Premiere: Undercatt – Vulcano

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The latest Diynamic act to offer insight into their current artistic moment via the Picture: series are behind some of the label’s most favored hits over the past couple years.

Undercatt — comprised of Italians Luca and Elia — have found their niche in ethereal, yet full-bodied shades of tech house and progressive. They’ve distinguished themselves on the global stage with infusions of hearty plucks, haunting choral effects, and lush percussion. Thus, it comes as no surprise these are brought together in in their contribution to Picture:.

In “Vulcano,” the two have a truly explosive piece on their hands. Metallic clangs accent throbbing, low-end synth roars, only to give way into a titillating bout of snare rolls and hard-hitting chords. The production is brimming with energy, with a design fit for carrying a set into peak time.


“Vulcano” and the rest of Undercatt’s ‘Picture’ is set for an April 20 release. Order a copy here

Destructo lays down his own house spin on Oliver’s ‘Last Forever’

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Destructo is just on a different wavelength than us mere mortals. He helms one of the largest event production forces in the country, serves as one of dance music’s most trusted A&R forces, holds down a SiriusXM residency, and lives out the dream of being a world-famous touring DJ all at once. It seems like every week Gary Richards has something exciting to offer — he can link up with Busta Rhymes for a proper hip-hop cut, and then follow up with a club-primed house piece just days later without missing a beat. Presently, Destructo is gracing us with a new take on Oliver and Sam Sparro’s “Last Forever,” dropping off a solid dose of disco with a slick bit of contemporary house influence.

Putting his chameleonic studio capabilities to work, the “Catching Plays” producer takes on Oliver’s “Last Forever” keeping the original tune’s plucking, pronounced bass line as the backbone, but offering a more subdued, house-leaning spin on his take. The remix comes hot off the announcement of LA’s new AMFAMFAMF summer event, and judging by Richards’ momentum both in and out of the studio, 2018 is bound to be a banner year for Destructo.

Wolfgang Gartner delivers a smooth electro ride on latest original, ‘Ching Ching’

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It’s no secret that Wolfgang Gartner has a real soft spot for top-notch pop productions, despite his legendary penchant for electro house excellence. He’s been vocal about pop’s innovations and impressions on dance music and vice versa, and now as he continues to build momentum in what seems to be the next chapter in his comeback, we’re finding the complextro don adding some considerable pop flair to his latest original, “Ching Ching.” The new track comes fresh off the heels of Gartner’s recent “Banshee” alongside k?d, which found the seasoned beatsmith broadcasting in rare form, perhaps his best work since the contents of Weekend In America. 

“Ching Ching” rides a similar wave, and while it leans away from battering club fare and more towards a lyrical, melodic house appeal, the new track follows up on “Banshee” as another infectious dance hit, and one of Wolfgang’s strongest offerings in recent memory. We’re seeing the resurgence of Wolfgang with his new work, and on his latest, as he blurs the line between pop and electro with veteran finesse.

Desert Hearts lets 2018 lineup loose, gives away free pair of tickets for the wait [CONTEST + ANNOUNCEMENT]

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The time to enjoy three unhindered days of House, Techno, & Love under one Desert Hearts stage is imminent, with April 28 less than a month away. Accordingly, the beloved tranformational brand’s crew has unveiled potentially its most stacked lineup to date.

Damian Lazarus stands out as a veritable “star of the show,” with the wizard-esque DJ slated for a four-hour set. LA staples-turned-underground-icons Dance Spirit will be doing a special live set, as will Doc Martin alongside Sublevel. Other highlights include Tim Engelhardt, Lauren Lane, Kenny Glasgow, SHADED, and Nathan Barato. Of course, the Desert Hearts of Mikey Lion, Lee Reynolds, Marbs, and Porkchop themselves will be playing as well.

There’s more: since tickets to the weekend have already sold out, the crew have decided to stage a free giveaway as well to a loyal fan who might have missed the mark before the sellout. Mikey Lion has also made a celebratory playlist for the occasion. Simply follow the link for instructions on how to enter.

Desert Hearts
Photo Credit: Michael Drummond

Habstrakt teams with josh pan for the nefarious ‘Movie’

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habstrakt - movie (1)

Adam Jouneau, the Frenchman better known as Habstrakt, is back with another bass crunching tune, “Movie,” featuring josh pan, to add to his long, multifarious catalogue. The Mad Decent release comes after the Frenchman’s wildly popular, ear-splitting collaboration with Skrillex, “Chicken Soup.”

Habstrakt is known for his ability to repurpose wide-ranging assortments of popular elements on the electronic spectrum and shape them into something altogether unrecognizable–his latest creation not withstanding.

“Movie” is a continuation of the heavy-handed house leanings Uncle Habby has displayed in both his recent productions and DJ sets as he accompanies Destucto along his Let’s Be Friends Tour. Josh pan’s shadowy vocals are all smoke and mirrors, carrying us through minimal, downtempo interludes. But the drop soon erupts into a jarring, serrated display of metallic bass and house beats–almost as if Habstrakt has translated his longstanding dubstep devotion into a 4×4 house pattern.

Don’t expect to hear “Movie” in any generic big room sets any time soon.

Photo Credit: Traxsource

Premiere: Shadow Child – Galactico

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Josh Wink’s legendary Ovum Recordings represents the crème de la crème in electronic music. With over twenty years in the game, the Philadelphia-based imprint has gracefully bounded from one genre to the next, carving out a signature timeless sound that’s equally danceable as it is cerebral, with no regard for much else besides focusing on top notch quality. Falling in line with that curatorial sentiment, Ovum welcomes aboard UK dance stalwart and Rinse FM champion Shadow Child.

With hits across seemingly all the major dance imprints, it was only right that Shadow Child, real name Simon Neale, joined the ranks of Ovum as well. Using a slightly different approach in the studio, Shadow Child offers up a sizzling two-track EP entitled Misfire. “I wanted to make music using 100% hardware in my studio again,” Neale stated, “Using true analog sound sources and switching things up from what I’m known for.”

“Galactico”, the EP’s second track, is an acid-doused dance workout that rides the edges of the 303 and 707 drum machine into a frenzied peak-time workout. Acidic squelches get the track rolling before shuffling hats and flanged-out claps prime the energy on the dancefloor for takeoff. The result is a pumping and raw old-school flavored track that DJs will reach for when looking for that “surefire” crowd pleaser.



Pre-order a copy here

3D discuss their legendary union, Danny Howells’ return from hiatus, and more ahead of debut tour [Interview]

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Danny Howells, Dave Seaman, and Darren Emerson are icons in their own right. Each of these three stalwarts has spent well over two decades on the international circuit, pioneering the sounds of house, progressive, and other groove-centered strains of dance music. Their unrelenting standards and passion for what they do drives their continued success.

When these three come together as one, the result can only mean destruction — in the best sense of the term. Much like the nuances within their own respective styles, “3D” thus comes about as a multi-faceted new project that sees Emerson, Howells, and Seaman’s sounds merging into a complementary union. The project has already bred a notable occurrence: Danny Howells’ first release after an extended hiatus. It appears on their eponymous EP, which explores the history of house music with a modern sensibility. Meanwhile, the mixes they’ve assembled thus far as a group points to their excellent chemistry as a team.

Now, 3D are about to set forth on an expansive North American tour which commences March 29 — the first round of dates that will secure their impending domination as the new powerhouse group on the block. We got ahold of Dave and Danny ahead of time to talk about forming 3D, their pipeline, and more.

Hi guys, tell us what led to the creation of 3D. Whose idea was it and what’s your goal with the project? Plus do you see it as something long-term?
Danny: We’ve all known each other for years, so when we ended up playing together at Ministry we obviously loved it and wanted to take it further, which is where Dave really came into action in terms of tying it all together.

I think we’ve all done so much during our careers that our goals now are to enjoy what we do, as well as getting into some new areas, both geographically and musically, that we might not have strayed into before.

Dave: I suggested branding the night at the Ministry Of Sound as 3D as a bit of a joke initially. I really didn’t expect it to take on a life all of it’s own and turn into an actual thing. But now it is, I think we’ve all realised that it’s going to be a lot of fun travelling and playing together. Who knows where it will all lead. For the moment, we’re really enjoying it and long may that continue.

3D’s creation lead to Danny Howells’ first original material getting released in years. Can we expect more 3D EPs like the last one on Dave’s label Selador coming soon? Plus will the three of you be creating a track together in the coming future?
Danny: I’d taken a massive hiatus from production although I always knew I’d start again when the time was right, and this project gave me the nudge I needed.

Dave: Yeah we were so happy we managed to coerce Dan back into the studio. I think you’ll agree he was ready as his output has already proved, but he just needed a little push. We’re already talking about the next EP and there’s definitely an appetite for us all to do something together at some point. Goodness knows how that will turn out but I look forward to it.

With each of you being a legend in your own right, how difficult was it you adjusting to becoming a team? What does each of you bring to 3D and how you balance everything out? Plus how are you able to read each other if one of you goes off on a tangent?
Danny: I don’t think any of us see ourselves as being a legend, so when we get in the box together there’s only two goals – play as well as we can and have a blast doing it! There is a musical adjustment to playing as a threesome instead of solo, but we always pick our sets to pieces afterwards to see what worked and what didn’t, and how we can make it better next time.

I think we’re all capable of going off on tangents, but as we usually wind up doing just two or three tracks each, so we tend to stay in check!

With such a history of success behind you all, what motivates you to continue pushing things forward and searching for new audiences?

Danny: For me it still boils down to the buzz I get from playing the tunes I adore to people who hopefully enjoy them as much as I do.

Darren: I’ve been doing this for 30 years now and never get tired of seeing the reactions big tunes get on the dance floor. I still love discovering new producers and searching for the perfect beat. Guess you could say it’s become a life-long habit.

You’re touring the States soon. Will you be creating a special playlist for the shows? Or just ‘freestyling?’
Danny: We tend look at each gig, room size, set time etc to get a rough idea of what we’ll do, whether we go straight in with the bangers or whether we’ve got time to work through the genres a bit. There’s no planning as such and we tweak things up during the night if we feel it needs it. We’re all very honest with each other and tell each other afterwards exactly what we thought. Our post gig autopsies are pretty epic!

Dave: I think part of the fun is the spontaneity. Not really knowing where each of us might take the narrative keeps us all on our toes. Being slightly out of our comfort zones is stimulating and as all of us have been DJing longer than we care to remember. We’re relishing the challenge!

If you each had to choose one track from your repertoire that you had to play at every gig the rest of your lives, which would it be?

Danny: Damn this is a hard one! If I had to choose one of my own songs then I’d maybe go for “Laid Out”, purely because I’ve already played it out so many times and never got bored of it. If it was someone else’s tune then maybe something like “Accadian” by The Mole, or Jimpster’s old remix of Robert Babicz, for the same reason. I’ve absolutely rinsed those.

Darren: I’ve always loved Speedy J’s – Rise. Still sounds fresh today.

Dave: One of mine you mean? I’d probably go with ‘Nightfalls’. It’s very easy to get bored of your own productions, especially when you spend so long in the studio making them but I never seem to get bored of that one, largely due to the timeless vocal by Gaelle Adisson if I’m honest.

What are other stuff are you guys doing for the rest of the year? Plus are there any special projects coming up you want to talk about?
Danny: We have a load of 3D gigs lined up which I’m really looking forward to, as well as further studio escapades as discussed before. My next release will be out in the next month or so.

Darren: I’ve got some remixes coming out next month plus also some big collabs on the way, including another one with John Digweed and Nick Muir. Our last one ‘Tracer’ got a lot of traction, so we decided it would be good to do it again. As well as playing with 3D, I’m also looking forward to playing some summer dates with Carl Cox and his crew.

Dave: My focus for the next couple of months is on my label, Selador’s 5th Birthday. We’ve got 24 artists making exclusive collaboration tracks together that we’re releasing as 3 separate EPs. We’re launching the whole thing at Watergate in Berlin at the end of April. It’s gonna be a big statement project for us and we’re really proud of it. I’ve also got releases lined up on AFFKT’s Sincopat label and Alex Niggemann’s Soul Fooled, plus remixes for Martin Eyerer & Tim Engelhardt. So it’s going to be a busy year.



Techno Tuesday: Steve Bug talks label longevity, new album ‘Paradise Sold’ with Langenberg

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Techno Tuesday is a feature on Dancing Astronaut documenting the culture of underground dance music. We’ll bring you exclusive interviews, tracks, and narratives from artists within the techno, tech house, and deep house world in an effort to shed light on some of the best talent outside the world of mainstream dance music.

For over two decades, German innovator Steve Bug has carved out an elegantly crafted niche in the genre alongside like-minded collaborators. With titles including “producer,” “tastemaker,” and “label-head,” Bug consistently transcends hype or trends by melting together a unique hybrid of acid, deep house and minimal techno. Bug finds hoards of fans internationally, having recently played at top clubs including Hive Club in Zürich, Closer in Ukraine and INPUT in Barcelona.

While Bug is lauded as a modern day techno pioneer, he has humble beginnings in the heyday of Germany’s acid house and techno scene. Bug honed his craft until his big break in 1999, with the release of his classic “Loverboy” and the launch of his new label, Poker Flat Recordings. Bug’s willingness for experimentation proves his resilience; almost twenty years after its inception, Poker Flat continues to push boundaries with releases from fellow techno figureheads Carlos Sanchez, Vincenzo, Doc Martin, Langenberg and more.

Out via Poker Flat on April 6, Bug’s impending full length LP Paradise Sold is a collaborative effort with the latter artist that has been years in the making. We sat down with Bug to chat label longevity, his creative process, Paradise Sold and more.

Your labels Poker Flat Recordings, Dessous and Audiomatique have seen impressive longevity in their nearly 20 year runs. What are some core values you and your team stand by that have given the labels such long-standing success?
First of all, we are not following any fast coming and going trends or hypes. It is also important to us to build a stronger relationship with our artists. We are not looking for one-off singles of hip artists, we are rather looking for a longtime relationship. And we try to keep the quality level high at all times. We would rather have big gap between releases than release something we don’t 100% feel. And last but not least we have good stamina to go on a long run.

What is your best tip to get out of a creative rut?
That’s a though one, and I think it is different for every artist. But what helps me the best is to try to let go and do something completely different until “that feeling” comes back. Or you could try to work with other people to get out of it – that might help as well.

Does your new album Paradise Sold pay homage to a particular era of techno history? Which ones/how so?
Not really, we didn’t have anything particular in mind when we were writing the tracks. Everything just fell into place. But I am sure that any personal musical history is always going to be a part of what you create. And I never try to put my tracks in a specific place, it’s all about feeling them or not. I mean in general writing music should reflect your actual mood, and should come naturally, instead of planning what you want to tell or where you want to get to. But that is the difference between being an artist and a producer I guess.

How did this collaboration with Langenberg come about?
We’ve known each other for a long time, and I’ve been a big fan of Langenberg’s collaboration with Manuel Tur – RIBN – and we’ve been exchanging remixes since about 2009. Then Max released a few EPs under Langenberg on Dessous, that finally resulted in a full album in 2016. At the time I was in a little creative rut, which I was trying to get out of. I was bouldering (climbing) quite a lot at the time to get my head free, but I simply hated being in the studio. I was already working on a coupe of tracks with my old mate Cle, as well as on some own material, but at one point I thought why not try to work with someone else as well. So I asked Max: being a fan of his stuff for many years, it made sense.

We got to know each other better a few years ago, when we used to play beach volleyball in the summer. So I invited him to come over to work on some tunes. And then it was a match made in heaven – haha. After the first three tracks, we felt so comfortable working together, that I came up with the idea of simply continuing to write music until we have enough material for a whole album. And the rest is history!

Where were you when you recorded Paradise Sold? Tell us a bit about the recording process for the album…
We met at my studio, which is actually set up to work together: lots of outboard gear, with a big mixing console, so a lot of the synths are on the desk at the same time. It is fun to jam around, trying out different sounds and synths. Sometimes, at least in the beginning, one of us had an unfinished early idea, that we started working on together, and the tracks easily took shape. Towards the end, we mostly started with a blank page and created everything from scratch. After we arranged the tracks, we recorded the synths and took the stems to Hannes Bieger’s studio to mix the stuff down with him. Not having to think about the mixdown gave us more freedom during the creative process of writing music. And having another, even fresher pair of ears, definitely helped to make the tracks sound even better.


Does the album title have any correlation to the 17th century epic poem Paradise Lost?
Neither of us are fans of titles with bigger meanings, we like titles that give the listener enough room for imagination. I think in many ways Paradise Sold is a great title, but it is not related to anything else for us.

Where in the world are you most excited to play out this new music? Any live show dates coming up that you’re particularly excited for?
We are not planning on playing live together though, but we are touring as DJs, playing a few gigs together, starting from April. One of my first destinations will be Japan. I am always looking forward to play there: I just love the vibe and the people. May is going to be a very German month, which is also great, since I don’t play here much. Then I’ll be heading to the US and Latin America, with several European dates in between.



Techno Tuesday: Yotto talks his sonic evolution, playing Miami, and using his air miles

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Techno Tuesday is a feature on Dancing Astronaut documenting the culture of underground dance music. We’ll bring you exclusive interviews, tracks, and narratives from artists within the techno, tech house, and deep house world in an effort to shed light on some of the best talent outside the world of mainstream dance music.

Yotto hardly needs an introduction in today’s dance sphere. Having risen seemingly out of nowhere, the Finnish talent caught the attention of Anjunadeep early on in his career and subsequently climbed the house ranks for his lush, melodic take on the genre.

He became much more than simply a wunderkind for Anjuna, however, forever keeping his blinders on and making music that brought him the most profound fulfillment. As a result, his forward-thinking approach to musicmaking cemented his credibility, and made him a well-respected member of the dance underground. Yotto’s name began appearing on prolific bills across the globe, with an increasing demand for his driving, hypnotic aesthetic. In 2018 alone he’s been tapped for his debut Essential Mix, while also releasing on an EP Joris Voorn‘s Green imprint.

As he prepares for his Miami Music Week appearances — which include a booking alongside progressive greats at the Rapture festival (tickets here), a gig at Do Not Sit On The Furniture, Ultra, and more — he graciously provided Dancing Astronaut with some insight on his artistic development, retaining balance among a chaotic tour schedule, and using his air miles for various things around the airport.

Tell us about your first Essential Mix – what was the story of your recruitment to make one, and how was the process for you of fashioning the mix?
Making an Essential Mix is one of those bucket list things that I’ve always wanted to do – BBC Radio 1 has been an invaluable supporter for my music so I think getting to do an Essential Mix came very naturally. For the mix I wanted to include a combination of stuff that I play right now and a lot of music that forms my musical DNA some in form of edits that I made just for the mix. In the end I just recorded the mix and added some intro and outro bits later.

What sorts of sounds, artists, and other factors have inspired your sonic evolution over the years?
Ahh many things! Most of my musical inspirations come from old, non-dancefloor electronic music like Boards Of Canada and Ulrich Schnauss. Listening to new, upcoming producers is also great for inspiration as they might have a less jaded view on producing and bring new, fresh ideas to the table. Dj-wise I was always a big fan of Sasha & Digweed, Desyn Masiello and Deep Dish.

It seems progressive has played a major role in your upbringing – from your days of influence from Sasha & Digweed, to falling in love with the classic progressive house sound, to now, where a lot of your music can be defined under the sub-genre. What is it about progressive that strikes a chord so deeply with you? Do you feel it’s having a moment again in the current dance sphere thanks to acts yourself (among many others) are helping to return its credibility to the mainstream?
I have never been a big fan of genres to start with, I’ve just always had a very passionate relationship with emotional, musically rich dance music. It can be disco, classic deep house, just a fat techy drum loop or the turn-of-the-century prog sound. I honestly don’t think that the more progressive sound ever went away. People just keep rebranding it – a lot of today’s “melodic techno” is 100% progressive house to me but sometimes people need to come up with new labels to form a new perspective on a sound. I think generally it’s a sound where people can find more to remember in a song, when the musical content is rich.

When did you realize the “music bug” had entirely bit you and that you needed to do music full time? Or did you fall into it unexpectedly? Tell us the story!
I did work for ages before actually giving in and working on music full time. It was always more or less a daydream but all good things have a way of coming if you work for it. It all happened quite organically after a few successful releases with Anjunadeep I was able to start touring and at that point there’s really no way to have a day job when you arrive home late every Monday and have to leave on the road again on Thursday.

Given your climb up the success ladder as of late, you must be finding yourself quite busy. How do you maintain balance and clarity among a chaotic work schedule? What is your self-care routine?
Good thing about being busy with music is having this hard-wired need to make music and listen to it all day long, so it does not feel like a burden. Chaos can be controlled, haha. Touring is tiring and sometimes very heavy, but it’s a small price to pay for being able to do it. Taking care of your health and family is essential. I try to do sports basically every day I’m not on the road, have recently been getting back into the swimming pool too so that should keep me going. Taking the dog out into the woods is also a perfect form of therapy. In all fairness I enjoy making music for a living so much that I think I’m cheating in life and should be taken in for questioning.

On that note, where do you see yourself taking your career in the future? Have you given any thoughts to running your own label? Are you planning a party series like Guy Gerber’s Rumors?
For sure, there’s no masterplan for it just yet but will definitely look into having my own label at some point. I get sent a lot of amazing music and would love to get that out there on my own too.

What is your philosophy toward making, and performing music?
I make and play music that I like, very simple. I believe that whatever music you make and play it should come organically and from a real place, otherwise there’s no point if you can’t enjoy it in a very honest way.

Where are your favorite places to play in the world, and why?
Everywhere! I must say I love South American crowds a lot, they have a great culture for dance music. Each city and every club has their own charm, so it’s hard to pick just a couple. Sometimes a festival stage feels amazing, sometimes a tiny basement in a small European town is exactly what gets you going.

Let’s switch gears to Rapture festival. It must have been an honor to be booked on the Soundgarden stage! How is it working with Nick Warren, and to know you were chosen to play alongside such heavyweights in your arena?
Nick is a legend, and the whole festival has a really good lineup from Luciano and Guy Gerber to a great combination of classic and modern progressive artists on the Soundgarden stage. I think that’s a great representation of where the sound is now and where it’s going in the future.

What excites you most about playing Rapture?
The lineup and the location, I’ve heard that it’s a beautiful part of Miami and feels great to jump out of the madness of South Beach and Wynwood for a bit during the Miami Music Week. Also a cold beer or two, hopefully a hot dog and maybe pancakes if they have any.

Now for your favorite question: what’s coming up for Yotto throughout the rest of the year?
More music! I’m excited about all the new music that I have ready to go. Will be going around all continents again over the rest of the year so I’m also looking forward to missing airplane meals and trying to figure out if I can buy candy with air miles.

Techno Tuesday: Ilario Alicante dishes on owning a label, techno, and pasta

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Techno Tuesday is a feature on Dancing Astronaut documenting the culture of underground dance music. We’ll bring you exclusive interviews, tracks, and narratives from artists within the techno, tech house, and deep house world in an effort to shed light on some of the best talent outside the world of mainstream dance music.

Ilario Alicante’s prosperous musical career was born during the climactic eruption of underground dance music that spewed from the fires of Ibiza nightlife. As the underground scene swept the globe, aspiring producers craved the revolution that originated from the crowded, kinetic floors of club venues such as Circoloco and Amnesia.

At the ripe age of just 15 years old, Alicante emerged from his regional roots in Livorno, Italy and began performing at some of the most renowned venues and festivals in Europe, including being one of the youngest acts ever recorded at Time Warp. His affinity for deep, grooving, and often island-inspired shades of house quickly established him as an artist to be reckoned with despite his age, with singles like “Vacaciones En Chile” and his re-work to “Melancholiebe” sealing is his success.

His sound has since evolved over the years, with the young star now pumping out copious amounts of percussive techno, but his consistency and passion for dance remain all the same. We sat down with Alicante to talk about his career thus far, finding and maintaining success at a young age, his residency with Cocoon, and of course — pasta.

Your successful career started at such at a young age, 15, where you began performing at massive shows and also releasing on notable label. Being so young at the time, what are some things you wish you knew at then, or maybe would do differently if you had more previous life experience?
Actually I’m happy that things worked out like this. I wouldn’t change anything because all the choice I made, right and wrong ones, all reflected on my experience and where I am today. It’s necessary to do something wrong sometimes because if you were able to change the mistakes or any other choices that you made in the past, you would be a different person now. I understood a lot of things from my experiences, so I’m thankful for those moments.

Many producers attribute their inspiration to their roots and cultural surroundings; growing up in Italy – do you feel like your environment influenced your early work?
Well the first environment that influenced me was Ibiza. I made one of my biggest tracks thinking about Circoloco, so that island was the first experience that inspired my music. Then yes definitely Italy was a big influence for me. The energy that the crowd transmits in the clubs is something that you can’t find anywhere else and that influenced me a lot.

Were there particular artists you admired during your early years? Who are some artists that influence you today?
I loved the early Naples’ techno tracks from Gaetek (Gaetano Parisio) and Marco Carola. Music wise they helped me build my own vision of techno that I have now. Speaking about DJing, Sven Väth is the one that influenced me a lot, alongside Laurent Garnier. Artists today, Ben Klock has one of the best and finest taste in techno in my opinion. I love his sets a lot.

It’s been 10 years since your one of your most well-known singles, ‘Vacaciones en Chile’, has been released and continues to hold true as a techno staple today. Looking back, what do you think has most changed or impacted your style today?
My sound has evolved. You can still find some shades of what it was before, because it hasn’t completely changed, just evolved. I take inspiration from my life, from what I experience travelling the world, playing in front of lots or few thousand people in different contexts and these experiences are impacting my sound constantly. I don’t like to have boundaries, I like to explore and change but firstly do what I feel, that’s the most important thing for me.

Speaking of success, how has your residency at Cocoon been going the past few years? Personally, what makes Ibiza nightlife and culture so different than the rest of the world?
I am really really happy with my residency at Cocoon Amnesia. It was an important part of my career. It gave me lots of emotions and experience that I will never forget. Now it’s time to change, as you know, Cocoon is moving to Pacha. Of course I will take part in it but I will also do other events which I will reveal soon with more details. Ibiza is something special because there you feel more free than normal, there is an unique spirit of freedom in the island that will always stay, even if things are changing a lot. The mix of people from all over the world creates a strong alchemy. Every time I step out from the first plane of the season I feel something that I can’t describe. I saw Ibiza from a lot of points of views. I’ve worked on the island as PR, selling tickets when I was 18 years old. Ibiza changed my life and for me, will always be unique.

Your latest album release, “Figures & Echoes” has tracks filled with mesmerizing beats accompanied by heavy drum patterns – was there anything different about the production on this album vs. some of your older tunes?
When I release on Drumcode, I focus on doing tracks for the dance floor with more melodic synths than usual. It’s a happier side of my techno. I normally do those kind of tracks for big festival sets. I like to put load and heavy hats on a lot. Anyway the synth lines are the different parts of my other productions I think.

What’s the best and worst part about owning your own record label?
The best thing is that you can really push your vision of sound that you have in mind and also have the possibility to promote young and talented artists. The worst is to deal with the distributors and pressing plants, most of which never respect the timing of the releases.

What are you most looking forward to in 2018 – in a professional and personal aspect?
I really look forward to developing my label Virgo and I look forward to Ibiza’s 2018 season. I am always open to changes and I think this will be year with a lot. Regarding personal aspects, I can say that I decided after 10 years living in Berlin, to move back to Italy to Milan. This is something I’m really looking forward too, going back to my own country.

Obviously being Italian, we have to ask, what’s your favorite pasta dish?
My favourite ones (one is not enough) are: tagliatelle al rage bolognese and one special kind of risotto that you can find at “