There is something deliberately elusive about Slimy Ape‘s music. Born in Leeds and now based in Manchester, the producer and DJ has been steadily developing a sound that sits somewhere between dubstep, dub techno, techno and UK bass, with a particular fascination for weight, space and the physical qualities of sound. His productions are built around details that reveal themselves gradually: deep bass pressure, clipped percussion, echoes disappearing into the distance, and rhythms that seem to shift between techno’s forward momentum and dubstep’s heavier, more spacious language. His influences range from Jamie xx and SBTRKT to the deeper traditions of UK bass music, but rather than reproducing those references, Slimy Ape uses them as raw material for something increasingly personal. That evolution has been particularly visible over the past couple of years. LDS, released through Sudo Sound in 2024, established a foundation in dubstep and bass-heavy experimentation. His 2025 Onstera EP on Menace pushed further into dubwise territory, balancing dub techno chords, UK-influenced rhythms and unusual textures. Earlier this year, he released Ode to 0113, his first independent offering and a deeply personal tribute to Leeds. Built around heavy bass weight, delay-drenched chords, driving drums and voices from figures within the city’s dub scene, the release connected his current sound to the musical environment that shaped him.

Now comes Invasive Species, his latest EP for Menace. Where Onstera embraced a more unpredictable and exploratory energy, the new record feels more deliberate: four tracks built for the deeper end of the dancefloor, moving between tuff four-to-the-floor rhythms, eerie breakbeats, electro-inflected drums and meditative dub techno. Across Flow State, Invasive Species, Twisted Root and Rumination, space becomes almost as important as the rhythm itself.

For this edition of MIXED BY, Slimy Ape brings us a mix that offers another window into that world. We caught up with him to talk about the new EP, the relationship between Leeds and Manchester, his obsession with space and dubwise production, and the process of finding his own place within the UK’s constantly evolving bass landscape.

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INTERVIEW

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Invasive Species feels more focused and deliberate than Onstera, even though both records share a strong sense of experimentation. What changed in your approach between the two EPs?
Onstera was made at a time where I was chucking as many elements into a project as possible until it felt finished, with some of them serving little purpose.
After finishing Onstera, I listened to a podcast with Carrier where he spoke about how removing elements can help finish tracks. This helped me change my approach towards production and I decided to put more emphasis on the key elements I’d created for the track and create detail through continuous resampling and automation of these elements.

Flow State is built around a very direct 4/4 pulse, while tracks like Invasive Species and Twisted Root lean more heavily into broken rhythms. What determines the rhythmic framework of a track for you?
I start 50% of my tracks by finding a key piece of percussion to build a drum loop out of and then develop into a full idea. And I also actively try to make tracks with different drum patterns so I can experiment with different styles and approaches to tracks. I enjoy the challenge of trying something I’ve attempted before and building my own take of a track in that style.
I have other tracks which have been born out of resampling, creating a melodic loop, or sampling a vocal. I try not to focus my creation process around one route too much as this can limit you at times. My main focus when opening a new project is to experiment with as many potential ideas as possible and see what I like.

Your music seems to sit in an interesting space between dubstep, dub techno, techno and UK bass. Do you consciously think about genres when you’re producing, or are those boundaries becoming increasingly irrelevant to you?
As I’ve experimented more, I’ve found myself thinking about genre less and less. One of the reasons why I moved away from just strictly doing bass focused dubstep was getting bored of making music with a similar framework, and existing within this space has given me so much freedom to create.
I do however always try to keep elements of dub techno and dubstep in my tracks so they fit cohesively into my sound, but this can come in a variety of forms like dub automation, heavy use of reverb, sub heavy, etc.

You’ve described Ode to 0113 as a love letter to Leeds, with the city’s dub culture directly embedded into the record. How much does place influence your music?
I think I owe a lot to Leeds for my sound. I started producing when I went to university in Newcastle and back then I didn’t have a sound as such, I would just dart between whatever I was listening to at the time.
It wasn’t until I moved back to Leeds after finishing my degree, that I spent a lot more time going to dubstep nights (something which weren’t too common in Newcastle) as well as putting on my own nights. This is where I really settled on dubstep as a core sound, and gave me a base to work from.
Even just visiting a place can influence my music too. I recently got back from a trip travelling South Korea and that has really influenced my productions since. The first track in the mix ‘Cotton Bud’ was one of the first songs I made after getting back, and was inspired by the coastline I explored in my time in Busan.

You’re now based in Manchester, another city with an enormous musical identity. Has moving from Leeds to Manchester changed your relationship with UK club culture?
Manchester has definitely introduced me to a lot of different sounds over the years, especially through going to nights at Soup and White Hotel. I think this has definitely translated over into my music, and widened the sounds I’m interested in and take inspiration from. It’s a really exciting city to live in music-wise, with great events happening on a consistent basis.
As much as I love Leeds as a city, the club scene there has taken a heavy hit with spaces like Old Red Bus Station and Wire closing within recent years. There’s currently a lack of events there outside the mainstream stream of artists that consistently tour, and the city is greatly missing the previously mentioned spaces which would be spaces for tons of grassroots nights and artists coming up.
That being said, Subdub is still consistently putting on great nights for many years and their recent events have been some of my favourites I’ve been to. And Mesh Radio which started last year has created a platform to help grow Leeds based DJs, there’s definitely still loads of positives to be offered by the Leeds scene.

There’s a certain tension in your music between something very physical — heavy bass, weight and pressure — and something much more atmospheric and introspective. Where does that balance come from?
I try to balance making music for the club and making music that can be listened to in everyday life whether that’s at home, at the gym, on a hike, etc. As most listeners of dance music spend more time listening to music outside of the club than in it, I think it’s important to strike a balance between the two environments.
I always love building atmosphere in a tune too, it’s an area where you can create really interesting details which can make a track stand out, both in a club and outside in life. It’s something I heavily explored in my last EP on Osmura ‘This Space has a Warm Hold’ and something I’m sure will remain a part of my productions in the future.

Your recent releases suggest you’re becoming increasingly interested in restraint. Rather than constantly adding elements, you seem to let a small number of sounds carry a lot of weight. Has your approach to “less is more” changed over the years?
When I first started producing the style of music I make, I used to have so much going on at times when it wasn’t really needed. It was when I was going back to these tracks to mix them down for releases months later that I realised that I could strip these down and be more purposeful with the layers that I choose.
Whilst I do still have a lot of layers in my tracks, I really try to take into account giving elements room to have their intended impact and not just have them disappear into a wall of sound.

Rumination, the closing track on Invasive Species, feels particularly inward-looking — almost meditative despite being designed for the dancefloor. Do you see introspection and club music as naturally connected?
I find more introspective tracks in the middle of a set can help provide a moment of calmness, which helps make the set more of a journey. A lot of times these can be really standout moments for me in a set too. One that always sticks with me is Coki dropping ‘Cay’s Crays Digital Mystikz Version’ after 30 minutes of drop heavy dubstep. It was a real moment of calm amongst the storm.
Rumination was born out of those moments in a heavily smoked out dancefloor, something which I’ve experienced a lot at White Hotel (to the point where you can’t even see your mates next to you). Those moments almost give you a moment to process and reflect on what’s happened so far musically.

For this MIXED BY feature, how did you approach building the mix?
With Invasive Species being more focused on the dubbier side of my sound, I wanted to build a mix around this and build up into faster paced, bass heavier cuts as the mix went on.
As with all my mixes or sets that I play, I always make sure to include tracks from friends as well as recent bits I’ve found through bandcamp, searching soundcloud, or from listening to other mixes myself.

Is there a particular idea or journey behind the tracks you’ve selected for the mix?
I spend a lot of time walking and cycling around Manchester city centre, and I wanted to create a mix that would fit into everyday life yet still have a club focus.
This mix is also how I envision I’d open up for a night currently, lots of nice spaced dubbed cuts and slowly picking up the pace throughout the mix. There’s a lot of really interesting music that fits into this type of mix right now.

Looking at the progression from LDS to Onstera, Ode to 0113 and now Invasive Species, it feels like you’re gradually developing a very distinctive language around bass, rhythm and space. Do you feel you’ve found the sound you’re looking for, or does finding it mean constantly moving away from it?
Looking back on releases like LDS, I remember feeling a slight lack of connection to the tracks in them. I was happy with the music at the time, but it didn’t truly feel like what I wanted to make.
As soon as I started experimenting more, I think I really found the sound I was wanting to make all along and that resonated more with my introduction to electronic music through Post Dubstep. Part of this sound is constant experimentation so in a way it’s a consistent exploration of thinking what other elements I can add to it, how can I introduce new elements and techniques.
As for my future productions, I’ve been using a lot more distortion and texture in my music as well as changing up the BPM quite a lot. I’ve been making lots of new music this year using these techniques that I’m excited to get out over the course of 2027 and beyond.

Pre-order “Invasive Species” on Bandcamp.

Few artists embody the idea of movement quite like Georgia Bird. Born in Naarm/Melbourne and now based in Berlin, her musical journey has unfolded across continents, scenes and aliases, shaped as much by intimate club floors as sprawling festival stages. Whether performing solo or as one half of IN2STELLAR, she’s developed a reputation for fluid, deeply considered sets that move effortlessly between minimal house, dub techno, breaks, IDM and rave-infused rhythms, always prioritising feeling over formula.

Beyond the DJ booth, Georgia has become an important figure within Australia’s underground electronic community, co-founding the Neurotiq Erotiq party series and Phenomena Records, both driven by a desire to create spaces where adventurous music and genuine community can flourish. That same philosophy carries through her productions: subtle rather than excessive, hypnotic rather than explosive, always inviting listeners to settle into the groove rather than chase the drop.

Following the introspective landscapes of Bird On The Wire, her new EP Move Like That marks a confident return to the dancefloor. Written between Australia and Europe, the record revisits the minimal and psychedelic house music that first sparked her love for electronic music while revealing the confidence and restraint that only years behind the decks can bring. Rather than chasing nostalgia, it feels like an artist reconnecting with her foundations through a more mature lens.

For this edition of Mixed By, Georgia Bird shares an exclusive mix that extends that journey. We caught up with her to discuss returning to her roots, the relationship between DJing and production, and why sometimes the simplest grooves leave the deepest impression.

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INTERVIEW

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Move Like That feels like both a return and a progression. After exploring the more ambient and introspective world of Bird On The Wire, what made you feel it was the right moment to step back towards the dancefloor?
I think it happened quite naturally. Bird On The Wire came from a period where I was really interested in making music that existed away from the dancefloor. I wanted to explore atmosphere, emotion and texture without necessarily thinking about how a track would function in a club. Club/dance music can stick within a formula or certain constraints and I wanted to see what happened if I tried something different.
But I’ve always had this strong relationship with dance music and DJing, and after spending that time in a more introspective space, I found myself naturally gravitating back towards the energy and physicality of the dancefloor. Move Like That feels like a return to some of the music that first made me fall in love with electronic music, but I think I’m bringing everything I learnt through making Bird On The Wire with me.
So it wasn’t really a conscious decision to abandon one thing and go back to another. It felt more like reconnecting the two sides of my practice.

You describe this EP as “a return to where it all started.” Looking back, what was it about minimal and psychedelic house music that first captivated you?
Coming from Naarm/Melbourne, these organic and psychedelic sounds are everywhere. I think we’re naturally drawn to and inspired by them because of our bush doof culture, as well as the diversity of the landscapes around us – from lush rainforests to arid deserts and everything in between. That connection to nature, combined with the hypnotic and progressive nature of the music itself, is something that has always really inspired me.
My relationship with these sounds has definitely changed over time, especially as technology and the wider musical landscape have evolved. We’re in the Tamba era of music, and I think sound design has become more important than ever. It’s something I really consider when I’m writing – not just the melody or rhythm of a track, but the world and atmosphere that the sounds themselves can create.

One thing that stands out in your productions is restraint. Nothing feels overcrowded, yet there’s always a sense of movement and tension. How do you know when a track has enough?
I think knowing when a track has enough is often just a feeling. Usually, if I’m adding something simply because I feel like the track should have another element, rather than because it actually needs it, that’s probably a sign to take a step back.
I’m really interested in giving each sound its own space and allowing the small details to do more of the work. With more minimal music, I think the movement and tension can come from subtle changes in texture, sound design and arrangement rather than constantly introducing new elements. Sometimes removing something can completely change the energy of a track or make the elements that are already there feel much stronger.

You’ve spent years behind the decks before releasing your own music. How has DJing influenced the way you write tracks?
I think DJing has probably influenced my production more than anything else. Spending so many years behind the decks has made me really aware of how music feels in a room – how to build tension, also what sounds really hit in different spaces whether it’s a club or festival stage.
I definitely imagine the dance floor or where I imagine the track would be heard/ played when I’m producing. It definitely helps when trying to create the energy you’re trying to achieve.
I’ll rarely play my own music out though, I’m far too critical haha. Maybe after a year when I start to like it again.

Your career has unfolded between Naarm/Melbourne and Berlin—two cities with rich but very different electronic music cultures. What has living between those worlds taught you?
The scene I exist in in Naarm/Melbourne has always felt very community-driven to me. There’s a strong DIY culture and a real openness to different sounds, and I think the bush doof, festivals and outdoor party culture has had a huge influence on me and the wider community.
Berlin obviously has a deep history of club culture here, and there’s a real focus on the club as a space in itself. Living here has made me more aware of the importance of atmosphere, sound systems and the physicality of a room, but also of how much freedom there is to experiment and exist outside of expectations. I really do love the focus on parties as well as longer DJ sets here.
I think even though they’re different there’s a lot of similarities within the community side of the scene.

Alongside your solo work, you’re also one half of IN2STELLAR. Does working within a duo satisfy a different creative instinct than producing under your own name?
Definitely. I think they satisfy very different creative instincts for me. IN2STELLAR is inherently collaborative, so there’s something really exciting about not being completely in control of the direction a track or idea takes. The project has always been very connected to the dancefloor and to our shared experience of DJing.
With my solo project, I have a lot more space to follow an idea wherever it wants to go. I can be more introspective, experiment with different textures and tempos, and make something without necessarily thinking about whether it fits within the world of IN2STELLAR.
I don’t really decide consciously whether an idea belongs to one project or the other. Usually the music tells me. If something feels more immediate, energetic or built around the chemistry of playing together, it naturally finds its way towards IN2STELLAR. If it feels more personal, atmospheric or like something I want to explore on my own, it usually becomes a Georgia Bird track.
We (IN2STELLAR) haven’t written a track together since 2024, with the exception of one track forthcoming, so these days I’m solely focused on developing my personal project, which has slowly been brewing over the years.

Through Neurotiq Erotiq and Phenomena Records, you’ve also helped build spaces for artists and audiences beyond your own music. Has curating events and running a label changed the way you think about your role within electronic music?
Definitely, with Neurotiq Erotiq and Phenomena, I’ve really enjoyed being able to create spaces where other artists can experiment and where people can discover music they might not otherwise come across. Or with the label work with artists on sometimes their debut release which is so exciting. There’s something really rewarding about seeing an artist you believe in play to a room, or watching a community form around an event or a release.
I think community has always been a big part of electronic music for me, especially coming from Naarm/Melbourne which is such a tight scene. Some of my earliest experiences with dance music were really tied to the people around it, not just the music itself. Moving to Berlin has only reinforced that for me.

The title Move Like That suggests movement, but not necessarily intensity. What kind of movement were you hoping these tracks would inspire?
I think it’s a bit of physical movement and emotional movement. I don’t necessarily think about creating big, intense moments. I’m more interested in creating a groove or sound that people maybe haven’t heard or makes them think.

For this Mixed By feature, you’ve put together a mix that sits alongside the EP. How did you approach building it?
This mix is a little different from the record. I think I was more inspired by summer when I was putting it together, so it’s a bit more uplifting and energetic while still keeping that hypnotic quality that runs through the EP.
I wanted it to reflect what I’ve been enjoying playing and listening to recently, rather than trying to make it a direct extension of the record. There are still some of the same influences in there – minimal and progressive – but I think the mix has a lighter feeling to it.
For me, it’s more of a snapshot of where I’m at as a DJ right now and what I’ve been enjoying playing over summer.

Is there a story running through the mix?
I wouldn’t say there’s a really specific story running through it. I think it’s more about the feeling and the progression of the mix. I can imagine listening to this with my friends having a drink in the sun or in the car driving along the beach.

Dance music often celebrates bigger, louder moments, yet your work finds power in subtlety and patience. Do you think audiences are becoming more receptive to that kind of slower-burning energy?
I think people are definitely receptive to it, but I do think the environment plays a big part. I think with social media and these viral moments people are constantly trying to create and this record feels like the antithesis of that. I think audiences are becoming more open to different forms of dance music. As life moves so fast these days people are becoming open to slower, deeper, more hypnotic grooves.

Looking ahead, where do you feel your sound is heading?
I’m really interested in pushing the sound design further and experimenting with how minimal, psychedelic and progressive ideas can be taken somewhere a bit stranger. I’ve also been listening to a lot of dubby techno, tech house so I think some of those influences will naturally start coming through as well.

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.

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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.

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]]> https://boltingbits.com/mixed-by-sha-ru/?utm_source=rss&utm_medium=rss&utm_campaign=mixed-by-sha-ru Wed, 08 Oct 2025 13:05:32 +0000 https://boltingbits.com/?p=21279 Blending spoken word, heavy bass and club-driven experimentation into something raw, physical and deeply immersive, Sha Ru have carved out a sound that is...

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

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Blending spoken word, heavy bass and club-driven experimentation into something raw, physical and deeply immersive, Sha Ru have carved out a sound that is as cerebral as it is visceral — one that uses low frequencies, texture and space to question how music is felt, not just heard. Their sonic world thrives on contrasts: poetry and pressure, intimacy and intensity, narrative and noise. It’s a language built from the ground up, tuned as much to the body’s response as to the ear’s perception.

With their brand-new self-released EP Vibra Vibra (out October 23), Sha Ru push this philosophy even further. Each track explores how sound ripples through the body and transforms space: sub-bass compressing the chest, subterranean frequencies grounding the gut, buzzing waves pulsing through the skull. It’s a work that positions bass as architecture — a tangible force shaping bodies and rooms alike — and in doing so, it reimagines the dancefloor as a deeply physical environment.

To mark the release, Sha Ru join our MIXED BY series with both an exclusive mix and an in-depth conversation. Across the interview below, the duo dive into the sonic science behind Vibra Vibra, the collaborative dynamic that powers their work, and the political and poetic dimensions that run through their art. Then, in the mix, they extend that exploration into a hypnotic, body-centric journey — a sonic landscape built to be felt in every cell as much as heard in every ear.

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INTERVIEW

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©CesarBurton

Can you describe the creative roles inside the duo — how do Ma Sha and Rù divide songwriting, vocal production, sound design and DJ/live performance decisions? How do your different origins (breakdancing/NYC / rural Italy production background) inform that partnership?
Our process usually starts with one of us putting down an idea, and then we session together to work out the concept. Sometimes vocals spark the track, sometimes they finalize it. Each of us has our strengths: one is more focused on basslines and rhythmic patterns, the other on sound design and composition. Over time, we’ve built a lot of trust, which means we’re not precious about ideas — if something doesn’t fit, it can be overwritten or deleted, and we move on.. Masha’s dance background makes her very attentive to the overall flow and physical impact of a track, while Ru’s band background brings a jam-based, intuitive way of kickstarting ideas. That mix keeps the process fluid and balanced.

Vibra Vibra frames bass as a tactile material and explicitly maps frequency bands to bodily zones (e.g., the EP text talks about 20–40Hz resonating the abdomen and 50–60Hz compressing the chest). How literal is that mapping in the studio — was it research-led, experimental, or mostly bodily trial-and-error?
It’s mostly rooted in bodily experience and performance feedback. We’ve learned a lot through touring — feeling how frequencies hit us on different sound systems and watching how crowds physically respond. We did read up on frequency ranges and how they affect different body zones, but the mapping became real through testing: pushing 20–40Hz and feeling it in the legs and gut, 50–60Hz compressing the chest, 60–100Hz buzzing in the skull. It’s not about clinical precision, but about using those zones as guides to shape a tactile experience. On top of that, every room and sound system resonates differently, so it’s also about playing the tracks out and noticing how each space produces its own unique physical response.

The EP tracklist (e.g. “Hz Bath”, “Vibrasum”, “Above, Below, Around”) reads like a sonic anatomy — can you walk me through one track (pick whichever you prefer) and explain how you translated an intended physical sensation into arrangement, bass choice and spatial mixing?
Take “Hz Bath,” for example. The idea was to create an enveloping low-end experience, like submerging yourself in vibrating water. The track features a sliding sub bassline that moves from top to bottom, giving the sensation of descending and fully immersing yourself. It also sets the tone for the tonal exploration that unfolds across the rest of the EP. On top of that, it allows us to analyze how different low frequencies resonate in the space and interact with the specific sound system we’re using. Spatially, we used wide stereo fields for the upper layers while keeping the subs tightly centered, so it feels as if the room itself is moving around a grounded core.

Spoken word is a prominent strand of your sound. Do you treat voice primarily as narrative (text + meaning) or as an additional percussive/sonic element? How do you decide what to leave intelligible vs. what to process into texture?
That’s a great question! It shifts over time. Our first EP used vocals mostly as texture. Later, with “White Red White, Keep Up The Fight,” lyrics became the main message. With Vibra Vibra, we’ve circled back to treating voice more texturally again — it’s less about storytelling and more about how vocal sounds interact with bass and space. Only one track, “Above, Below, Around,” uses full lyrics; elsewhere, the voice acts like another instrument in the frequency architecture.

On a technical level: when you design those low-end pressure waves, what tools and techniques are your go-tos for subs and low-mid control (synthesis, filtering, multiband compression, physical sub treatment)? The press credits Ten Eight Seven for mastering — how collaborative was the master process to preserve intended tactile effects?
We rely a lot on clean synthesis for the sub — mostly sine or triangle waves, carefully layered and filtered. On this EP, we also experimented quite a bit with parallel compression, limiting, and saturation. Since our “studio” often fits into our luggage, we don’t have a fixed room to work in, so a lot of fine-tuning happens during sound checks on real systems.

©Karla-Del-Orbe

What’s the gap between how a track feels in your studio monitors vs. a club system? Do you ever design separate versions (edits, VIPs) specifically to hit certain body zones in a club? How do you test venue playback to ensure the physical mapping carries over?
There’s always a gap, especially since we work in temporary setups. Instead of making separate club edits, we rely on testing tracks during sound checks on tour. That’s where we fine-tune how the frequencies behave in different spaces. It’s less about creating “VIPs” and more about iterating in real time and letting the system guide us. Also, the low-end reach of sound systems varies a lot, especially since most clubs focus on house and techno and don’t usually have such a deep extension. Finding a system that can actually go down to 20–30Hz in a club is pretty rare. So maybe some of this music is written for the sounds of the future :) or just meant to be enjoyed on different devices.

Listening to earlier releases (e.g. They Are Textural, Time Turns Liquid) you move between post-punk, hardcore textures and deep bass club forms. Was Vibra Vibra a continuation of that trajectory or a deliberate stylistic detour? What previous techniques or themes carried over?
It’s definitely a continuation. Deep low-end has always been the backbone of our sound, and you can hear dubstep, jungle and experimental tones running through the EP. What’s shifted is the role of vocals — we’ve moved back to using them texturally, which connects to our earliest work, while still keeping that raw, bass-heavy energy.

The artwork credit lists BUBU and your own involvement — how important are visuals for Vibra Vibra? Do you conceive mixes/EPs as audiovisual pieces where the artwork, staging and sound form a single organism?
Visuals are crucial for us. Since the beginning, we’ve treated each release as an audiovisual organism. For Vibra Vibra, we focused on capturing the body in an abstract way — no faces, unlike our previous covers — to let vibration itself become the central motif. We wanted the artwork to feel like another layer of the frequencies.

For the MIXED BY set: will you approach it as an extension of Vibra Vibra (keeping tactile low-end and spoken elements front and centre), or do you plan to present a wider portrait of Sha Ru’s influences and club edits? Any technical tricks you plan to use in the mix (heavy layering of subs, live voice samples, EQ automation) to recreate that bodily experience for listeners at home? (If you want, we can publish a short “mix notes” block explaining these choices for readers.)
For this mix, we aimed to capture a feeling similar to Vibra Vibra. We open with the first track from our upcoming EP, Hz Bath, and then dive into heavy bass tunes that highlights different frequencies and rhythms. To give the mix a rawer edge, we layered some transitions with a dub delay.

You’ve released on labels like Jupiter4, Woozy and others and self-released this series — what’s your thinking around labels vs self-release for a concept like Vibra Vibra? Did self-releasing let you keep conceptual control over mastering/packaging?
This is our first self-released EP since 2021, and it feels exciting to return to a DIY approach. We love working with labels and are grateful for every collaboration, but self-releasing gives us full conceptual control — from mastering to packaging — which suits a project this focused on tactile sound and personal vision.

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.

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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.

 

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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.

 

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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.

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INTERVIEW

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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.

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INTERVIEW

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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.