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.

Dance music powerhouse GRYFFIN, rising producer LAVERN, and electro-pop duo AR/CO have enlisted Italian duo Mathame for the newest official remix of ‘Higher Power’ out now via 10K Projects.

The latest remix extends the emotional weight and uplifting spirit of ‘Higher Power’ while offering a fresh perspective for the dancefloor. Mathame’s version chops AR/CO’s ethereal vocals and layers droning synths over pulsating percussion, pushing the original’s anthemic energy into new territory. Transformed through a blend of atmospheric melodies and driving underground rhythms, Mathame have elevated ‘Higher Power’ into a cinematic, late-night club experience.

Mathame’s new remix joins earlier ‘Higher Power’ reworks by Matt Sassari and AVELLO. In addition to heavy-hitting collaborations with Kaskade, Excision, and GRiZ, 2025 saw GRYFFIN tap acts across the electronic music spectrum for official remixes of ‘Air’ and ‘In My Head’ as he continues to cement his place as a leading figure in the scene. GRYFFIN will close out the year with NYE festival appearances at Contact, HiJinx, and Provenance.

Stream Mathame’s new ‘Higher Power’ remix available now on all platforms.

Following OVAVA Music’s Traxsource Number 1 Melodic/Progressive House hit ‘Home’ by label founder Ollie Mundy, emerging global Afro House talent Cameron Glasgow now releases his new EP, ‘Often’, on OVAVA Music. Featuring two new remixes from Eternal Self and Gifted Fire, the ‘Often EP’ is released on 9th January, 2026.

‘Often’ is a deeply emotive Afro House release that blends organic percussion, soulful vocals and melodic textures, designed to move both body and spirit. Centred around connection and release, ‘Often’ captures the point where rhythm meets emotion and feels equally at home in intimate club settings and on expansive festival stages. The release includes two reinterpretations. Eternal Self’s remix fuses breaks with progressive House energy inspired by the likes of Dusky and Overmono, delivering a euphoric yet introspective interpretation of the original. Closing the release is Gifted Fire’s remix, a deep Afro melodic journey that amplifies the groove through rich atmosphere and hypnotic flow. Together, these versions form a three-part exploration of sound and feeling, perfectly reflecting OVAVA Music’s ethos of authentic and soulful music created for timeless dancefloor connection.

Cameron Glasgow is a Belfast-born DJ and producer known for his emotionally driven, percussive sound and his ability to unite communities on and off the dancefloor. Now based in Asia, Cameron has headlined sold-out shows in Bangkok, Melbourne, Helsinki, and across the UK, with performances at iconic venues and festivals including Half Moon Festival, Egg London, Thompson’s Belfast, Invisible Wind Factory Liverpool, and Baccarat Bangkok. He’s played alongside artists such as Makasi, Jordan James, Tori Levett, and Mofu. As a producer, Cameron’s music has earned over 700,000 global streams, with support from BBC Introducing, Maxi Meraki, Quentro, Bicep and more.

Ollie Mundy’s OVAVA Music, the UK and Ibiza-based imprint, has built a strong reputation for standout releases and authentic talent. Celebrating both emerging and established artists, OVAVA has created a distinct identity in the electronic music scene, drawing inspiration from Burning Man and Ollie’s global travels. Since the label’s inception, OVAVA music has welcomed an ever-growing list of artists to its roster, championing releases from the likes of DJ Hydra, Ari, Fogel, NatalieJane, David Ramano, Gipetto, and many more.

Known for quality club-focused releases, the label has received consistent support from industry heavyweights, including Black Coffee, Damian Lazarus, Themba, Claptone, Marco Carola, Paco Osuna, Joris Voorn, Paul van Dyk, Ruben Mandolini, Steve Lawler, Shiba San, and TSHA, just to name a few.

OVAVA’s highlights include a No.1 on Beatport’s Afro House chart, multiple Traxsource Top 10 positions, and Ollie’s Burning Man-inspired mixes surpassing 5 million views. Rooted in emotion, Ollie’s journey as curator and artist shapes the label’s immersive output, designed to inspire introspection, connection, and euphoria. Extending this ethos, OVAVA Music Radio streams 24/7 with seamless, ad-free mixes showcasing the depth and diversity of the roster. In less than a year, OVAVA has amassed nearly 200,000 streams with a playlist reach of 2.4 million, recently featuring at Café del Mar and Back to Mine in Ibiza.

Cameron Glasgow’s ‘Often EP’ marks the commencement of a run of new releases from OVAVA Music throughout 2026, continuing to position the label as one of electronic music’s most exciting and rising imprints.

Cameron Glasgow – Often EP

Released: 9th January, 2026

OVAVA Music

Pre-Order: Beatport

Find Out More & Follow:

Cameron Glasgow: Instagram | Beatport | Traxsource | Spotify

Eternal Self: Instagram | Beatport | Traxsource | Spotify

Gifted Fire: Instagram | Beatport | Traxsource | Spotify

OVAVA Music: Instagram | Website | Beatport | Soundcloud

Radio Shows: Ibiza Organica Radio Show | OVAVA Music Radio

Demo Submission: https://tstack.app/ovava-music

]]> https://www.musicis4lovers.com/music-is-4-lovers-sits-down-with-talal-following-the-release-of-his-new-ep-delta/ Fri, 12 Dec 2025 13:23:45 +0000 https://www.musicis4lovers.com/?p=125983 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 […]]]>

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.

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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.

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Truthlive – The San Francisco-based artist, also known as Evan Phillips – has spent the last few years shifting between various shades of musical styles. His last two commercial EPs October Summer and Love & Respect both hit #1 on Beatport’s New Releases chart, signalling a growing presence on the global circuit.

His latest single, Surrender, arrived on Mise En Place last month. Blending a laid-back, Kaytranada-style groove with sparkling keys, smooth guitar, and Ambrin’s soothing delivery, Surrender creates a sound that feels both intimate and uplifting. Future-soulful and effortlessly cool, it’s the kind of track that makes you want to surrender to the dance floor—or simply sink into the vibe.

With the single out now – and plenty more music coming – we asked Truthlive to put together a playlist of some of his all-time favorite cuts.

Prince – Controversy

While a classic, it’s still underrated in the Prince pantheon and is my favorite song of his lyrically. Prince was music Jesus, God, whatever… the Purple One.

Fred again.. – Danielle (smile on my face)

From the very first time I heard this song, it became an anthem in my life. I have cried in public a handful of times while DJing this song.

Vic Mensa – Down On My Luck

This is the most vibed-out shit ever. It is a perfect song. If someone tells you they don’t like House music, play them this—because they do like House music. They just didn’t know it, and just needed to hear this.

Le Youth, Sultan + Shepard ft. Panama – New Love

Such a beautiful song. I heard Le Youth play it live outside in the fog and mist at sunset in San Francisco, and it became a core memory.

Ultra Nate – Free

This song was huge when I was really becoming obsessed with buying records and learning to DJ as a really young person. It holds a special place in my heart, has such an important message, and still kills on floors.

RUFUS DU SOL – No Place

Like the rest of the songs on this list, every single time I hear this it feels amazing to me. It never, ever gets old. Again, I have a core memory taking this song in live in Golden Gate Park in SF under a fog layer at night. Magical stuff.

Thom Yorke – Eraser

Thom is so good. I don’t even know what genre this is. It’s just dope. Emote and feel. He knows how to draw it out of us.

Felix da Housecat – Ready 2 Wear

I wish I had been born to have been in my early 20s in the New Wave era. I think this song came out in 2004, but my God did he nail the aesthetic. Also, just a huge sucker for arp’s.

Elderbrook & Bob Moses – Inner Light

I am also a sucker for steady pianos/keys playing pretty chords. It might be the most simple approach to composing, but it’s also so damn beautiful when done right. And again, a beautiful message.

Q Lazarus & Garvey – Goodbye Horses

As you can probably tell so far—I am super duper emo. This is the end-all, be-all of emo dance jams. If someone doesn’t feel this song, don’t trust their musical taste.

Flow Music shines a spotlight on Berlin based multi instrumentalist HOVR with the release of their new single Clouds. The track moves between Melodic House and Organic House influences and creates a sound that feels both expansive and deeply personal. It captures the energy of early morning hours when night begins to soften and daylight slowly returns.

Clouds opens with soft drums and glowing synth pads that set a warm and inviting tone. Subtle effects shimmer around HOVR’s vocals and create a sense of weightlessness. Their voice carries a comforting and uplifting quality that guides the listener into a dreamlike space above the room and above the Clouds. The arrangement continues to grow with clarity and emotional tension before delivering a break that hits with a true goosebump moment. It is the kind of passage that brings dancers together in the early or late hours when a final lift is needed.

The release also features a strong remix by Beckers. His interpretation leans into a darker club oriented direction with rolling low end pressure and hypnotic movement. The result is a deeper and more driving version that works beautifully across a wide range of dancefloors and offers a compelling contrast to the warmth of the original.

With Clouds, Flow Music highlights HOVR’s ability to merge classical music training with the pulse of Berlin’s electronic underground. The single is aimed at dancers, deep listeners and anyone who connects with music that blends emotion, atmosphere and energy in equal measure.

BEATPORT

With the 5-track Truth Remains EP, A Path Untold continues his singular imprint of cinematic electronic music, straddling the realms of deep listening and dancefloor momentum.

Panoramic in its sensibility and feel but with a lingering sense of post-rave, the record blends elements of lo-fi house, future garage, breakbeat, downtempo, and touches of dub techno flavor through a filmic lens – weaving sleek grooves and lush arrangements into luminous, cinematic soundscapes that shift like light across a stormy horizon.

Written and produced by Daniel Merrill in his Northern California studio, Truth Remains reflects on what endures when illusion falls away – exploring resilience, authenticity, and the timelessness of universal truths that bind us together as human beings in a fractured world. Enveloped in palpable texture and a warmly nuanced lo to hi-fi aesthetic, the music surges through boldly expansive melodic movements and emotive themes that flow from enigma and rumination into euphoric triumph.

Incorporating elements of world instrumentation, syncopated shuffling drum programming, expressive vocal textures, and hybrid acoustic – synthetic psychoacoustic design, each track weaves together strikingly unique samples and Merrill’s signature sense of defiant groove – resulting in a dynamic range of emotional resonance that feels both timeless and forward-reaching.

Following the acclaimed In The Light of Shadow and Realms of Solace, this marks A Path Untold’s third extensive EP in two years – a bold and prolific continuation of his vision to reclaim vulnerability, melody, and emotional honesty as the core of modern electronic music.

Dobao is a DJ and producer from Buenos Aires whose music flows between house, balearic, disco, and Latin rhythms — a sound that connects the emotional with the danceable. Dobao’s work is infused with positive messages and reflections on everyday life, offering a narrative that invites both introspection and movement.

1. Hi Dobao, welcome to Music is 4 Lovers. Whereabouts in the world are you right now and how has 2025 been for you so far?

Hey! Thanks for having me. I’m currently in Buenos Aires, getting ready for the summer. 2025 has been an intense but inspiring year. I released my new EP Agítalo, toured through some dream places, and met a lot of amazing people along the way. It feels like a year of movement and transitions.

2. You have a brand new EP releasing via the Boyanza label which explores a kind of Latin Italo sound. What can you tell us about this release?

This EP represents a meeting point between my Latin roots and my love for European sounds like Italo disco and Balearic house. I wanted to capture that warm, emotional, sun-drenched energy, something that feels nostalgic but also fresh. The title track, Agítalo, is an invitation to shake things off, to release and reconnect with joy through movement. It’s a very personal record, full of color and optimism.

3. You’re from Argentina, what is the music and club scene like there?

The scene in Argentina is vibrant and resilient. Even with all the ups and downs the country goes through, it keeps resonating and people here never stop dancing. There’s a strong sense of community, a lot of DIY spirit, and a deep emotional connection to music. I’ve been lucky to be part of it through projects like Highlife and Bonaire, which helped shape a local scene focused on good energy, diversity, and freedom.

4. Can you give an insight into your musical story to date. How did you first get involved in producing and DJ’ing and what have been some of your highlights to date?

I started DJing in small bars around Buenos Aires more than a decade ago, playing all kinds of music from disco and funk to tropical rhythms. Producing came naturally after that; I wanted to express my own emotions and experiences through sound. The same happened with event production; I wanted to create spaces where my music and community could connect.

Touring new countries and seeing the community grow around our events are always highlights that I never take for granted. Every time I see people dancing with a smile, that’s the real reward for me.

5. Away from the studio and the DJ booth, what are your other personal passions, interests, hobbies etc?

I love cooking and sharing long dinners with loved ones, that’s my way of slowing down. I’m also into graphic design and visuals; I like creating the aesthetic world around my music. And whenever I can, I escape to nature, the sea or the mountains, to reset and find new inspiration.

6. What are your all-time favourite 3 artist albums and why?

Legend by Bob Marley, a record that marked my childhood and introduced me to reggae. It showed me how rhythm and joy can coexist with melancholy and beauty.

Siempre es Hoy by Gustavo Cerati represents a world of textures and emotions that deeply inspires me. It’s an album that feels both intimate and cosmic, showing how electronic music can be poetic and full of soul.

Surrender by The Chemical Brothers is a record that taught me about the power of groove and sonic layering, showing how electronic music can move people physically and emotionally at the same time.

7. What does the year ahead have in store for you and is there anything else you’d like to share?

I’m working on new music and planning my next tours for summer 2026. I also want to explore more live formats, blending performance and dance culture. Above all, I want to keep building bridges between cultures, between joy and introspection, between past and future.