EG.VOL3 Sasha & Patrice Bäumel

EG1K SPECIAL

OCT 2024 VO L 3

SASHA

PATRICE BÄUMEL

M I A M I · C A R AC A S · M E X I C O C I T Y · B U E N O S A I R E S · A M S T E R DA M · B A R C E LO N A

SASHA Spontaneous fusion of electronic music’s past and present establishes the core of his captivating musical persona.

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The music is constantly evolving and doing interesting things, and that’s what keeps everything fresh

S

asha’s influence on electronic dance music over the past three decades is simply unmeasurable. From his breakthrough as a young DJ at iconic venues like Shelley’s and The Haçienda in the early 90s, where he pioneered a style that would come to shape the sound of house music, to his era-defining partnership with John Digweed, Sasha has consistently been ahead of the curve. Whether through his solo releases, groundbreaking remixes, or legendary compilations such as Northern Exposure, Sasha has helped steer the direction of electronic music, blending genres and pushing boundaries with every passing bar.

His discography reflects a career built on innovation, from Airdrawndagger to the immersive layers of his Involver series. When he took to the stage for Refracted: Live at The Barbican, it became a standout moment, capturing his evolution from the club scene to large-scale concert experiences. Sasha’s ability to continuously innovate was further cemented when he launched his label, Last Night On Earth, in 2011—a platform that nurtures cutting-edge producers while showcasing his own forward-thinking productions. The label has become a key fixture in the global electronic music landscape, recently celebrating its LNOETEN milestone with no signs of ever slowing down.

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Interview by: Lisa Sant

Once voted the World No. 1 DJ by DJ Mag in 2000 and a multiple-time award winner, Sasha’s remixing prowess has been requested by artists like Madonna, Moby, Thom Yorke, Bonobo, and The Chemical Brothers. His legacy still resonates today, as his performances, particularly his back-to-back sets with collaborators like Patrice Bäumel, Hernan Cattaneo, and Nick Warren, continue to capture the hearts of fans and critics alike. Whether battering down walls at legendary clubs like Twilo or performing with orchestras, Sasha remains at the forefront, shaping electronic music’s past, present, and future. As we honor this monumental 1000th edition of Electronic Groove, it’s clear Sasha’s journey is far from over—his passion for discovery and reinvention is still as relentless as ever.

Hi Sasha, thanks for joining us on this special occasion. You had a really busy last couple of weeks...

Yeah, it’s been really intense. There’s been a lot of long-haul travel this summer—up into the States a few times, Asia, and South America.

Normally, I do a lot of that stuff in the fall and winter, but this summer I just had all these requests to travel. So I ended up doing a lot of shows over one weekend, like just two days in South America and then back to Ibiza and then over to the States... there’s been a lot of air miles this summer!

How are you managing that with jet lag and energy levels?

I feel pretty beat up this week as I just got back from the States, but a lot of people are feeling this way at the end of the season, so I don’t think I’m alone on this.

We were super happy that you agreed to do the Electronic Groove 1000 mix because it’s quite a milestone for us..

Yeah, it’s great. Happy to support!

We had Patrice Bäumel do number 900, and then a couple of years ago you guys went back-to-back for the first time. It was amazing just to see two of my favorite’s artists coming together. You seem to be doing a lot of new back-to-backs these days...

Yes, I’ve actually been doing a lot of B2Bs this year. I played a lot of solo shows last year, and I really felt a little bit isolated on the road. So I said to my agent at the beginning of this year that I really wanted to do more back-to-backs. I think I got really inspired playing back-to-back with Patrice because that was the first time we’d actually played together a couple of years ago.

We just clicked immediately. I mean, I think our sounds are kind of made for each other.

Patrice’s groove and his energy are amazing, and we just locked into each other on that first set. We’re keeping it fairly exclusive; we’re not really doing loads and loads, but yeah, the Amsterdam gig will be our third this year. It has become quite a special event for both. We’re really looking forward to doing it. We love how it changes from daylight into nighttime vibe.

I really love doing day parties, but this feels a bit different because it’s inside but has a glass roof. So you’re kind of protected from the elements a little bit. The magic happens when the room starts to get dark and the visuals and lights come alive, and the music gets a bit more intense. It’s a really special gig.

It was an amazing party. I had so many of my friends from around the world on that dancefloor, which is really special for me, and that’s why I really love ADE. That moment when Patrice played ‘Xpander’ was so special.

Yeah, he played an edit. I don’t play it very often. I get asked for it virtually every weekend when I’m playing. I try not to get nostalgic with my DJ sets. I’ve done it every now and then, like I did a Boiler Room party for the launch of the anniversary of Trainspotting, which was kind of cool. I played loads of music from the year that the film came out, but I try to stay away from getting too nostalgic in my sets. So when somebody I’m playing with plays one of my old songs, it’s really nice to hear that.

I think it’s just a way of honoring the past but mixing it in with all the current stuff that you guys are doing. It definitely creates a moment on the dancefloor because we were all nearly in tears. Oh my God. Yeah, it was super.

I think John is very good at that. He doesn’t play many old things, but every now and then he’ll pull something out that I’ve not heard for years, and he’ll have got an edit done of it or something. He’s really crafty like that. He’s very good at those special sets where he pulls something special out.

know which direction we’re going in, and each set is like, “Okay, we’re going this way tonight,” and we’re trying to change it up every time we play together. And yeah, I think it’s probably the reason why we’re still really buzzing off playing with each other and our relationship has lasted so long.

So you find that John can still surprise you sometimes?

Every time we play together, every time. The reason John and I have played so many backto-backs together for so many years is because I think we buzz off watching what each other does. I think we both play differently when we’re solo, and then when together we kind of both pull each other in a slightly different direction. So the sound that we end up playing when we’re together is different from what we do solo, and it just creates a special energy.

So yeah, we’re always trying to outdo each other, playing new things that the other one hasn’t got or something old that we might have forgotten about. There’s a very healthy kind of competition—not competition, but kind of like there’s a very healthy kind of... what’s the word?

Yeah, I guess it’s a little competition in the DJ booth between me and him to see if we can surprise each other.

That’s a fun competition to have! Do you do anything to prepare for these back-to-backs?

We never prepare for back-to-backs ever. We never have done. There’ve been a few really big shows where I’ve said to John, “Come on, let’s prepare some stuff for this,” and he’s like, “Let’s just stick to what we’ve done for years.”

And I think the fact that it’s spontaneous in the DJ booth each time we play together keeps the whole thing fresh and exciting, and we don’t know what the other one’s gonna do. We don’t

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We never prepare for back-tobacks ever. The spontaneity keeps the whole thing fresh and exciting

I saw you play at Loveland this year. I wish you guys had just kept playing for hours. I didn’t want it to end. I thought that was an amazing back-to-back.

Yeah, it was really fun this year. I really enjoyed it, but it was really special having Nick and Hernan after us as well. The lineup for the day was pretty special this year.

Yeah, it was amazing. I took a video of all you guys as you were leaving and Nick and Hernan were coming in, and it was really beautiful to see how you guys were all friendly and welcoming to each other and having this camaraderie.

Yeah, we’re all old friends.

Of course. But it’s very rare that—I don’t know if I’ve ever seen all four of you on stage at one time before.

I don’t think we’ve ever been on stage together at the same time, so it was really nice.

You’ve been DJing for over 30 years now. How has your approach to DJing changed since you first started out at 18?

I mean, you have to adapt as the scene and tastes change. You kind of have to adapt, and in some way, you want to lead the way in terms of changing the sound and pushing it forward.

The thing about the scene now, this electronic music scene we’re involved in, is the music is constantly evolving and doing interesting things, and that’s what keeps everything fresh.

Even if it goes back because it is retro for a while, it’s always presented in a new way or an interesting way. So it’s constantly recreating itself and moving forward, and that’s really the thing that keeps me interested and engaged.

And, of course, a lot’s changed in my life since I was 18. I didn’t have any children back then, and I was on the road and I didn’t really have anything else to do. Everything around me has evolved into more like—I guess it is a business now. I have people working for me

and relying on me. I have a team of people that I have to direct and keep focused, and it’s—the modern-day DJ is not just about turning up and playing records anymore; there’s a lot more around it. Whether it’s your studio work, your social presence is very important these days, everything you do to make your set special and then to make sure everyone around the world can see what you’re doing. So yeah, there’s a lot more involved now that social media has kind of taken over; there’s a lot more involved in what you have to do to present yourself to the world.

Yeah, I was far more innocent and carefree back in the days you’re talking about.

It’s so interesting to hear how your sound has evolved over the years from the ‘Northern Exposure’ days to now. What do you gravitate towards musically?

I think I’ve always gravitated towards the same kind of sounds—melodies, kind of ethereal, sometimes melancholic. I’m always drawn to those sounds, and I try to inject as much as I can into my DJ set without it turning into a shoegaze thing. The most important thing I’m feeling at the moment is keeping the energy levels there. I think people maybe don’t have as much patience as they had a few years back. I used to play really long sets in the first two, three hours; I’d be going all over the place and testing things out. And I feel at the moment—and I’m not doing too many long sets myself—I’m getting much more satisfaction out of playing shorter sets but keeping the energy going straight from the beginning. And that’s a bit different. Before COVID, I was doing quite a lot of solo, long sets on my own and really enjoying them. But after it, I feel like tastes have slightly changed. I did one really long set, and it felt like maybe I wasn’t quite ready for it after COVID. I think at the moment, I’m really enjoying—if I’m playing on my own—playing slightly shorter sets, but then, when I play with John or Patrice or Hernan and Nick recently, whenever I play with those guys, I just want to play for hours because we just vibe off each other.

After COVID, a lot of clubs are struggling to stay open. Watergate Club is closing in Berlin after 20 years. Obviously, they were able to keep Fabric alive, but it’s really hard to keep clubs going these days. What are your thoughts on that?

It’s really tough. I just saw Watergate is shutting down, and lots of other clubs around the world are struggling. It’s always been a problem.

Historically, the festival season kicks in over the summer, and it’s very hard. If you’re running a club that’s open three, four nights a week, or even just Friday and Saturday, it’s really hard to keep that momentum going over the summer, especially when people can buy tickets for a festival and see 20 DJs. It’s really, really hard to compete with that. I feel it’s sad that these venues have to close, but what usually happens is the landlord decides they want to up the rent, and the area where the club is gets gentrified.

It’s happened so many times throughout our history, and unfortunately, it is a fact of life for the club owners. But these places are special, so I think places like fabric, WOMB in Tokyo, Watergate—anyone that’s anywhere near any of these venues needs to go and support because they’re the lifeblood of the community.

Back in the days you guys used to have a residency at Twilo in New York. I feel like there’s not so many residencies these days.

Why is that?

No, I don’t think it’s a thing that big DJs crave doing anymore. Especially now that it seems to have become so global. I mean, I think I’ve been around the world three times this year already, so holding down a residency for me would be virtually impossible; even doing it once a month would probably be difficult. I think the landscape has changed. Back in the day, I felt it was important to have a residency to really hone your sound and to really allow you to experiment and build your following and stuff like that, but that isn’t a relevant way to do things anymore. There are easier ways to do things that have far more of a reach.

What would your tips or guidance be for the new generation?

It’s tough to make that jump and get up to where people will take notice, and it takes a lot of work. It happens very quickly sometimes for people—they’ll make one track in the studio that blows up, and immediately they’ve got this huge social following, or they’ll be involved in a viral video or something that just blows up, and suddenly they’re getting booked everywhere.

And it’s very hard to predict; that kind of thing is really hard to say—you need to do this to do that. But you have to kind of prepare yourself for all eventualities. I think you need to be making music, you need to be releasing tracks, you need to be making sure your socials are really on and active. Some people are active, really organized, and I’m not very good face-toface on camera or talking to the camera, but some people love doing that. I follow Seth Troxler—his socials are great. And there’s loads of different ways to do this, and I think you just have to be sort of prepared for a bit of a long haul, but also be prepared that if it does blow up quickly, you’ve got to be ready to go.

Yeah, there’s definitely a lot more boxes you need to tick these days, and it is a lot of marketing because, I mean...

Yeah, it’s not enough to just be doing good mixes and making music in the studio. I do get sent music sometimes to the label, and we have to look at everything around an artist rather than just, “I like this piece of music; let’s put it out.” We have to look at everything around the artist to see if it’s worth us—I feel like putting music out these days is almost like a partnership with the artist, and if the artist hasn’t got their stuff together around them and working on all the other things that support the music, then it’s really hard as a record label to—they might be looking at us expecting us to provide that. But if you put a record out by somebody who only has, say, 20 followers, it’s very hard for us to immediately generate something unless they’re getting some level of content and activity around the music.

Yeah, that’s really interesting that you say that because I’ve signed some friends in the past to really big labels, but it was really that case where they were extremely talented in the studio but just did not have any of the other parts going on.

Unfortunately, it’s not just about the one aspect of your career. I mean, saying that—you make a huge record, people will notice, but you know, we have to look at everything around the music, the artist, what they’re up to—is this gonna be worth putting energy into supporting this? It’s not a case anymore of, I think, the label can act just as a seal of approval and it will suddenly sell just because it’s a specific label. I remember back in the day, for example, Guerilla Records— if I ever got sent a Guerilla Records record, immediately it was something I wanted to play anyway, and I’d probably want to go and buy an extra copy of it because I’d probably wear it out. It’s not quite—it’s not the same anymore.

There’s so much more to things now.

How do you still go about finding all your tracks?

I spend a lot of time on Bandcamp, on Spotify.

I get sent a lot of music still, and I dig around Beatport, of course, and yeah, it’s just the great digging that’s there.

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I think we buzz off watching what each other does

With such a busy schedule, how do you balance your personal life and your career?

It’s definitely a challenge. Having a family changes your priorities, and I try to make the most of my time when I’m not on the road. It’s about finding that balance between touring, studio work, and spending quality time with loved ones. It’s not easy, but it’s important to make it work.

What’s next for you? Any exciting projects or collaborations we should look out for?

Absolutely. I’m always working on new music, both solo and with other artists.

There are some collaborations in the pipeline that I’m really excited about, but I can’t reveal too much just yet.

That’s fantastic. We’re all looking forward to it.

Thank you so much for your time, Sasha!

My pleasure. Thanks for having me.

Interview by Lisa Sant for Electronic Groove

Electronic Groove: Building a Legacy

by Axel Bray

Back in 2007, when Electronic Groove (EG) kicked off in Miami, it wasn’t just about starting a podcast; it was setting the tempo for a whole new vibe in the electronic music scene. With its roots firmly planted in Miami, EG has grown from a small-scale operation to a major player in electronic dance music.

Now, as it lines up its 1000th episode featuring the legendary Sasha during ADE Week 2024, it’s the perfect moment to dive into how EG went from a simple idea to a leading name in the music world.

I

t all started with founder Mauricio Viana and a group of friends who shared a deep passion for electronic beats. With Viana’s background in advertising and radio, coupled with his cofounders’ strong connections in the DJ and promoter circuits—especially with UK artists who were regulars in Miami—EG was poised for something bigger than anyone could anticipate.

Its mission was simple yet ambitious: to create a platform that not only showcased quality music but also supported the artists making it and their stories. The launch of its podcast series was a game changer, catapulting EG onto the global stage and earning them a spot in the playlists of music lovers worldwide.

Like any new venture, EG’s early days were a mix of high energy and big challenges. The team was small but enthusiastic. The resources were limited, but not the creativity. And the task of carving out a niche in the competitive electronic music industry was certainly a daunting one.

But with clever strategies, an undying passion for music, and the instrumental inclusion of Mauricio’s business partner Rene Weffer, whose understanding and industry insight prove paramount to this day, EG quickly started to make waves.

EG’s ascent mirrors the slow, deliberate rise of a cult classic—a steady, organic growth that’s built on passion and purpose. By 2014, EG’s servers collapsed for the first time, a consequence of the magnetic pull of its electric mixes and the insights its interviews provided.

The brand’s 10th anniversary in 2017 marked its evolution from a podcast to a multimedia entity, delivering not only sound but also news, in-depth interviews, and live coverage of the most significant events in electronic music. This expansion saw EG going above and beyond, conceiving its own record label—curated by the inimitable underground savant that is Ricky Ryan—, and even this same E-zine that you are reading.

During the following years, EG’s presence in the electronic music community kept growing strong despite the industry’s constant hardships. With the will of friends and luminary figures, its celebrated fundraisers during ADE have become a philanthropic success, keeping alive the flame that once ignited a scene that is meant to give back, always extending a helping hand to those in need.

This isn’t just another episode; it’s a milestone, a celebration of everything EG has achieved over the years. From the seminal Laurent Garnier and John Digweed, and on to rising behemoths like Adriatique or Patrice Bäumel— who is set to go b2b with Sasha during ADE—, EG has championed the finest talents the scene has to offer for over a decade The team has been planning this special edition for months,

making sure it not only reflects on the journey so far but also sets the tone for what’s to come. Featuring Sasha, a timeless titan of the electronic music world, this episode is set to be a standout moment in EG’s history.

Even as EG celebrates the achievement of 1000 episodes, its commitment to innovation and growth remains. The team behind EG is constantly exploring new ways to engage with listeners, innovate digitally, and strengthen the platform’s influence. Whether through expanding its media coverage or further deepening its ties with the global electronic music community, EG’s next chapter promises to be as dynamic as the beats it showcases.

Today, EG is so much more than just a platform; it’s a movement, a community where music matters. As it continues to evolve and set trends, EG proves time and again that when it comes to music, they’re not just playing the tunes—they’re setting the pace. From its 2007 launch to the upcoming celebration of its 1000th episode and beyond, EG remains dedicated to celebrating and honoring the spirit of electronic music. It’s a reminder that in a world constantly changing, music remains a constant force—one that EG continues to shape, define, and elevate.

“We’re deeply grateful to the artists who’ve shared their talents with us and to our dedicated listeners and readers who make EG what it is today. When we started in 2007, after a decade immersed in electronic music, we couldn’t have imagined where this path would lead. The countless DJ sets and tracks we’ve heard have shaped the sound we promote.

Working with music is like working with any art—it requires respect and appreciation. That’s why we take care of the artists and brands we work with; they deserve the best possible service. EG is a labor of love by a team devoted to music. We’re a humble community striving to make a lasting impact in an instant gratification world. Staying true to our values isn’t always easy, but integrity and belief in something better are our priorities.

To everyone who’s been part of this journey, thank you. Without you, reaching one thousand episodes wouldn’t have been possible. As we look toward an unwritten future, We’re excited to continue this path with curiosity and hope as we expand our universe. Thank you for believing in us and making this dream a reality.”

Mauricio Viana & Rene Weffer

Kevin Di Serna and Santor are gearing up to make their debut on Sasha’s Last Night On Earth.

H ailing from Argentina, Kevin Di Serna

is a firm believer in the therapeutic potential of music. Renowned for infusing authentic emotion and forging human connections in his productions, he has released music on esteemed labels including Innervisions, Watergate, and All Day I Dream, firmly establishing himself at the vanguard of the progressive scene. For their upcoming EP, Kevin collaborates with fellow Argentinean artist Santor, who has been rapidly gaining traction and has shared the stage with distinguished artists.

The lead track ‘Blessway’ has already received acclaim from John Digweed.

‘Blessway’ features a powerful groove as the groundwork for a celestial odyssey, with evolving synth progressions and luminous pads that elevate the listener. A filtered vocal adds layers of texture, while ethereal melodies ebb and flow to maintain a captivating momentum. ‘Please’ offers a more assertive and propulsive sound with dub-influenced undertones and a poignant female vocal hook. Delicate, pixelated chord sequences traverse the groove before yielding to more delicate and tender synth notes that cascade through the track. The EP also encompasses an edgy dub version of ‘Please’ that places greater emphasis on the lush harmonics.

Kevin Di Serna explains: “Santor and I are delighted to be the first Argentinians to release an EP on this label. For us, it is a dream come true. Sasha is a global legend, and I love all the releases of its label. He is someone that I have listened to since I was a teenager; he is a massive inspiration for me. When I received the news, my heart beat hard, and I celebrated with Santor on a big dinner. Being the first Argentinians to release an EP on Sasha’s label is a tremendous honour and a significant milestone in our music career. It’s a testament to the growing influence of electronic music in Argentina and a recognition of our hard work and dedication”. *Kevin Di Serna & Santor’s ‘Blessway EP’ is slated for release on LNOE on November 15th. Make sure not to miss the opportunity to immerse yourself in this enchanting musical voyage.

Tracklist 1. Blessway 2. Please 3. Please (Dub)

Kevin’s journey with Sasha’s label began with a serendipitous meeting at the airport in Argentina. There, he met Budakid, a talented electronic music producer from the Netherlands. Their conversation, filled with the passion and creativity that only two progressive musicians can share, led to Budakid sharing the contact information for the A&R of LNOE with Kevin.

Following this, Di Serna, demonstrating the importance of persistence in the music industry, sent a demo. Three days later, he got a response from Alex’s team; after evaluating the music, they told him about the opportunity of releasing an EP on Sasha’s imprint.

Kevin Di Serna: Santor:

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