Few artists in contemporary house music carry the spirit of the genre with as much sincerity as Space Ghost. Hailing from Oakland, his work taps into something timeless — a deep, emotional current that connects the roots of house to its more introspective, dreamlike edges. Drawing lineage from figures like Larry Heard, Alton Miller, and Blaze, his music channels a sense of warmth and affirmation that feels increasingly rare in today’s fast-moving landscape.

Originally released in 2021, Dance Planet quickly became one of those records that quietly embeds itself in people’s lives — not just as a dancefloor tool, but as a companion. With the newly expanded Dance Planet – Be Free Edition on Tartelet Records, that vision returns with renewed clarity. Remastered and reimagined through a series of new remixes — including contributions from RAMZi and Crystalline Reality — the album deepens its emotional reach while staying rooted in its original message: to move freely, to feel deeply, and to be unapologetically yourself.

Across ambient passages, broken rhythms, and classic 4/4 grooves, Space Ghost continues to explore the healing potential of music — something that extends beyond his productions into his label Peace World Records and his broader artistic philosophy.

For this MIXED BY, we caught up with him to talk about revisiting Dance Planet, the role of affirmation in his work, and how his musical world continues to evolve.

---

INTERVIEW

---

Dance Planet has taken on a kind of timeless quality since its original release. What made you want to revisit it now with the Be Free Edition?
Well I think it’s been about 5 years since we first released Dance Planet, which is crazy by the way! But yea, Tartelet hit me up recently and we thought it sounded like a good idea to reissue the project. It felt like a good opportunity to remaster everything, add some new remixes, and mess with the art to give it a fresh twist.

When you went back to the album, did you hear it differently compared to 2021? Had your relationship with those tracks — emotionally or technically — shifted over time?
I would say as a whole I feel very proud of this album and when I listen back, it still feels very solid and timeless to me. This album helped me explore my sound/style 5 years ago and everything I’ve made after feels like a product of it. The tracks still feel relevant to who I am at this moment. It was interesting going back to the original premasters as we prepped for new mastering because the premasters sounded way different than I remember. I remember thinking that these were some of the best mixes I had ever done back when we first released it, but now some of the premasters sounded a bit lacking! It was a good reminder of how much the mastering brought out of the tracks originally.

The record has always carried a strong message of affirmation — “be yourself,” “go,” “heal.” Where does that impulse come from in your music? Is it something intentional, or just naturally embedded in how you create?
I think the affirmation themes were prevalent around that time because I was teaching myself to let go within my music and create what felt true to myself. Plus I think those kinds of themes and lyrics always go hand in hand with dance music. Optimism, healing, being yourself, I guess either way you spin it, they’ll work well on the dancefloor or at home.

There’s a beautiful balance in your work between dancefloor energy and introspective moments. How do you approach that duality when producing? Do you think in terms of function (club vs. home listening), or more in terms of feeling?
It just depends on my mood or attention span. I think generally the duality of those two styles is kind of just who I am. A lot of the time I’m very introverted and like being in my own head at home but sometimes I’m feeling like going out and dancing or interacting with others. Sometimes I feel like making a house track and other times I feel like making something more ambient. I think as I get older I’m still learning how to make more proper club tunes, it’s really hard! Sometimes I think I’m making something for the club but later realize it’s better suited for home listening. I think most of the time I’m really just going off of mood and when a project starts forming, I begin to understand which direction it’s going either dancefloor or home listening. In terms of an album though, it just sounds nice on an LP to have the mixture of both club and home listening to balance each other out.

Your sound is often linked to the legacy of artists like Larry Heard or Blaze — music that feels deeply human and emotional. How do you engage with that lineage without feeling constrained by it?
People will always draw their own lines to other artists when listening to my music. I’m often linked to the sounds of Larry Heard because I’ve been pretty open about my inspiration from his music and sometimes my older tracks used similar keyboards. I love blaze, but I don’t think I was ever inspired by them directly for any releases. But that said, I can’t be too mad being compared to some of the greatest house legends. I don’t think I’ll ever feel constrained by those musical links, I’m always going to be inspired by other people’s music and people will draw their own conclusions when they listen to my sounds. Music and Art are like a game of telephone, we’re just absorbing what we like and then trying to recreate our favorite parts with our own voice. People will listen to my music and relate it to everything that came before me, and that’s just a part of being a musician or artist.

The new remixes bring very different perspectives to the album. What stood out to you when you heard interpretations from artists like RAMZi or Crystalline Reality? Did any of them surprise you in how they reframed your work?
I know these songs so well, I’ve heard them a million times. I guess it’s just interesting to hear them totally reimagined by other artists through their own creative lens. I really appreciate that both the RAMZI and Crystalline Reality remixes were quite different from the originals, it just brings a new flavor to my music and hopefully a new crowd of listeners. But on the other hand Not Even Noticed provided a nice take to my original track as well, kind of in the same spirit but a little faster and DJ friendly.

 

You’ve also revisited your own tracks for this edition. What does it mean to remix yourself? Is it about refinement, reinterpretation, or something closer to closure?
I really like remixing my own songs, sometimes you can get a lot of creative juice out of one idea. I often like doing different versions of my own songs which can sometimes land on the same release. For my remix of Be Yourself, I was thinking more about trying to simplify the original into a more club friendly tune and breathe some new life into it. I still like the original but sometimes it can also sound a bit too mellow. I often make songs thinking they would work really well in the club, only to realize they might sound kind of clunky or lack energy. So with that, I thought I’d try to update ‘Be Yourself’ so that it could fit into a faster club set, with more groove and swing. I think it worked, guess I’ll go find out?

Your label, Peace World Records, also reflects a strong sense of identity and intention. How does running a label feed back into your own creative process?
I’m still trying to figure out the right flow for my art and my label. Right now I’m just trying to catch up with myself and release a few projects that have been taking me a long time to complete. But ideally when I’m feeling more caught up, I’d like to get in a nice flow of creating and releasing my own music on my label at a nice non-stressful pace. Hopefully then I’ll have this sort of rolling ball of creativity from creating and releasing music more smoothly.

The MIXED BY format sits somewhere between a DJ set and a personal statement. How did you approach building this mix? Were you thinking about storytelling, mood, or something more instinctive?
I was looking back at my more recent mixes and realizing I needed some more house focused or uptempo mixes. I’ve got so much house music stacking up over the years and I’m not putting enough of it into mixes. So I blended some recent finds that I’ve been enjoying as well as some things that have been starting to gather dust and I just haven’t gotten around to putting in a mix for awhile.

Is there a thread or idea that connects the tracks you selected for the mix? What do you hope listeners take away from it — especially in relation to Dance Planet?
Honestly there’s not much of a deep takeaway from this mix, just some nice dance tunes I hope people enjoy. The mix is mostly moody old school house, with some faster stuff towards the end that I usually wouldn’t get to play out.

A lot of your music feels rooted in healing and emotional release. Do you think dance music still holds that space today? Or has the context changed in recent years?
I feel like the core values of dance music is about emotional release. Whether as a DJ, Musician or Dancer, it’s all about expressing yourself and healing through music. Not sure if much has changed.

Looking ahead, where do you feel your sound is moving? Do you see yourself continuing along this path, or exploring new territories beyond what we hear on Dance Planet?
I don’t think there’s a straight answer to that one, I’ll just continue being creative and the music will go where it wants to go.

Get a copy of Dance Planet – Be Free Edition (Remastered) on Tartelet Records.

Cet article MIXED BY/ Space Ghost est apparu en premier sur Bolting Bits.

]]> https://boltingbits.com/mixed-by-honeydrip/?utm_source=rss&utm_medium=rss&utm_campaign=mixed-by-honeydrip Wed, 26 Nov 2025 14:03:43 +0000 https://boltingbits.com/?p=21434 For over a decade, Honeydrip has been one of Montreal’s most vital underground forces — a producer, DJ, live artist and speaker builder whose...

Cet article MIXED BY/ Honeydrip est apparu en premier sur Bolting Bits.

]]>

For over a decade, Honeydrip has been one of Montreal’s most vital underground forces — a producer, DJ, live artist and speaker builder whose work sits at the crossroads of bass pressure, dub heritage and forward-thinking club music. Rooted in sound-system culture and informed by electroacoustic practice, she designs music that feels as physical as it does emotional: sub-weighted, textural, intentional. Beyond her own releases, Honeydrip has become a pillar of empowerment within the scene, co-founding MORPH Soundsystem, a queer and femme-led collective reclaiming technical spaces through hands-on education, DIY collaboration and community care.

In 2025, Honeydrip entered a new chapter. Her single “Dutty Business”, created with PYNE and Ultima Esuna during the PHI North residency, marked her first vocal performance — a shimmering, breakbeat-laced offering that blends summer heat with witchy atmospheres, pairing bass discipline with melodic freedom. The track revealed a new layer of her artistry, one that moves effortlessly between sound-system rigor and pop-sensory intimacy.

For MIXED BY, Honeydrip delivers a mix that embodies this duality: deep, hybrid, humid, unbound — shaped by dub lineage, contemporary club mutations, and the collective energy that drives her work on and off the stage. This mix isn’t just a set, it’s a statement: a Montreal transmission tuned to low frequencies, radical community, and the future of sound.

---

INTERVIEW

---

You’ve been part of Montreal’s underground for about a decade — can you describe the arc of your practice from those early raves to where you are now as a producer, performer and speaker-builder?
I think I’ve always been chasing growth, personally and artistically, and those two things are completely intertwined for me. Loving music led me to DJing, DJing led me to producing, and producing eventually made me want to understand sound on a deeper, physical level. That’s when I started building speakers. And now speaker-building is opening up whole new trajectories that are still brewing. It feels like a continuous chain reaction, where each curiosity leads me into the next chapter.

Your work sits squarely at the intersection of dub/reggae/dancehall tradition and experimental electronic music. How do you balance reverence for sound-system roots with the urge to experiment and hybridize textures? Can you give a concrete example from your production process? (prompt for gear, samples, or a moment when genre boundaries collapsed in the studio…)
I grew up with sound-system sonorities around me, so the rhythms and the spirit of that culture just live in my body. At the same time, I’m shaped by lots of other sonic worlds, and I try to stay honest about all those influences and let them show up however they want to. I really see art as a channel, something we tap into, so in the studio I try not to over-control the outcome. I lock into whatever my intuition is saying in the moment.
My process almost always starts with a bassline, and everything else grows around that foundation. I love dubbing out sounds with reverb and echo, letting them stretch and fall apart. Lately I’ve been trying to bring more of my live-set instincts into my production: on stage I often have these magical moments where I dub stems into something unrecognizable, and I’m realizing that approach could be a powerful tool in the studio too.

You studied electroacoustics and you also physically build speakers — how does that technical knowledge shape your composition and your approach to playing live or on a sound system? Do you design tracks with certain speaker responses or frequencies in mind?
I still feel very much in a learning phase. I am developing my ears both as someone who mixes music and as someone learning to tune sound systems. The biggest thing I’ve learned so far is the importance of space, letting each sound breathe in its own frequency band, not overcrowding the spectrum. Understanding speakers has made me think more intentionally about how a track will actually live on a system.

MORPH Soundsystem is gaining attention as a queer, femme-led collective that reclaims technical space. What was the founding impulse for MORPH, and what have been the most surprising or meaningful outcomes so far (from workshops to repaired subs)? (measurable wins and long-term visions—fundraising, training pathway, etc.)
The founding of MORPH was kind of accidental. I built my subwoofers in 2023 thinking a crew would naturally form around them, because in Jamaican sound-system culture, these collectives often come together almost organically. But when the subs broke into pieces (literally), I looked around and realized I was a one-woman crew. I made an Instagram post saying I wanted to build community and share what I’d learned, and it sort of blew up. People assumed I was hosting workshops, so I realized there was a real need. We held our first event, and from there the collective just came together.

Last month we put together a huge fundraiser and it was our first time all collaborating on something that size. It was a success and I’m so proud of what we pulled off. And we just received Canada Arts Council funding for a big project, so stay tuned for 2026.

You’ve toured across Europe, the UK, South America and Canada — how do audiences and spaces change the way you perform? Do you alter sets when you’re playing club systems vs. a dedicated DIY sound-system setup? Any memorable cross-cultural moments?
I’ve never been someone who likes to plan sets too much… though I’m starting to question that because it seems like most DJs do. However in the past, I’d usually just show up and respond instinctively: how songs are sounding on that system, what the crowd is feeling, what mood I’m in. My Libra side usually keeps that balance pretty well. :)

Collaboration is clearly central to your recent output — the PHI North residency brings up Dutty Business, a track you co-wrote with PYNE and Ultima Esuna. Walk us through how that track came together during the residency. What was the role of each collaborator, and how did the residency context shape the song? (rituals or constraints in the residency that helped creativity, etc..)
I was doing a tutorial on my Ableton Push and came up with the synth melody. Ultima Esuna walked in and I was like, “let’s make a beat together.” We made the early version of Dutty Business, and I freestyled on it. Like I said, I don’t try to control the moment too much, I just honor whatever comes out. At first it had this Bonnie-and-Clyde R&B energy that didn’t quite feel like me. Alanna helped me rework the lyrics and shape my phrasing, and then Ultima Esuna and I rebuilt the track into something that feels much more like the Honeyverse.
I probably wouldn’t have put my voice on a track for years, if ever, without this residency. But since the whole point was skill-exchange between Alanna and me, it felt right to share what came out of that process.

https://youtu.be/RFTr_YbXMoI?si=mCBmG5QSRRZowUNE

 

Dutty Business marks your first vocal performance — why now? How did you approach vocal arrangement, melodic/harmonic choices, and the decision to place vocals in the foreground of a project rooted in bass culture?
I have been singing and performing since I was very young. I was even in a few girl groups haha but I ended up giving up on singing. I have also always loved working with vocalists, especially in the Reggae, Dub, and Dancehall genres. There’s a line in The Artist’s Way that

stuck with me. It It says we often surround ourselves with the kind of artists we secretly want to be. I think that happened to me. I kept working with vocalists, maybe ignoring that I wanted to be one too.

Sonically, Dutty Business has been described as balancing shimmering, witch-y textures with crisp breakbeats and a breezy, summer-anthem feel. Which artists, records or production techniques informed the tonal palette for this single? Did you deliberately reference contemporary names (Nia Archives / Pink Pantheress were cited in press) or were those comparisons emergent from listeners?
The song wasn’t trying to be anything specific but after it was made I noticed its similarities with Nia Archives and Pink Pantheress. Mostly because it’s female vocals on a breaky dubwise tune. I’m curious what people hear in it. To me, it also echoes elements of my track System with Shanique Marie.

Your album Psychotropical and recent edits show a willingness to pull in live instrumentation and vocalists (e.g., King Shadrock, Shanique Marie). How do you decide when to bring live musicians into the recording process versus keeping things purely produced/electronic? Any anecdotes about arranging for live players?
I have a bit of an unusual workflow with vocalists, I record them and let them go wild with minimal guidance because I trust their artistry and that is why I chose them. Then I take everything home, chop it up, rearrange it into a new flow, and send it back for approval. I think that method partly came from insecurity about not being fast enough in the studio while someone’s watching. But I’m gaining confidence and I’m excited to start building songs more collaboratively in real time.

You place importance on knowledge sharing (workshops for women & LGBTQ+), and on reclaiming the studio/tech space. What concrete advice do you give newcomers who want to get involved in sound-system culture but feel intimidated by the technical side? What are the first three things they should learn or do?
1. Learn the basics of sound — especially frequencies.
2. Understand signal flow.
3. Pick a specific speaker model, read the forums, and study exactly how it’s built.

Looking at the Montreal scene: what’s exciting you right now (artists, venues, collectives)? Conversely, what structural or cultural changes would you like to see locally or globally in how electronic music scenes are run? (good place to ask about sustainability, mental health, accessibility and inclusion.)
I’m really excited about Parquette. It’s a space built for the people and by the people, after years of listening to what Montreal’s nightlife community actually needed.

And I’m noticing more big artists talking about turning inward with touring becoming unsustainable and local scenes needing more attention. I’m curious what it will mean to headline in a city like Montreal if fewer touring acts come through and if you don’t have to “make it” internationally to be seen as a headliner at home.

For the MIXED BY mix you’re delivering for Bolting Bits, what’s the framing or story you want the listener to experience? Will you champion unreleased material, dub skanks, edits, or new live-to-tape elements? Any tracks or moments you’re determined to include?
I have been thinking a lot about the ebbs and flows of being an artist, especially as winter is starting. I think that is represented in my mix via the volatility of pace, rhythm, and the surprises. It mirrors the waves of an artists path.

I was determined to put my Dutty Business Club Edit in there, which I did. With the remix release there is also a great remix by Anna Morgan that I wanted to add but I decided to not put my track twice in one mix aha.

---

Dutty Business is now available on bandcamp.

Cet article MIXED BY/ Honeydrip est apparu en premier sur Bolting Bits.

]]> https://boltingbits.com/mixed-by-not-even-noticed/?utm_source=rss&utm_medium=rss&utm_campaign=mixed-by-not-even-noticed Thu, 16 Oct 2025 13:00:50 +0000 https://boltingbits.com/?p=21313 In a landscape saturated with maximalist gestures and instant gratification, Not Even Noticed operate in the periphery — a project whose very name speaks...

Cet article MIXED BY/ not even noticed est apparu en premier sur Bolting Bits.

]]>

In a landscape saturated with maximalist gestures and instant gratification, Not Even Noticed operate in the periphery — a project whose very name speaks to its ethos. The Frankfurt–Leipzig duo have been quietly sculpting a sonic language of restraint and intention since emerging in the early 2020s, threading broken rhythms, trance-infused atmospheres, and acid-washed details into music that rewards patience and deep listening. Their productions don’t clamor for attention; they invite it, revealing hidden layers only to those willing to lean in.

Their latest chapter, the Eteus EP, released this summer on LA’s visionary Fast At Work imprint, is perhaps their most refined statement yet. Drawing on the myth of Eteus — a figure of light and knowledge — the record explores the delicate tension between weight and weightlessness, minimal form and maximal emotion. Across four originals and two masterful remixes from K-Lone and Maara, Not Even Noticed map a territory where low-swung basslines pulse like a heartbeat beneath vaporous melodies, and whispered vocals guide the listener toward ecstatic release. It’s a transmission you feel as much as you hear, a document of artists expanding their craft while remaining faithful to their understated pulse.

To accompany our conversation, the duo have prepared an exclusive mix for Bolting Bits’ MIXED BY series — a glimpse into their current orbit, stitched together with the same care and subtlety that defines their studio work. In the interview that follows, we dive into the mythic inspirations and meticulous processes behind Eteus, the evolution of their collaboration, and the philosophies driving one of electronic music’s most quietly compelling acts.

---

INTERVIEW

---

The Eteus EP is built around the figure of Eteus, described as a mythic god of light and knowledge. What drew you to that name and concept, and how did this narrative shape the emotional arc and sequencing of the record, from the opening track to the final moments of “Anxious”?
We usually decide on the track and EP titles at the final stage of the production process — the same goes for this project. Once we had the tracklist together for this EP, we felt a sort of transcendental vibe, which became the inspiration for the name.

The release is described as “minimal in message, maximal in emotion,” rewarding those who listen closely. How do you approach achieving that balance in your production process — stripping things back while still evoking something deeply human and intense? Are there specific elements you deliberately keep sparse so that others can resonate more strongly?
For us, it’s often the little imperfections that make the sound feel human. We like to work with field recordings, real-world samples, and even subtle glitches, elements that bring a sense of texture and unpredictability. Those details might seem minimal, but they carry emotion and depth, giving the music a more organic and intimate character. At the same time, we always try to bring a certain tonality through melodies and atmospheric layers, aiming to find a balance between club-oriented energy and more introspective, listening-focused music.

Tracks like “Eteus,” “Drip Advise,” and “Creamavity” are rich with low-swung basslines, siren-like motifs, shimmering arpeggios, and acid textures. Can you walk us through some of the sound design decisions behind those details — the synths, effects, or processing techniques that help create that glowing, textural world?
Acid has always played a big role in our productions — it’s such a versatile sound with a strong sense of identity. There are very few sounds that can work so well across different settings while still remaining instantly recognizable. On this project, we focused a lot on call-and-response motifs and recurring sonic gestures to keep a sense of liveliness and modulation throughout, without drifting too far from the meditative core of the tracks.

Your music often exists in a space between broken rhythms, trance-inspired euphoria, and acid-driven propulsion. When you’re starting a track, how do you decide on its rhythmic direction and tempo? Does it come from the groove itself, a melodic idea, or a particular feeling you want to create on the dancefloor?
Usually one of us comes in with an idea or a direction in mind, sometimes already prepared, sometimes just described in a few words. By now, after working together for so long, we don’t need much explanation to understand where the other wants to go. The rhythm often evolves during the process, but the initial groove or feeling tends to stay as the foundation.

The final track, “Anxious,” features a vocal that repeats the phrase “release yourself, into the unknown.” How do you think about the role of vocals in your work — are they meant as lyrical statements, textural elements, or something more ritualistic? And what does that particular line mean in the context of the EP’s overall narrative?
Vocals are an important element for us, they help create tension and bring that human presence into the music. Sometimes they act almost like another instrument, shaping the atmosphere and emotional contour of a track. Anxious actually existed before the rest of the EP, and we didn’t adapt it to fit the concept afterwards. But that’s what makes it so interesting — it naturally resonated with the themes we were exploring. The line “release yourself, into the unknown” captures that feeling of surrender and uncertainty that runs through the whole record, both musically and emotionally.

Eteus – not even noticed on Fast At Work

The record also features two striking remixes by K-Lone and Maara, each taking the material in a completely different direction. How did those collaborations come about, and how much freedom did you give them in reinterpreting your work? Were there any surprises when you first heard their versions?
Both remixes were initiated by Fast at Work after we had some longer conversations about which artists would really fit the EP. When we got the confirmations, we were honestly super happy as we’re big fans of both K-Lone and Maara. We gave them complete freedom, partly because we don’t really believe in setting creative boundaries, and partly because we knew something special would come from both of them. We were especially surprised by Maara’s approach — she turned her remix into a 10-minute spiritual trip that perfectly captures the essence and atmosphere of the EP.

Fast At Work has carved out a distinctive space with its releases, and Eteus feels very aligned with the label’s vision. What made this imprint the right home for the record, and how did working with them influence aspects like the tracklist, artwork, or overall presentation?
Working with Fast at Work was really inspiring. They have a clear sense of their label’s identity and storyline, but at the same time they gave us all the freedom to contribute and shape things together. When it came to the artwork and presentation, there wasn’t much we had to discuss as it was obvious early on that they understood our vision and could bring it to life. They’ve got experience from all kinds of corners of the music world, and you can really feel that in the way they know how to put a project like this out there.

As a duo, your collaboration seems to rely on a shared sense of subtlety and restraint. How do you divide creative responsibilities in the studio — do you each focus on particular aspects of the process, or is everything more fluid and collaborative? And how has your workflow evolved over time as you’ve grown together artistically?
We’ve been working together for a long time and have been best friends ever since, so by now we’ve developed a pretty intuitive sense of what feels right and what doesn’t. At the start of a production, our roles are usually a bit more divided — Carsten focuses more on the groove, while Lucas works on the atmospheric layers and melodies. After a while, we bring everything together, refine it, and decide which direction we want to follow. That part always happens collaboratively. Other aspects of the project are also split between us, which gives each of us time to focus on certain things and trust the other person in their area. Since we live in different cities, a lot of the process happens remotely and that’s the only way to make it work.

You’ve also prepared an exclusive mix to accompany this interview. What was your intention behind it — did you see it as a snapshot of your current DJ sets, a chance to experiment with deeper or more abstract sounds, or a continuation of the ideas you explored on the EP?
We just finished our tour, which gave us a lot of opportunities to experiment and evolve our sound as DJs. The mix includes many of the tracks that have been on heavy rotation for us lately, but it also explores some new directions, for example, touches of dubstep influences that we don’t usually play that often.

The visual world around Eteus — from the artwork to the overall aesthetic — feels like an extension of the record’s mood. How important is visual identity to your project, and how involved are you in translating musical ideas into imagery? Do you collaborate closely with designers, or is it something you develop yourselves?
Visual identity has always been important to us, but it’s only recently that we’ve started giving it the attention it really deserves. We work closely with our friend and designer Johannes Kompa, who has a great sense for connecting visual identity and sound, and helps us evolve our ideas further. Beyond that, it’s just as important for us as in the music itself to express what we genuinely feel, it has to stay authentic.

With Eteus marking a significant step forward in your sound, where do you see the project heading next? Are you interested in pushing further into ambient territory, exploring faster tempos, or experimenting with entirely new structures? And are there any dream collaborations or formats you haven’t yet explored but would like to?
Right now, we’re involved in several exciting projects and collaborations that we can’t reveal too much about just yet. What matters most to us is continuing to evolve the project in all its facets – exploring new sonic directions, experimenting with different structures, and staying open to whatever feels genuine and inspiring. We want to keep pushing forward without losing what defines our core. The months ahead are going to be exciting, and we’re really looking forward to what’s next.

Order now Eteus on Fast At Work.

For this edition of our MIXED BY series, we’re thrilled to welcome Gearmaster, the fresh alias from the minds behind former duo Abdul Raeva. Emerging from the vibrant underground scene of Tallinn, Gearmaster represents a new chapter marked by a refined sonic identity — “more groove, less goof,” as they put it.

In the interview, the duo reflects on their artistic evolution, explaining how the Gearmaster project distills years of experimentation into something more deliberate and groovy, while still carrying the punch and playfulness that made their previous work stand out. With the launch of their own label Slipdisc Recordings, they now have full creative control, and their debut release Time To Slam sets the tone: high-energy, groove-forward club music with a sharp ear for texture and detail.

Expect a mix that echoes this philosophy — percussive, fun, and purposeful — balancing subtle movements with floor-ready energy. It’s a fusion of everything they’ve learned through years of alias-hopping and sound design, delivered with clarity and character.

Tune in, turn it up, and let Gearmaster guide you through their finely tuned universe.

---

INTERVIEW

---

You’ve recently transitioned from Abdul Raeva to Gearmaster. What sparked the shift, and what does Gearmaster represent that Abdul Raeva didn’t?
The Abdul Raeva project started just before the pandemic and very quickly developed a hyper energetic life of its own, which was really fun but also super chaotic. In many ways it felt like Abdul defined us instead of it being the other way around, and we realised the project no longer reflected who we were becoming as artists.

Over the past few years we’ve both gone through a lot of personal changes too. That gave us the space to zoom out and really think about what kind of project we wanted to build for the long run. We quite quickly understood that it had to be slightly more refined, so the mantra became “more groove, less goof”.

But it’s important to state that we’re not trying to wipe the slate clean. Abdul Raeva will always be a part of us and something that we’ll look back on with immense pride.

Looking back, Abdul Raeva had a strong identity with its acid and progressive house roots. How did your sound evolve during that time, and how is it different now under the Gearmaster name?
With Abdul, we were constantly trying new things, testing boundaries, playing with styles. That gave us a lot of room to grow, but also created some creative noise. Switching to Gearmaster helped us filter through that and narrow down a sound that feels more intentional. The acid and progressive roots are still there, we’re just not leaning on them as heavily. Now it’s about stripping things back to focus more on groove and flow. Subtle movements.

You’ve just launched Slipdisc Recordings, with Time To Slam as the first release. Why was now the right time to start your own label, and how does Slipdisc fit into your broader artistic vision?
Slipdisc was partly a practical decision. Changing your artist name is effectively like hitting the reset button, so a lot of labels were hesitant to sign us as we wouldn’t generate the same interest as before. We knew there was a high risk of that happening and decided the easiest solution would be to self-release.

It gives us full control to curate everything surrounding a release, which is really liberating. We always used to refer to Abdul Raeva as a “playground” or “sandbox” for exploration–in some ways Slipdisc emulates that. At the core it’s about having a direct channel between our ideas and the audience.

There’s an undeniable sense of fun and punch in your new tracks. Was there a deliberate effort to lean into that playful, high-energy aesthetic — or did it come naturally?
It came pretty naturally. We’ve always gravitated toward grooves that make you move, and that energy just started bubbling up more as we worked on the Gearmaster material. There’s also something really satisfying about making tracks that hit hard but don’t take themselves too seriously. That tension between precision and chaos is kind of our sweet spot.

Gearmaster feels both more refined and more unhinged at the same time — almost like you’re letting go while sharpening your tools. What does your current production process look like?
We’ve leaned heavily into layering and texturing. Taking simple sounds and making them bigger through EQ, hiss, saturation, and stacking. Sometimes we use five different synths just to make one pad. It’s a lot of trial and error, but also a lot of fun. A big part of it is also resampling. We’ll run random sounds through heavy processing, take out the interesting bits, then chop and repurpose them.

You’ve worn many hats and monikers over the years — Boom & Rang, DJ Deep State, Mateo Flex. What does working under different aliases allow you to explore creatively?
Every alias gives permission to try something new without baggage, so it really just helps us keep things fresh and broaden our horizon. Some might think it’s about “artistic freedom”, but in reality it’s so we don’t get bored. Of course each moniker has its own direction, but the lines blur a lot and Gearmaster turned into a culmination of all of that—pulling from different corners but delivering with intention.

As individuals, you’re both deeply involved in music beyond the duo — Joonas as a sound designer and Steffan as a label head. How do these roles influence the Gearmaster sound?
Working with sound design and engineering naturally provides a deeper understanding of texture and dynamics, which directly feeds into how we approach production. It also keeps us focused in terms of utility, like how a sound might work in different settings. Joonas often listens back to new demos on the cheapest, worst possible in-ear headphones, at minimum volume, when going to bed. If the energy level comes through properly then, it most likely will in the club too.

Our early label management experiences provided a great deal of context in how the market ebbs and flows. It’s not always just about making cool tracks but also how they’re packaged, presented and received. Through that work we also built a large industry network, which enabled us to make informed decisions on how to publish and license our music.

Tallinn’s underground scene seems to have a strong presence in your story. How does your environment shape your approach to club music?
Tallinn is small but very passionate. There are lots of indie venues and crews that foster creativity and experimentation, without pressure to conform. It’s also very hands-on, so you’re not just a DJ or a producer, but part of a community, which always provided us a lot of space to find our sound organically.

What kinds of artists or sounds are you hoping to showcase on Slipdisc in the future? Are there any releases already in the pipeline?
For now, it’s mostly a vehicle for our own music and stuff from close friends. We want to build that same kind of community, where our label roster feels like they’re part of something bigger. Not just another transactional relationship between label and artist. In the long-term we’d love to open it up to artists who share and can connect with our ethos. No spoilers, but we are actively working on a couple of releases.

Now that Gearmaster is front and center — what’s next? More music, gigs, collaborations? Where do you hope to take this project in 2025 and beyond?
Right now we’re taking some time off from touring to work on tracks, create new sample packs and just jam. There’s a lot of studio time ahead. No shortcuts, just honing the craft.

Gigs are definitely on the horizon though. We want to bring the new Gearmaster sound to more dance floors, meet new people, collaborate with other artists and expand the Slipdisc universe.

Emerging from Utrecht, Tifra has been making significant strides in the electronic music scene with his distinctive fusion of leftfield house, progressive rhythms, and old-school breaks. In October 2024, he released “The Algorythm EP” on PROXY Records, showcasing his ability to blend 90s rave influences with contemporary production techniques.

Following this, his “Terra Incognita” EP was released via Haŵs, offering a journey through 90s/00s house, progressive, and undulating grooves. Tifra also contributed a track to the compilation “Neptune Discs Vol. 10,” released by Neptune Discs, further cementing his presence within the underground electronic music community. With performances at esteemed venues like Sisyphos in Berlin and La Mazette in Paris, Tifra continues to captivate audiences with his dynamic soundscapes. We caught up with him to discuss his recent projects, creative process, and future plans.

 

---

INTERVIEW

---

Your latest EP, “Terra Incognita,” is out now via Haŵs. Can you delve into the inspiration behind this project and how it builds upon your previous work?
It’s a combination of two things. The first is the inspiration I took from travelling to other continents, experiencing new landscapes and architecture. That gave me certain moods that are difficult to capture with text, so I tried to encapsulate this using pads, melodies, and rhythms. Secondly, I got inspired by the revival of South American genres, keeping tracks groovy with a stronger focus on drums.

From “Trans Atlantique” to “Mesoamerica,” and now with your recent releases, your sound has traversed various genres and styles. How would you describe your musical evolution over the past few years?
“Trans Atlantique” was really my first dedicated “Tifra” project. Around that time, electro was having a bit of a revival, so I wanted to integrate this into my productions—experimenting with offbeat drums and electro glitches. But I was already into the sounds of Kalahari Oyster Cult and Klasse Wrecks, appreciating the 90s nostalgia in their productions.

“Mesoamerica” feels like a natural evolution of “Trans Atlantique.” I discovered producers like Guy Contact, DJ Life, Solar Suite, Bliss Inc, and Maruwa, defining the sound we now call Prog.

With my recent releases, “Terra Incognita” and “The Algorythm,” I still apply a similar philosophy—creating something contemporary and nostalgic while incorporating today’s trends.

You’ve performed at notable venues like Sisyphos in Berlin and La Mazette in Paris. How do these diverse environments influence your sets, and do you tailor your performances based on the location?
I really like to prepare a track selection specifically for each gig, envisioning what the vibe of the venue might be. I also do my homework—knowing who’s playing before and after me, while keeping the timetable in mind. However, I always make sure the selection is broad enough to adapt on the spot. You can never fully predict what the DJ before you will play or how the crowd will react. I notice differences between cities and clubs in how far you can explore your deeper track collection. I like to tease the crowd sometimes with unexpected genres or breaky tunes, though lately, I’ve been keeping it more groovy—like the Bolting Bits mix.

When producing a new track, do you follow a specific routine or process? How do you balance experimentation with maintaining a cohesive sound?
My starting routine differs every time. It can begin with a sample from an old record or an attempt to recreate a track—which never really works out, so I end up with my own unique twist. Sometimes I watch tutorials for a specific sound or genre I haven’t explored yet. Fiddling around with synths has also worked as a starting point.

The cohesive sound mostly comes from tricks I often apply—using the same FX plugins, drum samples, or arrangements. It’s always easier to pinpoint someone else’s specific sound than to identify your own.

Your music blends elements of leftfield house, progressive sounds, and old-school breaks. Which artists or experiences have significantly influenced your unique style?
Before 2018, I produced and played mainly slower deep/tech house. I felt stuck in the same patterns and wanted to experiment more. Discovering labels like Klasse Wrecks and Kalahari Oyster Cult helped me broaden my horizon. Artists like Roza Terenzi, D Tiffany, Fantastic Man, and Luca Lozano inspired me to be more genre-fluid and playful with BPMs.

Two friends—Súya (label owner of PROXY Records) and Maskilo Man—definitely steered me in this direction. The Australian scene from the last couple of years also had a big influence on me.

With “Terra Incognita” now available, are there any other upcoming projects or collaborations you’re particularly excited about? What can fans expect from you in the near future?
I’ll be part of two new VA compilations with labels I’ve worked with before. Another upcoming track is a remix for Cosmic G. Additionally, I received an exciting request to work on a downtempo track. After several VA contributions, I want to focus on a new EP again. I’m also heading into the studio soon with a Dutch DJ known for playing old-school breaks—excited to see what comes out of that session.

As a DJ and producer from Utrecht, what challenges have you faced in the electronic music scene, and how have you overcome them?
Amsterdam is still the epicenter of the Dutch electronic music scene, but Utrecht is catching up with clubs like NAR, WAS., Kabul A GoGo, and Basis. It can be harder to get noticed here. What helped me was recording mixes for podcast series I appreciate, doing radio shows, and connecting with the local scene. Interestingly, some people didn’t even know I lived in the Netherlands because most of my releases are with international labels and I follow a lot of artists from abroad.

With the rapid advancement of music production tools, how do you incorporate new technologies into your work? Are there any specific tools or software you find indispensable?
All my tracks are fully produced in the box—my DAW is definitely indispensable. I prefer keeping things lean and mean, mastering a few synths rather than using too many. From time to time, I add a new synth to the setup. I actually prefer my tracks not to be too polished, giving them an analog and nostalgic feel.

You’ve been associated with labels like Gestalt Records, Duality Trax, Neptune Discs, and Haŵs. How have these collaborations shaped your career, and what do you value most in these partnerships?
I really appreciate that Steffan Todorović (Gestalt Records) and Holly Lester (Duality Trax) trusted my music early on. I’m still in touch with them and have met them in person a few times. Tywi (Haŵs) and I have shared line-ups, and I value the shared passion for music within this sound. It’s great to see how interconnected these labels are, with Steffan and Holly launching the Terrazzo label.

What advice would you offer to emerging DJs and producers looking to establish themselves in today’s music landscape?
Start by recording mixes and radio shows. Connect with your local scene. And don’t overthink sending out demos—you might receive valuable feedback if the tracks aren’t quite there yet.

 

---

 

Meet VON RIU, a Paris-based DJ and producer who has rapidly ascended the ranks of the electronic music scene. Co-founding his label Jerry Horny with Maté in 2020, VON RIU has become a prominent figure with a distinct, omnivorous sound palette. His productions traverse a wide array of styles, from cinematic gloomy atmospheres to incisive trancy techno, clubby bass & break music, and modern progressive trance. Transitioning from a passionate dancer to a master behind the decks, VON RIU’s deft mixing skills and adventurous electronic sets have earned him acclaim.

His label, Jerry Horny, stands out with its corporate-businesscore vision, utilizing self-improvement and growth hacking techniques to bring together top names in the electro, break, and bass music scenes through a series of well-received compilations and EPs. We’re lucky to be able to connect with him, who’ve put together an incredible blend of tracks for our MIXED BY series, and have answered a few questions.

---

INTERVIEW

---

Can you tell us a bit about your background and how you got started in music production?
Back in the days, in Orléans, my hometown all of my friends was into music production, they were all buying hardware gear to make music. So I had to buy mine, I got a Korg Electribe, a Boss DR-550 and a Korg Monologue to begin my music journey. It was in a kinda raw and naive way to do it but at the same time i really learn how to handle and understand the basics, that has been very important when I got into computer production.

What are some of the biggest influences on your music? Are there any artists or genres that particularly inspire you?
I would say that im influenced by a lot of different inspiration, I use to dig a lot of type of music everyday and try to pick some details of all of that big stew to shape my music. I shifted a bit in my productions, taking a lot of elements of some 00’s UK tech-house, old tribal progressive records, trying to get a sharp techy and trancy modern sound.

Your “Von Cristeuf” series has received great feedback. Can you talk about the inspiration and creative process behind this project?
Going for a collab with Cristofeu was pretty obvious. Its a good friend from Paris, we have same tastes in music and we had in mind bringing something super Ibiza, blended with some wet basement tech. We’ve been stuck to the studio for like 1 week, everything has been super easy and flowly. It was the first time for me working on a collab with somebody where everything got smoothly operating.

How do you balance the technical aspects of production with the creative process? Do you have a specific workflow you follow?
Music production is always kind of a struggle, now I feel confident with my music and mixing skills, but you always struggle with legitimacy. Sometimes I can wait like 6/7/8 months doing nothing but shit. Then on one weekend I’ll be getting back the inspo and producing 2-3 tracks on that same weekend and getting back confidence to it. We have to be very lenient with ourselves !

You’ve released a variety of tracks on label such as Discoteca, Jerry Horny or Nehza Records . Is there a particular release that holds special significance for you?
Hmm, I would say the Oil Spill track I released on Nehza Records got me on a different level. Like I knew that track was going to be played and stuff, but I was impressed how good it has been received. Few of my oldest tracks now sounds a bit outdated, but I think that one could get older and still sounds kinda fresh, and I like the fact that the track can be played in a lot of different type of mixes.

You’ve performed at various venues and events. Is there a particular performance or venue that stands out as a favorite or most memorable?
There’s a lot that comes in mind ! Playing at Kodefervo in Rio De Janeiro for the carnival was something, going to Shenzhen and playing at legendary Oil Club was a blast too, and I have so much memories of The Office in Yerevan, Armenia, that is one of the best club I played. Of course there’s a lot more but these are my highlights.

Collaboration seems to be a significant part of your work. How do you choose your collaborators, and what do you look for in a collaborative project?
Socials are like unavoidable nowadays, its a pitty but if you wanna live with your music, you have to play the game. With my label Jerry Horny, we chose the form of humor and sarcasm to communicate. We feel like in the scene, we all sacralize too much the DJs being too serious behind the decks. We like to appear childish and silly, being as silly as the crowd dancing in front of you.

Can you share any upcoming projects or releases that your fans should look forward to?
I have a new EP ready, that will come with a Audrey Danza collab, that should be released on her label Proxima. That EP is big step change for me, tracks are cruising.

 

Welcome to the latest edition of our MIXED BY series, where we dive deep into the minds and music of some of the most innovative artists in the electronic scene. Today, we are thrilled to feature Elfenberg, a dynamic dj renowned for his unique blend of Ethnotronica, psy-house, and Indie Dance.

Hailing from Sweden, Elfenberg has made significant waves in the electronic music world, signing with esteemed labels such as Bordello A Parigi, Stil vor Talen and Correspondant. His music is characterized by its rich, diverse soundscapes, blending traditional ethnic elements with contemporary electronic beats.

Recently, Elfenberg has been busy with a slew of exciting projects, including his label, Trampoliner, which aims to foster a community of like-minded artists and push the boundaries of the genre. Trampoliner’s latest releases continue to captivate audiences, showcasing its ability to evolve and innovate within the electronic music landscape.

---

INTERVIEW

---

Your recent EP ‘Without Further A Dude’ on Correspondant has been well-received. Can you tell us about the inspiration and creative process behind this project?
I woke up one day and wanted to make something that took me back a little bit to the good old Eurodance era and the 90s electronic music scene in general. That was sort of the music I grew up with. I did have any clear creative process, just went with the flow on this one.

Since your debut in 2017, how has your music evolved, and what key experiences have shaped your sound over the years?
Back then I obviously made ethnic, organic, and Afro-type stuff, it was a lot slower in tempo even though I never actually played that slow. That’s the sound most people know me by I suppose, however, that was sort of a phase and the intro for the Elfenberg project. Nowadays I make more housey stuff, more traditional elements within the spectrum of disco, house, and techno, with my own twist to it of course.

You launched your own label, Trampoliner, in 2019. What motivated you to start your own label, and what vision do you have for its future?
Initially, the plan was to have a home where I could release my stuff, whenever I wanted, with no hassle. But It quickly became a home for friends and family in the scene as well, although I might go back to the original plan in the future, we’ll see.

Can you walk us through your typical process of creating a track? How do you start, and what tools or techniques do you rely on?
To be fair, I don’t have a creative process whatsoever, sometimes an idea pops up in my head, and other times (most times) I go into the studio completely blank. Sometimes I start with a melody, other times with a beat, as long as I’m inspired.

You have collaborated with various artists and labels, including Bordello A Parigi and Playground Records. How do these collaborations influence your work, and are there any artists you particularly enjoy working with?
Not really, I love collaborating with many labels and artists, and I’ve promised myself to do more of that in the future. I’m pretty open-minded as long as it’s serious from both parts. I have a fun track coming up pretty soon that I made together with Whitesquare. Keep your eyes open for that one.

You have upcoming shows in places like Barcelona and Istanbul. How do you prepare for your live performances, and what can fans expect from an Elfenberg set?
I don’t prepare more than making sure my music is up to date. I sort of have a feeling of what I want to play but it can quickly switch once you’re behind the decks. I love improvising and reading the crowd. I don’t see the point of having a fixed setlist, I could never do that.

Can you share five tracks that have been on heavy rotation for you recently? How do they inspire or influence your own music?

Holo – In Tokyo (as heard in the mix)
Guy Contact – Motomami’s Chant
Politics of Dancing – Mamma
Tiga & Hudson Mohawke ft. Channel Tres – Feel The Rush (Honey Dijon Remix)
Instant House – Awade (Joe’s Jungle Sounds Dub)

These tracks inspired me in all sorts of ways, they make me what to go to the studio that’s for sure.

What can we expect from Elfenberg in the near future? Are there any upcoming releases, tours, or projects you’re excited about?
More music, I have been away from the studio recently, and I have not been that inspired either, but it is always like that during the summer. I guess I need less sun to get inspired lol. But I promise more music shortly on both my and other labels. I have some stuff in the pipeline but I can’t say too much :)

Your music spans many different kinds of genres. How do you blend these diverse styles, and what draws you to these particular genres?
As I mentioned above, I did one thing many years ago, that later became a disco/indie dance-affair. In the present, it’s more old school, back to the roots if you will. However, I love blending as many genres as possible as long it feels right, even though it’s sometimes very subtle. I mean I love the percussions of the “ethnic” sound, I love the catchy and happy sounds of Disco, and finally the deep, raw, and confident sound of house and techno.

As someone who has successfully navigated the music industry and established your own label, what advice would you give to emerging artists looking to make their mark?
Have a clear plan and stick to it. Try to find yourself before throwing yourself out there. It’s fine to evolve as an artist and person, that’s both natural and necessary however, take a step back and look at what you want to do, otherwise, everything might be a bit messy from a musical and aesthetic point of view.