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.

From late-night studio sessions in Germany to the main stages of the world’s most renowned festivals, PAJANE has become synonymous with high-energy, emotion-driven electronic music. At just 25, the German producer and DJ Philip Pape has already amassed over 23 million Spotify streams, delivered official remixes for Tiësto and Joel Corry, and collaborated with artists like BIJOU, Joel Corry, and Sidney Samson — with tracks like “Riverside MF” cementing his reputation as a dancefloor powerhouse.

PAJANE first captured the scene’s attention with his breakout hit “Back Once More”, a record that stormed charts, won the support of global heavyweights like Tiësto, Diplo, and ACRAZE, and held a spot in 1001Tracklists’ Top 5 for weeks. Since then, he has consistently pushed his sound, moving seamlessly between festival anthems and underground grooves, and earning recognition from Tomorrowland as one of their “20 Artists to Watch”. His performances at iconic venues such as Bootshaus Cologne, Illuzion Phuket, Papaya Croatia, and World Club Dome showcase his ability to translate studio innovation into unforgettable moments on stage.

Now, with his debut single “Crush” on WCD Music, PAJANE channels instinct, energy, and raw emotion into a track that is both immediate and hypnotic — a song that captures the exact state of mind in which it was created. In this interview, he takes us inside his creative process, showing how he turns fleeting feelings into grooves that move crowds and resonate with listeners around the world.

How do you translate your emotions into the sounds you create in a track like ‘Crush’? 

When I made Crush it was literally just me chasing a feeling. I didn’t sit there thinking about emotion or story, it was more like “okay, what’s in my system right now, and how do I get that into a groove.” I had this rush of energy from the night before, opened my DAW, played around with the bass for a few minutes and suddenly the whole vibe was there. Once that loop hit, I knew exactly where the track needed to go. So the emotion isn’t something I plan, it’s more like capturing a moment before it fades. Crush basically sounds like the state I was in that day – fast, simple, straight to the point.

Is there a personal story or moment that inspired the energy behind the track?

I had a lot of built up energy, opened the project and just started messing with the bass until it matched that feeling in my chest. Once that main idea was there, the rest of the track was basically just shaping that rush into something you can dance to. It actually reminded me a lot of how Back Once More happened. That track also came together super quickly, in this kind of tunnel vision where you don’t analyse anything, you just follow what feels right. Crush is the same in that sense. The emotion is not planned, it’s captured. You hear exactly where my head was at in that moment, and I think that’s why both tracks connect the way they do.

When you’re making music, do you think more about rhythm and movement, or emotion and atmosphere first, and why? 

For me it really depends on what I am trying to tap into that day. Some days I wake up wanting to make something that hits hard for the club, other days I am in the mood to write something more emotional. I do not sit down and tell myself what the track should be. I let my mind run and follow whatever feels honest in that moment. If emotional ideas make sense to me, I lean into them. If I want to release energy and build something heavy, I go there instead. But because I have played drums since I was six, rhythm is naturally a big part of how I create. Groove and the feel of the drums usually come first and everything else grows from there.

How does performing live influence the way you approach creating new tracks? 

Performing live definitely shapes how I build tracks. In the studio it is quiet, so you need imagination to picture how a moment will hit in a packed room. When I am creating something mainly for my sets, I chase epic moments. I want weight in the low end, heavy sub drops, and sections that completely slam. Tracks like my Drunk Text Me remix or my Paradise remix for DJ Snake are examples. They are made to explode on a system. It needs energy, bounce, and groove, and it has to make the subwoofers work hard. If it does not move the room, it is not finished.

Which track of yours do you feel most connected to on a personal level, and why? 

People might expect me to say one of my bigger records like Back Once More, but the tracks I feel most connected to are often older SoundCloud tools I used to open my sets with, like my remix of Rezz and Grabbitz Someone Else or my Machine Gun Kelly remix. They carry a lot of memories because they were key moments in my sets for a long time. From my more recent originals I would pick The Drama. From my edits and remixes it would be my Drunk Text Me remix. It starts heavy and turns emotional, which makes it the perfect closer. If I had to choose one track I feel the deepest connection to, it would be that remix.

Do you have rituals or habits in the studio that help you get into a creative mindset? 

When I work alone I do not have real rituals. I sit down, experiment, and follow whatever idea feels right. At home I like to feel settled before starting. I take the dog out, eat something, make a tea, and then I am ready. It is not required for creativity, it just helps me feel balanced. When I work with friends the atmosphere becomes important. With Eltiv who is a very talented producer and one of my closest friends the creative flow has always been natural. We also have a techno project together called Good N’ Bad. Back in my old apartment we would hang out, smoke a shisha, have a Corona beer, and then start working. None of that is necessary, and smoking or drinking is unhealthy, but it created a certain vibe during that time. I have also had sessions where I was so locked in I forgot to drink water. The only real habit that matters is creating an environment where you can enter that zone when it comes.

How do you approach collaborating with other artists while keeping your own voice intact? 

For me the most important part of collaborating is connecting on a personal level first. I talk to people, get to know what they like, listen to their ideas, and show them mine. You cannot force creativity on command. A good collaboration always happens in the middle. Even if one person does the final production on their own computer, the goal is to blend both identities naturally. It will always lean a little to one side, but that is normal. What matters is respect. Sometimes you allow ideas you would not normally choose because they matter to the other person. Collaboration is about meeting halfway and creating something neither of you would have made alone.

Is there a sound, instrument, or effect you’ve been experimenting with recently that excites you? 

Because I work on sound packs and help develop them with different producers for one of the top selling brands on Splice, I constantly explore new ideas. When you create samples you have to stay curious. Recent sessions, like one with Eltiv while he was building a mainstage pack, opened new perspectives for both of us. I also enjoy using my old Korg M1 hardware synth which still runs on floppy discs and contains some very abstract sounds. On the software side the new Ableton updates have been inspiring. I like doing strange processing moves like printing parts to audio, resampling them, reversing them, pitching them and rebuilding something completely new. Crush is a good example. The drops come from the same bassline pitched in different ranges, distorted, printed, chopped and sidechained. It is never about one effect. It is about pushing sounds into unexpected places and staying experimental. You never stop learning in sound design. You do not need to spend much money. Use trial plugins, borrow synths, and create your own material.

When fans reach out saying your music moved them, how does that impact your approach to making new songs? 

It has a big impact. After shows people often message me asking about certain tracks or IDs. When that happens I try to understand exactly which moment they connected with. Sometimes I even write back and ask which part they meant. I keep these reactions in mind when I work on new music. I do not try to recreate the same moment, but I let it influence me. If something clearly moved people, there is a reason. I take that feeling and explore it in a new way so the music stays connected to the listeners while I continue to grow creatively.

Looking ahead, what’s a feeling or atmosphere you’d love to explore more in your future releases?

People often labeled me as a tech house act, but that is not where I come from. I started in dubstep and always loved techno long before it became a major wave. My release on December nineteen, Paralyzed, leans more melodic and has a tech house pop feeling which I always wanted to try. But in the coming years I want to move toward a darker and heavier direction again. I realised I had been playing a bit too soft for my own taste. Hard hitting techno energy around one hundred thirty four beats per minute has always been my guilty pleasure. It is the sound that brings me the most joy. I want to give people rolling bass lines that really hit and bring that intensity back into my sets and my productions.

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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In a world where electronic music is constantly reinventing itself, few artists manage to merge discipline, emotion, and cinematic storytelling with the precision and power that Nikka brings to the booth. Having grown up across continents and carved her path through film, fashion, and finally music, she’s emerged as a dynamic force in the global techno and melodic scene. With a year defined by international performances, creative evolution, and a sound more refined than ever, Nikka sits down with us to discuss her journey, her artistry, and the experiences shaping her rise.

Hi Nikka! Thanks for taking the time to speak with us! How are you and how has your year been?

I’m good: focused, disciplined, and creatively sharper than ever. This year has been transitional in all the right ways: more international performances, my IMS Dubai talk, my India tour, and new music that finally reflects the exact sound I’ve been chasing.

Tell us about your journey into electronic music and DJing. How did your childhood in Belgium sculpt who you are now?

I grew up between countries: born to expat parents in Egypt, then raised in Belgium. That combination shaped everything. Egypt taught me scale, drama, and emotion; Belgium taught me structure, discipline, and a certain darkness in music. My journey into electronic music wasn’t a linear “I always wanted to DJ” story. I came from film directing and fashion photography first. But electronic music was always the backbone, the place where emotion and structure could coexist. Eventually, I stopped observing the scene and stepped into it fully.

How would you describe your sound?

Melodic, dynamic, bass-driven, and cinematic. I build tension and release like a film director, but I deliver it with the punch of peak-time techno. There’s drama, but never boredom. Emotion, but always intention.

Do you miss Belgium? How does your Ibiza / Mykonos / Middle East split compare to your birth home?

Belgium will always feel like the place that built my foundation. But I’m not nostalgic. Ibiza gave me freedom, Mykonos gave me confidence, and the Middle East gave me ambition. Each place activates a different part of me. Belgium feels like the beginning of the story : not the destination.

Tell us about the forthcoming release “Desire” on Animarium. What inspired it and what are you trying to convey?

“Desire” was inspired by true life toxic experience I had gone through and that left many scars. I narrate a dark story of passion, abuse, longing and pain. Emotions I have lived through. That is perhaps why this track is so close to my heart and feels so genuine to me.

What tools do you use to craft such sounds? Any favourite toys or items of gear you use for production?

I’m not married to one piece of gear , I care more about texture than tools. But I love layering analog-style leads with deep, gritty basslines, and I use a mix of software synths for precision. Anything that gives me tension, movement, and atmospheric depth stays in my workflow.

What advice would you give to young people looking to get into DJing?

Learn your taste before you learn the equipment. Anyone can mix, not everyone can curate. Build identity first, technique second. And don’t chase approval; chase authenticity. The scene respects honesty more than trends.

Tell us about your other jobs such as fashion photography. How did you get into that?

I started in fashion and film long before DJing. Photography taught me how to build a moment; film taught me how to build a story. Those skills followed me into music. My sets still feel like scenes: controlled lighting, pacing, energy, and emotion. It’s all connected.

And tell us about your recent India Tour. How was that? What were the standout moments?

India was intense in the best way. Goa, especially, was unforgettable. I headlined a sold-out night at Raeeth where people raved without phones : fully present, fully connected. Indian crowds have emotional intelligence; they don’t listen with their ears, they listen with their whole body. The energy was raw, wild but surprisingly orchestrated. It pushed me creatively.

You also recently spoke at IMS Dubai! How was that for you?

IMS Dubai was a milestone. Speaking about visual culture as a former film director felt like coming full circle. I love Dubai’s duality : commercial on the surface, and an underground oasis underneath. Being invited to contribute to that conversation felt meaningful.

What do you like to do to relax?

Silence, travel, and walking. I like spending time with my creative co-producer Gabriel Saf bouncing ideas around or working or a track. Gabriel’s background is in high profiled IT, he’s a mathematician that adds structure to my creative chaos.

What music do you listen to outside the electronic spectrum?

Classical, soundtracks, and anything with strong tension arcs. I care more about emotion than genre. Also I love drum n bass, The Prodigy is still my idol.

What was the last record that blew you away?

A rework of an old Middle Eastern melody I heard in Dubai – raw, haunting, and modernized without losing its soul. The best tracks are always the ones that understand contrast.

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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