond that, I am just trying to finish this apartment move and get the music demos rolling and finish up some of the event discussions.

Buy HERE

Visions of Paraiso is the new label from Panøram, a fresh alias with serious creative intent from an accomplished producer. He has worked on various projects before, but recently took a step back to refocus on production, hone his vision, and refine his sound into something that collides a wide range of influences. After growing up around parental Pink Floyd, The Clash, and the Sex Pistols records, he fell for US house, speed garage, and trance from across Europe. For his own productions, he has a future-facing perspective and brings warm atmospheric darkness to this first new EP. We sat down with Panøram to discuss his new release, influences, and production.

1. Hi Panoram, thank you for taking the time to sit down with us today. How have you been?

Hi, it’s a pleasure. I’ve been good, just very busy these last few weeks preparing everything for the EP release and the label. Everything is new for me, but I’m really motivated by all the projects. At the same time, I’ve been working in the studio on VOP 002 and other projects as well.

2. You’ve recently started your own label, ‘Visions of Paraiso’. What made you want to start your own imprint? How are you finding it?

The idea behind creating a label is, on one hand, to have a platform to release all the music I’ve been making over the past years, and on the other hand, to build a community of artists who share a similar sensitivity toward music, art, and life — with the goal to offer something special to people and to contribute, through music, in different ways.

3. Your ‘Visions EP’ is your first release on your new label. Could you tell us about the tracks and the vision behind the EP?

I think the EP reflects a special moment in my life, blending my indie and ’80s influences, but with my own modern touch. A1, Visions, is a journey that starts with an acoustic bass and a 909 kick, combined with 707 and 909 drum patterns and some dark guitar chords.

A2 is produced entirely with the Roland 707. The idea was to create something more emotional, with a break-driven, riding groove.”

B1 It’s my own alternative version. Here, I wanted a different kind of mix, with a strong 808 kick driving the track while keeping the bass less dominant in the low frequencies. This whole search for a unique sound kept me spending long night sessions in my little studio. At one point, I even thought, ‘Am I going crazy?’ haha — but I finally got it. Sometimes I’m a perfectionist, and I spend a lot of time trying to reach the exact sound I’m looking for.

4. You’ve recently been taking time out to refocus on production and hone your skills, a common practice for artists. What impact has this had on you and your music? Do you think it’s important for artists to take breaks from production for their development?

Yes, I think it’s important to sometimes take a break and step back from work, to focus more deeply without all the noise of social media and the world. The idea was to grow as an artist in the studio. These days, I know there are other factors—social media, image, contacts—that are also important, but for me, music always comes first. That’s why I think production is so important; I need to feel fulfilled in what I release. I worked many hours, but at the same time, I have to say, I love making music and the whole process. For me, it worked really well: I found the sound I was looking for and clarified the direction I want to take. I 100% recommend it

5. Growing up with your parents, you say you were exposed to a lot of Pink Floyd, Sex Pistols, and The Clash. Has the music you grew up around influenced your production today? Do you think it’s important to consume many genres to produce great releases?

Yes, definitely, it influenced me. I was lucky to grow up in a musical environment — my parents loved music and were always playing great classics throughout my childhood. Living in the Canary Islands also exposed me to electronic influences from England and Germany when I was young, and my mum used to travel to Ibiza, bringing me great compilations from Café del Mar, Space, El Divino, and DC10. I think that’s probably why I have an eclectic taste today. I think listening to different genres can help you produce good music, because it opens your mind and gives you more options to create. I also think it’s important to understand the roots of the music — where the sounds come from. But in the end, the most important thing is what you feel, which is often more powerful than theory.

6. You’ve set a great precedent for your label with this release. What kind of music can we expect to hear from Visions of Paraiso in the future?

My idea with Visions Of Paraiso is to evolve. VOP 002 will have my sound, but it will be different. The main goal is to release timeless music that you can listen to and play at different moments, while still showing a natural evolution over time and always focusing more on quality than quantity.

7. When you’re not producing music and running your label, what do you like to fill your time with?

When I’m not in the studio, I love spending time with family and friends, and working on other creative projects like interiors or fashion. I also enjoy football — it helps me disconnect from music.

8. It’s been great chatting with you today. What can we expect from you going into 2026?

2026 will be an important year for me to grow in the scene as an artist and to keep developing as a person as well. With the label, my idea is to create a second series of releases with good remixes and release vinyl editions. I know the market is a bit saturated right now, but I believe that by working with love and doing things well, you can always find your space in the scene. Thank you for the interview; it was a great pleasure.

Buy Here

British-Persian DJ and producer Nickon Faith returns to Manual Smiles 12th December 2025 with the ‘Synthesis’ EP. It picks up where his 2024 ‘Digital Moss’ EP on the label left off, with the Resonance Spectrum Records boss once again delving into deep, genre-agnostic psychedelia. From the tense, forbidding arpeggios of title track ‘Synthesis’ and the biting acid of ‘Rocket’, through to the left-field darkness and bass-heavy atmosphere of ‘Infinite’, Faith proves himself a master of detailed, complex sound design. ‘Astral Dayz’ follows as a mystical adventure through sound, before ‘Dancing With Avatars’ closes the release with more interstellar, tripped-out edge, already supported by Aletha via her Rinse FM show. ‘Synthesis’ is yet another spellbinding offering from the promising Mancunian artist championed by HAAi and John Digweed.

“Synthesis is a mixed bag of influences that have shaped me, including taking a lot of ideas from alternative spaced-out rock music and ethereal video game soundscapes. I wanted to make a sequel to Digital Moss almost coming from a much more confident place as a producer and artist. The title track has been worked on for a good 3 years” – Nickon Faith

Founded in 2023 by Brussels-via-London artist Enno Lombaert, Manual Smiles is a home for artists breathing their own unique life into the Acid sound. Across styles ranging from House, Techno, and Trance to Balearica, Bass, and beyond, each release brings a distinct voice while remaining rooted in a shared psychedelic spirit. The label has featured music from Azo, Treasure Island, Kitsta, and Kajsa Villius, while winning support from the likes of Roman Flügel, Carista, Spray, Kiara Scuro, HAAi, and many more.

Nickon Faith ‘Synthesis’ releases via Manual Smiles 12th December 2025

Nickon Faith: Instagram – Soundcloud – Facebook
Manual Smiles: Instagram – Soundcloud – Beatport – Bandcamp

Lyon-born DJ/producer Max Mash returns to Ilario Alicante’s Sound D’Elite with ‘I’m A Mess EP’ – fresh off releases on Solid Grooves Raw, Short Circuit, and Dialed Records, he continues his ascent with three stripped-back, precision-driven club cuts.

From the thumping title track to the punchy minimalism of AAA and the warped swing of Sentiments, the EP captures his sharp, groove-focused approach. To celebrate, Max Mash shares his Top 10 Tracks playlist highlighting what’s inspiring his sets right now.

Tony Romera & Max Mash – Looking For 

This one is major to me, it’s my first track on a label I’ve dreamed since my beginning, the first one where i’ve seen some huge support all around the world. Achieving this goal with my best Friend Tony Romera makes it even more special.

Mark Knight & Funkagenda – Man With The Red Face

This is is one of the tracks I played the most back in the days. Every time I played it or listened to it, this track gave me goosebumps!

Mr Oizo – Flat Beat

I will always remember when I heard this one, it was one of the first times I went to a club in my hometown. Laidback Luke was playing it and it literally blew my mind! I instantly fell in love with the groove, the weird synths and the overall vibe of this track! 

Joris Voorn – Goodbye Fly

Goodbye Fly is one of my favorite tracks ever! I think I’ve played it a tons of times, and every time the buildup and the drop literally drive me crazy. 

The groove, combined with that vocal chop, is amazing, and it still slaps in clubs!

Guy Gerber feat. Albertina – Bocat (Michael Bibi Remix) 

I think this is the track that makes me dive into darker tracks and vibe! To me, this is the perfect track, from the drums, to the voice, through the guitar or acid bassline, everything is just flawless. 

Sailor & I – Turn Around (Âme Remix)

Turn Around (Ame Remix) : In my opinion, this is the perfect closing track. Every time I played a closing slot, this was my last track. The melody and the vocals are so beautiful, giving a peaceful mood to end the night.

Jeff Sorkowitz & Damelo – On Screen Off Screen 

This track from Jeff Sorkowitz & Damelo is a proper weapon! The sound design is just amazing, and the dark vibe works so well. This one is a real heater!

Sante Sansone – Bumpin 

This is one of my favorite tracks from this summer! This track is so powerful & groovy! Everytime i played it, I had bassface!!

Kidoo – Audio001

I think this is the track I’ve listened to the most this year, and it only came out in July lol! I love everything about it: how hypnotic, dark, captivating, and powerful it is. Kidoo is an artist I truly love and someone who inspires me a lot!

Jocelyn Brown – Somebody Else’s Guy 

I grew up with this track. I used to hear it in my parents’ car! To me, it’s a masterpiece, and Jocelyn Brown’s voice is just indescribable. What’s funny is that by choosing this track for my top 10, I’ve realized that ever since I was a kid, I’ve always loved tracks with groove.

London talent ABEL opens a new chapter with the launch of her imprint, Laundry Label, debuting it with her single ‘Slow Steady’. After carving out a name with her infectious sets and rising global profile, she’s creating a home for feel-good house and fresh talent in unconventional spaces. Today, we sit down with ABEL to talk about her journey, the vision behind her label and her plans for the future.

2025 has been a big year for you with appearances at KOKO, Gallery Club, Fabric, and Zamna Tulum, alongside releases on labels like Circus, Nervous and Bedrock Records. How does it feel looking back on the year?
Well I was pregnant most of the year which certainly put a twist on things! I’ve still been very non-stop but I’ve had to pick and choose shows more carefully. Funnily enough, it was exactly what I needed and where I’m headed is even clearer now and I feel more driven than ever.

You’re not just a DJ and producer, but also a songwriter and vocalist — how do those different sides of your artistry come together when you’re creating music?
I started out almost ten years ago top lining and writing full length songs to instrumentals for other artists. Once I started my own artist project and got more into the production side of things, this took a back seat and I’m probably more focused on club records and simpler vocal hooks these days. I still do write songs though and I find writing and recording them in my studio is a great way to escape. It’s also a cool opportunity to collaborate with artists who perhaps wouldn’t have approached me otherwise in such early stages of my career.

As someone who sings on your own tracks, do you find that being a vocalist changes the way you connect with the crowd compared to when you’re purely DJing?
I prefer the “if you know you know” approach with my vocals. Doing a live set is not a priority for me at the moment, maybe one day though.

When you’re creating music, do you think more in terms of emotions, movement, or storytelling — and how do those elements guide your process?
I envisage exactly what I would want to hear on the dancefloor and that guides me. Sometimes this will unfold into a story, sometimes it’s a simple hook and an unrelenting groove. The record needs to stir an emotion within me and transport me somewhere else when I’m sitting in the studio. Then I know I’m on to something.

Your sound has been described as hypnotic and immersive, but also rooted in groove and energy. How would you personally define the essence of the sound of ‘ABEL’?
I like to find the perfect combination of darkness and light. It’s deep, driving and vibrant and yes it definitely hits the spot in terms of groove and energy.

You’ve recently collaborated with Kadosh, Cristina Lazic and Cameron Jack and have more exciting partnerships in the pipeline. What do you look for when choosing collaborators?
Choosing collaborators, I need to love the artist and love their sound. For example I teamed up with Cristina Lazic as I adore her as an artist and a person. I love her minimal sound and we compliment each other well. We put out a release on her own label La Zic and one on Bedrock with Francesco Mami, two seriously talented Italians! Cristina and I have a lot in common, we’re both mums working our butts off in the industry. It’s not easy out there but we support each other through the ups and the downs and have a serious giggle sharing stories of mad experiences along the way.

The London scene has played a big role in your journey so far. What makes the city’s underground unique to you, and how has it influenced your music?
There are some really special venues in London where the crowds roar with passion and really settle in for a journey. London folk know how to have a good night. They don’t mess about. In the past few months I’ve had the pleasure of; a 4 hour set in the theatre at KOKO, my return to Fabric, playing Gallery Club with Damian Lazarus and Unlocked with Adam Ten. Shows in my hometown always hit the spot. The underground is solid here as you have great freedom to develop your sound because the crowds are so receptive and the characters behind the scenes are really supportive and dedicated to the scene.

Beyond the studio and the clubs, it feels like you’re preparing to open a new chapter in your career. What can you tell us about what’s coming up later this year? What can fans expect?
I’ve just launched my new label LAUNDRY LABEL with Mixmag LAB from a launderette during ADE. It went OFF! The label will release music from myself and my favourite artists, as well as hosting a party series from launderettes across the world.

With the label now in motion, what kind of sonic identity do you imagine defining LAUNDRY LABEL? Is it an extension of your own sound, or something that opens up a new lane entirely?
The sound is hypnotic, groove driven house and indie dance. Records that have punch to them but are uplifting and combine emotion and energy. I often make darker wonky records but this is more on the “banger” side of things. An outlet for deep driving yet joyful music that keeps you moving and can often surprise you.

As you start shaping the first wave of releases, what are you looking for in artists you might sign or champion through LAUNDRY LABEL? What tells you someone fits the world you’re building?
Good people who play good music. Unique artists who excite me and who’s records immediately prick my ears. I want to build a family and a network of like minded artists who can all support each other in this WILD industry.

With releases across respected imprints and a busy tour schedule, what’s the bigger picture for ABEL — what are you hoping to build over the next couple of years?
I can’t wait to build my library of releases. To keep evolving my sound and to build a community of cool, dynamic and good spirited people to share music and moments with (through LAUNDRY LABEL). To feel like I’m ‘breaking through’ after so many years of hard work. To keep travelling the world on this brilliant adventure, meeting so many amazing characters and laughing along the way.

Lastly, if your upcoming projects had a visual identity or atmosphere, like a film scene or an artwork, how would you describe them?
Oh some of dark sultry psychedelic launderette I guess? Industrial but warm. Dimly lit but inviting. Smoke, red neon and an open door enticing you in…

Follow ABEL
Instagram – Soundcloud

Argentinian Kevin Di Serna worked with Santor last time he was on Sasha’s label and remains a powerhouse producer who always brings rich emotion. He is a master of meaningful melody and has collaborated with notable labels such as Innervisions, Watergate, Sudbeat, and All Day I Dream, while becoming a contemporary progressive favourite. Henry Saiz, meanwhile, has appeared both solo and in collaboration with Sasha here this year. He has long been a studio wizard with forward-facing techniques and genre-defying grooves on his own Natura Sonoris. As such, this is a dream pairing for fans of melodic house and techno.

‘Technicolour’ opens with a meticulous cascade of sugary, pixelated synths that rise and fall, coalescing into a soothing lullaby as the drums remain deep. There is a grand scale to this track that sweeps you off your feet and has you floating above the floor on waves of melody that turn ever more acidic but never lose their optimistic edge. The vibrant ‘Atemporal’ is another rush of kaleidoscopic melody that serves as a celestial portal. Whispered voices, wispy pads, and more rugged arps ascend to the skies as the serene grooves cuddle and comfort you from below.

Henry Saiz & Kevin Di Serna’s ‘Technicolour Atemporal’ comes on Last Night On Earth on 12th December 2025.

Follow:

Henry Saiz: Instagram – Soundcloud – Beatport
Kevin Di Serna: Instagram – Soundcloud – Beatport

Pre-order/Preview the EP HERE

Astropolis Records emerged from the legendary French electronic festival and has become a bastion of deeply emotional sounds with plenty of flair. To mark its 10th anniversary belatedly, a selection of artists who have long been associated with the brand have all stepped up. Eight of the tracks are exciting collaborations, and only three of the 10 have been previously released. We sit down with one of the artists featured on the LP, Oniris, as he talks us through his new release, production process, and passions.

1. Hi Oniris, and welcome to Music is 4 Lovers. How has your 2025 been so far?

Thanks for having me! 2025 has been an inspiring year so far — full of creativity, new collaborations, and exciting projects. The highlight for me is definitely my upcoming track with Benjamin Rippert, which will be featured on the Astropolis Records 10-year anniversary compilation. It’s a project that really captures what I love most about music: emotion, melody, and connection.

2. You’re from the South of France, we understand. What can you tell us about your home town and the music scene there?

Yes, I’m from Nice, South of France, a beautiful city by the sea — a very pleasant place to live, with the Alps and wide open spaces just an hour’s drive away. A region full of light, warmth, and contrasts,

Even though electronic music isn’t the most dominant scene here, there are still some really cool spots and events happening throughout the year, especially during the summer.

One of the cultural landmarks here is Le 109, a “pôle de cultures contemporaines” built inside the city’s former slaughterhouses — it’s now a hub for art, performance, and electronic music, hosting some nice underground events. On a smaller but equally important scale, Le Perlone has become a key meeting point for the local scene — intimate, passionate, and always musically on point.
During the summer, the region comes alive with festivals like Crossover in Nice and Les Plages Électroniques in Cannes, which bring thousands of people together right by the Mediterranean.

3. You have a track on the new Astropolis compilation album in collaboration with Benjamin Rippert. What can you tell us about your relationship with Astropolis?

Astropolis has always been close to my heart. I’ve been connected with the crew since the very beginning of my journey in electronic music, and we share the same musical values — authenticity, emotion, and a deep respect for the culture. Being part of their 10-year anniversary compilation feels very special.

The collaboration with Benjamin Rippert, a brilliant pianist and composer who was a member of the L.B.S. project alongside Laurent Garnier and ScanX, came very naturally. We wanted to blend electronic textures with classical emotion, and Astropolis Records was the perfect home for it.

4. Your track ‘Sonate’ is probably the most melodic cut on the LP. How did you go about the production process, and do you generally enjoy working in collaboration or solo?

“Sonate” actually started with a rhythmic sketch I built — a few synth loops and the first structure of the track. From that early demo, Benjamin recorded his piano parts, bringing a whole new emotional dimension to the piece. After that, I refined the arrangement, shaping the atmospheres around his performance to find the right balance between acoustic depth and electronic energy.

I love working solo because it’s introspective, but collaborations like this one bring something unexpected — a dialogue that pushes you beyond your usual comfort zone and takes the music somewhere you couldn’t reach alone

5. You’ve released on a multitude of great record labels. What have been some of the highlights for you?

Each release means a lot to me, because I’ve always been lucky to work with labels that I truly respect or admire. Of course, releasing my first EP on Bedrock back in 2013 was a huge moment, but over the years, I’ve been collaborating with amazing imprints like Systematic, Ovum, Cod3QR, Herzblut, KMS or Ovum, and more recently Balance Music. Each one has represented a new step in my evolution as an artist and has allowed me to explore a wide range of sounds, because I don’t like to lock myself into one specific style.

But Astropolis will always feel like home — it’s more than a label; it’s a family that shares the same values and spirit that drives me.

6. What are your all-time favourite albums and why?

That’s a tough one! But if I had to name a few:

Michael Jackson – Thriller: an absolute masterpiece that transcends genres. The production, the groove, the vocal performances — everything is perfection. It’s an album that defined pop culture and still inspires generations of artists across all styles.

Nirvana – Nevermind: raw, powerful, and emotional. It captured the spirit of an entire generation and proved that music can be both melodic and rebellious. The energy and honesty of this record are still unmatched.

NTM – Paris sous les bombes: a cornerstone of French rap. The beats, the flow, the attitude — it brought a new level of consciousness and intensity to French music. It’s a record that marked my youth and still resonates deeply.

7. When you’re not in the studio or performing, what are your personal passions and other interests?

When I’m not in the studio or performing, I work as a structural engineer. I love to travel — discovering new cultures, atmospheres, and landscapes always fuels my inspiration. I’m also passionate about outdoor activities: I ride my e-MTB in spring and autumn to explore the beautiful landscapes of my region, I go freeride snowboarding in winter, and wakesurfing in summer. Those moments in nature help me clear my mind and find new creative energy. And of course, I love spending time with family and friends — it keeps me balanced.

8. What else do you have lined up for the year ahead?

After the Astropolis compilation, I’ll be focusing on new original music and developing more collaborations with Benjamin Rippert, we have a great creative connection.

I’ll also be performing at Warehouse in Nantes on December 19th, alongside Laurent Garnier and Sonic Crew, to celebrate the 10-year anniversary of Astropolis Records. It’s going to be a special night — Warehouse is one of the most impressive clubs in France, and playing with Laurent is always a memorable experience.

Buy Here 

Follow Luca Saporito
Instagram – SoundCloud