MANAGEMENT
MAY OUTEIRAL
FRONT PAGE, ART DIRECTION AND LAYOUT
NEREA CARRIÓN
EDITORS
MAY OUTEIRAL
JUANJO BLANCO
JUAN ÁLVAREZ
GABRIELA CORTÉS
JONATHAN GUTIERREZ
COLLABORATOR
BEEPDMUSIC
LM PR
JUANJO BLANCO
JONATHAN GUTIERREZ
URBANREBEL PR
At the point where elegance meets the underground, Eleni Zara, also known as Ezara, emerges.
Half Greek, half Swedish, Ezara is a loyal and refined partygoer who appears on the dance floors and has decided to dive even deeper into the genres of electronic music, drawn to and familiar with a variety of quality house and techno sounds.
How did your multicultural background (Greek and Swedish) influence your approach to electronic music production and DJing?
A multicultural background can significantly shape an artist’s approach to music production and DJing, especially in electronic music, which often blends various influences, and this blend of influences can create a unique artistic identity.
Being able to draw from two distinct cultures allows for a broader connection with diverse audiences, as different musical elements can resonate with various listener backgrounds. Integrating elements from both cultures can lead to a distinctive sound. For example, incorporating traditional Greek instruments or melodies into electronic music can create a fresh and unique fusion that stands out in the scene.
Can you tell us more about the spiritual, Anatolian, and earthy sounds that influence your sets and productions?
The music of Anatolia is characterized by its diverse rhythms, scales, and instruments. Incorporating traditional instruments such as the saz or ney can introduce unique melodic patterns and timbres. These elements can give tracks an exotic flair and connect them to historical and cultural narratives, adding depth to the music.
The combination of these influences Anatolia and Earth sounds can evoke a wide range of emotions, from introspection to celebration. This emotional depth can be particularly powerful in live sets, where the energy of the crowd can be uplifted through thoughtfully curated selections.
Beside my Dj set in this way in my productions i am showing my culture, my roots. By blending these spiritual, Anatolian, and earthy sounds I can craft a unique sonic palette that resonates with listeners and creates an unforgettable atmosphere in my sets and productions.
What was your experience like performing at Art Basel in Miami for five consecutive years? How did it shape your career?
Being a member of Illumina tribe And house of Love, gave me the opportunity to play 5 years for burning man parties at Art Basel festival Miami one of the biggest Art and music festivals in the world next to international names like Dennis Ferrer, Blondish, Serge Devant, Birds of Mind, Salome le Chat and many more.
Performing consistently at a prestigious event can solidify an artist’s reputation in the electronic music scene. It demonstrates professionalism and commitment, which can attract more high-profile opportunities in the future.
Opened my horizons to new ideas, new music, new creativity meeting artists around the world.
This cultural exchange can lead to new sounds and inspirations, further evolving my style and for sure opening doors to new projects and countries something you want in your bio like an artist and like a person.
You’ve worked with several international labels such as Lump Records and Red Channel Records. How do you choose which labels to collaborate with?
It’s essential to find labels that share a similar artistic vision and ethos. This alignment ensures that the music produced is a true reflection of the artist’s style and message, making the collaboration more authentic.
Working with reputable labels like Lump Records and Red Channel Records can enhance an artist’s credibility in the industry. Researching a label’s history, their roster of artists, and their impact on the scene can help in making this decision.
Trying through my sound to ensure that the music reaches the right audience and fits well within the label’s repertoire.
What challenges have you faced in establishing yourself in the electronic music scene, particularly as a woman in a male-dominated industry?
Women often face stereotypes and biases that can undermine their credibility and talent. This can manifest in being overlooked for gigs, receiving less support from industry peers or having their work dismissed.
The electronic music scene can often be competitive and cliquish. Building connections and finding supportive communities can be more challenging for women, who may feel excluded from established networks.
Even after 10 years of playing music especially in my country Greece still now trying to close doors and still having the feeling I have to be perfect and never make any mistake cause that will be judged and that judgment they never making it to themselves or to other male djs because they answer is always: “Ah, she is a woman that’s why she plays music”.
We are never enough, and we have to work 2 times harder but in the end that made me stronger and better from other male djs and happy I show my work worldwide this way so I can success something.
Can you share any memorable moments from your residencies in Mykonos, particularly at venues like Astra, Solymar, and It Beach?
I will share memorable moments from my residency at bolivar Athens (next to Guy Gerber, Layla Benitez, Recondite), Suburbia a pop-up theme project and Mykonos Illumina tribe party. Picture are coming.
What’s your creative process like when producing a new track? Do you start with a particular sound or feeling in mind?
All my productions started always having an idea, a project. I never create just sounds I want to say a story from my first Ep Byzantio introducing to the crowd my roots until now.
Depends also in my mood, my experiences that’s what I am changing and musical genres and labels communicating it to people this way if I am happy, angry or sad. I am different before or after COVID-19 and after my father died. Till now I appreciate life differently all this knowledge now and feelings I put them in my productions.
Throughout this process I may oscillate between different stages, revisiting ideas and making adjustments as inspiration strikes.
Ultimately, the creative process is highly individual and can evolve over time, influenced by personal growth and experiences.
How do you balance your local presence in Thessaloniki with your international gigs in cities like Beirut, Amsterdam, and Berlin?
Developing relationships with promoters, venues, and other artists locally and internationally can facilitate opportunities for gigs. A robust network can lead to collaborations and invitations that align with both local and global aspirations. Wherever I play I care about the connection with the crowd and exchanging energies.
When I see people dancing with my music and be passionate, that’s my goal, that’s the best gift I can have from every stage and venue I play from Miami to Thessaloniki, from Mykonos to Berlin, from Crete to Poland.
That’s my best balance and joy in life it’s a feeling I can’t describe.
Who are some of the artists that have had the biggest impact on your career, and what did you learn from working with them?
I can call them mentors. Cause of them I changed my whole philosophy and sound and I was super excited when I played with them in Ritual club Athens and after that I always follow them around the world I believe they are besides amazing people and artists and producer they are creating a new music wave in the industry.
Collaborating with artists like them can teach valuable lessons about the importance of cultural fusion in music, the art of storytelling through sound, and the significance of creating a shared experience during live performances.
Working with such artists can also highlight the necessity of authenticity and emotional connection in music, reminding one to stay true to their roots while also exploring new horizons. Their ability to craft immersive sets encourages a deeper understanding of audience engagement and the power of rhythm and melody in creating memorable moments.
What new projects or collaborations can we expect from you in the near future?
I will continue my tour Worldwide with my old collaborations but new Venues in Athens, Poland, Beirut, Berlin…
New project in my hometown called Metamorphosis (a place where anyone can dress the way they want, be free and shows).
Suburbia, a pop-up theme project taking place in Ibiza and Athens. Everytime new dress code and venue.
My debut in Tulum, another dream is coming true and many anymore that you have to stay close and see keeping some weapons secret also time for some new music. And my new monthly radio podcasts at Syncbeat Radio. ¡Stay tuned!
Ertan Koculu’s new track, “Eren,” features the enchanting vocals of renowned Russian singer Ira Ange, creating a mesmerizing blend of indie dance vibes. This collaboration showcases a rich tapestry of sound, where deep, pulsating beats intertwine with airy melodies that evoke both nostalgia and euphoria.
From the moment the track begins, listeners are drawn in by Ira Ange’s ethereal voice, which floats effortlessly over the infectious rhythm. The production is layered with shimmering synths and groovy basslines, crafting an atmosphere that invites movement and reflection alike.
“Eren” captures a sense of longing and joy, making it perfect for both intimate gatherings and lively dancefloors. Ertan Koculu’s artistry shines through in this release, blending heartfelt lyricism with a vibrant soundscape, ensuring that “Eren” will resonate with fans of indie dance and beyond. This track is a testament to the power of collaboration, and it promises to be a standout anthem for those who crave depth and emotion in their music.
Cengizhan’s latest track, “Ozone,” is a captivating journey through the realms of melodic house and techno. With pulsating beats and ethereal synths, the track effortlessly combines deep grooves with uplifting melodies.
From the very first notes, “Ozone” envelops listeners in a rich sonic landscape, evoking a sense of euphoria and introspection. The dynamic basslines drive the rhythm forward, while intricate layers of sound create a mesmerizing atmosphere perfect for both the dancefloor and moments of reflection.
Cengizhan masterfully weaves together elements of tension and release, ensuring that each drop resonates deeply. “Ozone” is not just a track; it’s an experience that transports you to a euphoric state, making it a must-have addition to any DJ set. Whether you’re lost in the music at a festival or winding down at home, this release promises to elevate your mood and ignite your passion for melodic house and techno.
“UFO Meditation” by Muza (Ru) dives into the cosmic soundscape of “UFO Meditation,” the latest release from Russian producer and DJ Muza (Ru). This track seamlessly blends ethereal melodies with groovy beats, creating an immersive experience that invites listeners to embark on a journey beyond the ordinary.
“UFO Meditation” captures the essence of Indie Dance, fusing pulsating rhythms with ambient layers that evoke a sense of exploration and introspection. The hypnotic basslines and airy synths transport you to a serene yet energetic realm, perfect for both late-night dance floors and tranquil moments of reflection.
Prepare to be captivated as Muza (Ru) crafts a sonic narrative that resonates with the spirit of adventure and the allure of the unknown. Whether you’re lost in thought or dancing under the stars, “UFO Meditation” promises to elevate your experience to new heights.
Join Muza (Ru) on this captivating voyage and let the music guide you to uncharted territories.
The festival will celebrate its 11th edition between Thursday, August 7 and Sunday, August 10 in the El Toyo-Retamar area next to Almería capital
Dreambeach kicked off a new chapter in 2024 with the celebration of its 10th Anniversary in its new location near Almería city. The festival confirms its new edition, which will take place on August 7, 8, 9, and 10 in El Toyo-Retamar, once again making Almería the global capital of electronic music for a thrilling weekend by the Mediterranean. A project that will break all records in its new edition next summer.
The last edition of the event in 2024 exceeded all expectations at its new location, with over 120,000 attendees. This anniversary edition saw Dreambeach Festival establish itself as a landmark festival, a cultural brand tied to the visibility of the city of Almería, while paying meticulous attention to every aspect of its production.
The Dreambeach organization is working on the most international lineup in its history for its second decade, where a new venue with spectacular structures will be created in this new space to deliver a high-level production with four independent stages. National and international artists will perform over three consecutive days (Thursday, Friday, and Saturday). This space will feature all genres of urban, electronic, and digital music in equal measure, including EDM/Mainstream/Hardstyle, Techno, Breakbeat, and Drum & Bass. The lineup will be completed over the next few months. Dreambeach’s venue will also have an official camping area next to the concert grounds.
The artist lineup for the 11th edition will feature many international surprises, focusing on big names from the electronic circuit who have performed at Dreambeach over the past decade, as well as new icons and urban artists. The festival will also highlight the national and local scene.
The first limited batch of passes for Dreambeach 2025 will be available on November 3 through the official festival website
www.dreambeach.es
This is the new release of the Spanish producer, King a.k.a Sampleking -also solo- after his recent work “Day & Night” released on the Canadian label, Row Records in which he “dives” again into indie dance and in which he combines energetic and forceful melodies with French voices that give it that special and mystical touch that the track needs to “hypnotize” the audience on the dance floor.
The “becoming” of the track is quite well developed and directed from its beginning to its end and it is precisely in the middle of the song when the producer makes a long pause with decreasing and increas-ing rhythms that lead to a sound ecstasy in which the audience on the dance floor can only enjoy with all its intensity.
It is, without a doubt, another great work by this Spanish producer who is very active both in his presence in clubs and festivals and in the subject of production after a controversial and sterile period as the global pandemic.
Helen Brown has been a disk jockey in the house music scene since 1993. Helen began to perform professionally in Taormina, Sicily in many clubs which are associated with the popularity of the seaside resort itself. After getting a degree in law, Helen starts working all over Italy and performed a wide variety of music featured by a cuttingedge sound with energetic and dynamic vibrations.
Helen’s performances are set in a decidedly eclectic atmosphere where musical styles ranging from Electro Club, Tech House to Progressive are blended in a trendy and unique way so that the dance floor is heated as she sets to work.
Helen, you’ve been in the house music scene for over 20 years. How has your sound evolved from when you started to where you are now?
I started when I was a teenager, and I played underground so I’ve always studied house music. I’m looking always for innovative sound.
You’ve collaborated with major labels and artists, including remixes for Tiff Lacey. How do you approach creating a remix that stays true to the original while reflecting your personal style?
When I create a remix... I always respect the line of the original with the touch of my style. In my opinion, in a remix, a song cannot be completely dismantled.
Your remix of “Here I Go” with Linda Lugnet was supported by DJ Tiesto. What impact did this endorsement have on your career and international visibility?
Incredible, cause after Tiesto’s show, I had a lot of gigs around the world: Poland, Tunis, Hong Kong, France etc.
You’ve performed at iconic venues and events worldwide, from Tresor Berlin to Atmosphere Festival in Mexico. What differences do you notice in audiences across such diverse locations?
The festivals give an incredible adrenaline cause you play for thousands of people, right? But I prefer always the little and warm club where the clubbers come only for the artist.
Your career spans an impressive variety of genres, from Electro Club to Tech House. How do you maintain a balance between traditional and cutting-edge elements in your sets?
It depends on the kind of Dj set, the club and other elements. I don’t follow any pattern.
In 2008, you made your debut as a producer. How was the transition from DJ to producer, and what challenges did you face in that creative process?
The producer profession is based on creation. You don’t listen to the music, you see it, you build it. it’s amazing.
The electronic scene is constantly evolving, with new technologies like AI and advanced production tools. How do you integrate technological innovation into your music?
I think we have to respect the innovations, and I like them. So welcome to technology and the future. I’ve started with turntables Technics 1210, so everything now is too much easy.
You’ve participated in fashion events and radio shows like Soundzrise on m2o. How do you adapt your music for platforms beyond the club scene, like fashion and radio?
Always choosing the song that for me is the most appropriate for that moment.
You’ve played in some of Italy’s most important clubs and internationally. What has been your most memorable performance experience, and why?
All my gigs are in my heart. All clubs, all clubbers.
Finally, what legacy would you like to leave in the electronic music scene, and what can we expect from Helen Brown in the coming years?
Hope I can create songs you like, and you can play. Because music helps us to become eternity.
I’LL BE THERE DUBVISION
DubVision returns with their latest single, “I’ll Be There,” a mesmerizing blend of uplifting melodies and infectious beats. Played by Martin Garrix throughout last week’s ADE, it is the first single after the release of their debut album ‘’Another World’’.
The party ends, and we still feel like dancing. My friends and I look at our phones and start searching for an afterparty to go to. This second, or third, part of the night excites us because we don’t want to go to sleep.
The afterparty has become a reclaiming of the night, after certain laws put limits on formal clubs. To understand this space more, I spoke with a party producer, a DJ, and the owner of one of the first afters in the heart of Santiago de Chile: Dominica.
Recently, the afterparty scene has made national headlines, often due to those who don’t respect the night and the community. However, afterparties have been part of electronic culture worldwide for decades. In Chile, for years, dancers have sought out these spaces to share good music and unique moments.
The Nurturing Hub
Dominica was a space located at Dominica 54, in the Pío Nono area, right in Santiago’s Bellavista neighborhood. Headed by Jeannette Lucero (and her partner Patrio Pino), this spot became widely known in Chile’s electronic scene. Jeanette was the one who decided to open the after on Wednesdays and Thursdays so new talent could have a chance to perform. Now living in San Pedro de Atacama, we meet through a video call to talk.
“It wasn’t planned; we were just in the right place at the right time,” says Jeannette, referring to the return of democracy after the dictatorship when socialism came into power and culture began to flourish. It was in the 2000s that the post-party parties began. These were ten golden years when no one can take away the dancing from those who attended— everyone from celebrities to renowned journalists and high-performance athletes.
“At that time, people who had been exiled started returning. They were searching for the culture that had been taken from us,” she says, adding, “If Gabriela Mistral said everyone wanted to be queens, here everyone wanted to be DJs.”
It was this change in era that drove Dominica to become a meeting place for those who loved dancing, good music, and the night. “After Pinochet, there were two Christian Democrat
governments, so not much changed,” she recalls, describing Dominica as “a fantastic house,” located very close to one of the most important electronic music clubs in Chile and Latin America: La Feria. “We fell in love with the music without having anything to do with it,” she says.
As with everything in life, things eventually come along that change the perspective of what’s good. As part of the scene, Jeanette believes that some spaces lost their way when “money became more important than music and the vibe. They started creating these VIP sections, which were basically just fenced-off areas, because people wanted to feel aspirational,” she says, remembering how everyone used to dance with everyone.
Today, she fondly remembers Dominica and knows there are many who still miss this legendary afterparty. “I would like to open a place like that again, but more family-friendly and focused on the music, so the same people who used to go could come with their kids. Like it used to be, like my parties were,” she concludes.
A place to be with a friends
Francisco, better known as Chopan, met with me one afternoon to share his experiences. Eager to share his story, he reminisces about Dominica, where it all began. With 20 years in the electronic scene, he remembers that “the special thing about these early afters is that they were much more intimate than they are now. Not just anyone could enter. You had to be known, and music was the absolute priority.”
He explains that Chile is one of the few countries with time restrictions, which he knows well as he organizes large parties with thousands of attendees. “We’re used to a schedule of repression more than freedom,” he says, adding, “the scene grew as more people who genuinely wanted to keep partying began to attend afters, starting out as niche spaces and later becoming a bit more popular.”
As a producer, he loves afters because after working all night to make everything perfect, he can finally relax at 4:00 am. “It’s the part where I’m not working, where I can actually hang out
with my friends, talk, unwind, listen to music, and do things I enjoy. It’s a much more intimate and trusting space than a big party.”
For Francisco, this is a space where DJs can play with more freedom and creativity. “Often, DJs end up playing for the club or the crowd, sticking to a specific style, which doesn’t happen at the after because I see it from the perspective of my work,” he explains.
He has seen all the best national DJs play at afters, including Butano, Gustavo Allende, Felipe Venegas, Aldo Foschino, and Dorian Chávez, an icon of the scene who passed away this year and was a resident DJ at Dominica 54 in its early days. Like Jeannette, he believes that afterparties also offer new opportunities for up-and-coming DJs to be discovered by producers like him.
And so he has met many national DJs at afters, inviting them to play at his events. However, he believes the scene has lost some of its essence, as there is a lack of culture in the electronic scene in Chile. “Chileans are often very aspirational but don’t get very informed or cultured. There are many incredible artists in the country who aren’t being heard.”
As the interview progresses, he also reflects on what the dictatorship left behind: fear. “Crime has reached the afters, but it depends on where you go. There are good people and bad people, but afters are places where you genuinely connect with others, where you connect with yourself. It’s a space of absolute freedom where no one will judge you.”
The DJ’s moment
Carlos, also known as Zikuta, met up with me for coffee for the interview. He is a DJ, one of the pioneers of the Love Parade in Chile, and the person who connected me with Jeannette. Around 1993-1994, he and some friends founded the Euforia collective.
“I believe we invented the electronic scene in Chile. There were maybe two or three collectives and groups of people creating things that we had no idea would become what
they are today,” he says. Also returning with democracy, the underground scene was taking over the night.
He considers Dominica to be the first space that pioneered afters. He describes this part of the night as “always a place where euphoric people gathered, where people went wild, at their peak energy. It was funny because I would play there when I was younger. At first, it was like a family.”
He remembers when parties started being restricted to 4:00 am, and from there, the afterparty boom began. Before, “it was a crazy place because not only was it very strict about who could enter, but it was also strict about what could happen inside. For example, when I played, there was a bell behind me, and if someone started causing trouble, I would ring the bell, and a guard would come to remove them.”
From his experience as a DJ, and agreeing with Francisco, “it’s a much more mental place where you can play in a more psychedelic way, where you can play much more abstract, melodically, and maybe more transgressive music.”
The people he remembers attending these afters were those “who had pretty normal lifestyles during the day. People who might say, ‘I’ll go out Friday, recover on Saturday, sleep all Sunday, and get back to work on Monday,’” he says, adding, “For me, there wouldn’t be much sense in going to an after where everyone is perfectly well-behaved, where everyone looks great. I think it’s a space where you can truly show who you are, what you feel.”
From my experience as a dancer and lover of the national electronic scene, and thanks to these three conversations, I realized the importance of maintaining these spaces of leisure and freedom. Narco culture may have arrived, but the long night is still here, with people like us who just want to enjoy good music and a good time.
Ars Nova Music is a label from Buenos Aires, Argentina owned by artist Leonardo Menichetti (Menih). The main goal of this label is to delve into the melodic side of electronics, exploring genres such as Melodic Techno, Progressive House, Organic House, Deep House and Afro House. Founded in March 2024, its sound proposal and artistic quality promise, without a doubt.
On this occasion, one of our most important references is that of the artists Markyno and Paolo Rem with their new release “So Make Me Folen” which consists of three high-quality tracks with enveloping melodies and atmospheres ranging from Progressive House to Melodic Techno.
“So Make Me Folen”, whose track gives its name to the release, takes us on a mental journey with its notes, arpeggios and a remarkable male vocal.
“The Night Paradise”, the second track on this release, shows a fresher and more melancholic progressive style with a beautiful female vocal and a hypnotic arpeggio.
“You Many Keeper”, the last track, is more aggressive in terms of its instrumental and vocal approach. We can almost hear it in its synthesizers as well as in the main vocal with a “robotic” and fierce tone.
Joanna Coelho is a true force of nature and, indefatigable as few are, she is not yet ready to say goodbye to this 2024, thus deciding to make one last gift to her fans and release yet more new music.
The Brazilian DJ and Producer, who moved to Spain, has recently released her new EP “Make you Move”. Released on the British label TMinus Records, it is a concentration of energy ranging from psytrance to rawstyle.
It consists of three tracks: “Another One,” “Make You Move,” and “Warrior,” which blend various genres but share a constant element: rhythm.
November is a very productive month for Joanna Coelho who has released a track named “Macete” in two versions (“bouncy” and “hard”) for her own label Raverse Records.
The DJ will also release a track, “Bad Bitch”, in collaboration with Paul Clark, on the German label Sonaxx, the 29th. A track that combines a high level of hard techno production.
It features intensity shifts and a tempo that grips you, only letting go with powerful drops crowned by the perfect touch: Joanna’s own voice.
A voice that blends seamlessly with the classic intensity of a hard techno track, enhancing it even more, and that will be explosive when played live. We can’t wait to hear it!
Eleonora Vologni, talk with Joanna Coelho about how she will face the end of 2024 and what 2025 will have in store for her, but also about curiosities about the artist’s life and delve into how the DJ produces her tracks.
Hello
Joanna, can you please tell us why you decided to move from Brazil to Spain?
Hi Sync Beat Team, thanks for the invitation! I originally moved from Brazil to the Netherlands to study at Leiden University and SAE Rotterdam. From there I came to Spain where I completed my PhD at the University of Vic.
What do you like the most about Spain and Spanish people?
It is clear that in Spain people know how to enjoy the best of life and value the moments and relationships, and I see this as very important.
Who is Joanna Coelho? Describe yourself in a few words.
A lover of electronic music who gives her life for her audience.
When did you choose to be a DJ and producer as a profession?
I was 16 when I studied electronic music at Aimec in Curitiba. But it was only when I was 21 that I won my first gig and from then on, I never stopped.
What does it mean to you to be a female DJ in a predominantly male industry?
It means development and a long overdue evolution. Here’s to more and more amazing women in the industry! It’s the art that matters, not the gender of the artist.
Let’s talk about your newly released ep, “Make your move”, on TMinus Records. How many tracks does it consist of and what ties them together?
This EP features 3 tracks and is very special for me as I have been wanting to release on this label for a long time. The tracks ‘Make You Move’, ‘Another One’ and ‘Warrior’ range from Industrial to Psy Techno in an attempt to express the plurality that a Hard Techno set can have, including various sub-genres.
However, the moods of each track change a lot with ‘Warrior’ having a more dramatic tone while ‘Make You Move’ is much more aggressive and energetic, for example.
How does your creative and production process work?
Almost one hundred percent of my tracks I start with kicks and drums and then work on melodies and vocals. This is my workflow in most cases except when I get ideas for melodies in my head out of the blue, but that usually happens outside the studio when I’m completely scattered or thinking about other things, driving, taking a train, etc.
Where do track ideas come from?
Some come out of nowhere. As I said in situations where I’m not thinking directly about music, but I end up creating lyrics or melodies sporadically. Others come from inspiration by listening to music not only electronic but of the most varied styles.
November is a month full of new music: you’ve also released a track, “Macete”, on your own label, reverse Records. Can you tell us more about that project?
This project is a series of EPs where I will release 2 versions of the same track on each release. I’m doing this release format not only to explore my capabilities as a producer but also to take advantage of the ideas I have because I often like to do different versions of the same idea in different styles. I have a lot of fun doing it.
Also in November, at the end of the month, you’ll release “Bad Bitch” with Paul Clark, on Sonaxx. Can you tell us more about this collaboration?
This collaboration was brutal because one day Paul asked me if I wanted to record vocals for our new Collab. I was speechless because I love his work, and I couldn’t wait to collaborate with him and even more so with vocals.
I spent a week in the studio recording and recording versions and preparing my samples not knowing if he would like it. When he received the files, he loved the vocals and we started working on the structure of the track until it was finished. I can’t wait for the release on November 29th.
What are your projects for these last months of 2024?
There are some EPs to finish and new hardware to test. Not to mention lots of demos and promos to listen to start 2025 with everything.
What your fans should expect from 2025?
With so many tracks released these last 2 years the idea is to prepare a Live PA which will be one of the biggest challenges of my career.
The first wave of tickets will be available on October 30
The brand created by Klangkuenstler will celebrate its second edition at IFEMA MADRID on March 1
Klangkuenstler returns to Madrid in 2025 with Outworld. Following the success of his first All Night Long event in 2024 at the IFEMA MADRID Fairgrounds, Outworld confirms its second edition for Saturday, March 1.
Klangkuenstler is one of the emerging names in the international electronic scene, an artist who has significantly expanded his reach in recent years through consistent releases on his label and performances at major techno festivals, where he has become an icon. Outworld is a project where the late ‘90s and early 2000s sound takes shape in powerful industrial techno, creating complex soundscapes filled with beats.
His rise has been marked by releases on his Outworld label, now a prominent name in the underground scene, with standout events like the live show in Cologne in 2023 and his first All Night Long event this past April 2024.
Klangkuenstler’s sound will take center stage with top-tier production, featuring the latest in sound and staging at the IFEMA MADRID Fairgrounds on March 1. Eight consecutive hours of pure German techno, delivered by Klangkuenstler in Outworld’s second edition in 2025.
Outworld offers an immersive experience in Klangkuenstler’s sound, creating an atmosphere similar to that of a club, with a special 360-degree setup accessible to all attendees, echoing the distinctive setup of Outworld’s first edition.
A night dedicated to Klangkuenstler’s sound, headlining the lineup with a unique All Night Long show. Pure techno sound for the second edition in Madrid on Saturday, March 1.
Congratulations on your latest single, ‘All I Need Is You’ with MKJ and Badjack! What inspired you to create this highenergy House track, and what message or vibe do you hope listeners will take from it?
Thank you! ‘All I Need Is You’ was born out of a desire to capture the essence of connection and celebration. Working with MKJ and Badjack, we wanted to create a high-energy House track that brings people together on the dance floor. The inspiration came from the idea that sometimes, all it takes is one person or one moment to elevate your spirits and create a lasting memory. We hope the track conveys a sense of unity and pure joy, leaving listeners feeling uplifted and ready to embrace the good times.
new techniques or gear that contributed to its final sound?
With ‘All I Need Is You,’ we really wanted to push the boundaries and experiment with different production techniques to achieve a fresh, dynamic sound. One unique aspect of the process was incorporating a mix of classic House elements with some modern twists, including layering various synth textures to create a fuller atmosphere. We also experimented with sidechain compression in a more rhythmic way to give the track an extra punch and energy. Working with MKJ and Badjack allowed us to bring different perspectives and skills into the mix, which really helped shape the final vibe of the song.
You’ve collaborated with prominent artists like Yves V and NGHTIME! How do these collaborations influence your creative process and the way you approach production?
Collaborating with talented artists like Yves V and NGHTIME has definitely had a big impact on my creative process. Each collaboration brings a fresh perspective and new ideas, which pushes me to step outside my comfort zone and approach production from different angles.
Working with other artists often leads to discovering new techniques and experimenting with sounds I might not have considered on my own. It’s also a great learning experience, as we exchange knowledge and skills, ultimately helping me grow as a producer.
These collaborations have shaped my approach to music, making it more versatile and open-minded.
You’ve mentioned that your track Veins reached the Top 10 on the US dance charts. How did that experience impact your career, and what significance do you feel that success has for your music going forward?
Reaching the Top 10 on the US dance charts with ‘Veins’ was definitely a gamechanger for my career. It validated all the hard work and passion that went into the track, and it opened up a lot of new opportunities, such as more exposure and collaboration offers. The success of ‘Veins’ gave me the confidence to keep pushing my sound and to take even more creative risks in my music. Going forward, it’s a reminder of what’s possible and motivates me to continue aiming higher with every release, while staying true to my style and vision.
With over 300.000 monthly listeners on Spotify, your fan base keeps growing. What role does this online audience play in shaping the music you produce, and how do you keep them engaged?
My online audience plays a huge role in shaping the music I produce.
Knowing that there are hundreds of thousands of listeners tuning in gives me a sense of responsibility to deliver tracks that resonate with them.
I pay attention to the feedback I receive on social media and streaming platforms, which helps me understand what my fans are connecting with and where I can take my sound next. To keep them engaged, I make sure to stay active and share behind-the-scenes content, release exclusive previews, and involve my audience in the creative process
It’s all about building a genuine connection and making them feel like they’re part of the journey.
Could you tell us more about the concept behind your 5L-Records label? How does this imprint reflect your artistic identity and vision for the electronic music scene?
5L-Records is a reflection of my passion for electronic music and my vision to create a platform that supports both established and emerging talent.
5L-Records represents my artistic identity by showcasing the diversity in my own music taste and providing a space for creativity and experimentation in electronic music.
Piano House is such an energetic genre, perfect for clubs and festivals. What draws you to this genre specifically, and how do you keep it fresh and innovative?
Piano House has always resonated with me because of its infectious energy and uplifting vibe. It’s a genre that instantly connects with people on the dance floor, bringing a sense of euphoria that’s perfect for clubs and festivals.
What draws me to it is the combination of classic piano melodies with modern dance beats—it’s nostalgic yet forward-thinking. To keep it fresh, I experiment with different elements, like blending House with other genres or incorporating unexpected instruments and rhythms. It’s about finding that balance between staying true to the genre’s roots while adding a unique touch that makes each track stand out.
The concept behind the label is to push boundaries and bring fresh, innovative sounds to the scene, while staying true to the core elements of dance music.
It’s not just about releasing tracks; it’s about building a community where artists can freely express themselves and collaborate.
Having performed at major events and recently having a fruitful ADE, do you have a particular performance that stands out as a defining moment in your career?
Performing at major events has definitely been a highlight of my career, but one defining moment that stands out was my recent experience at ADE.
The energy was absolutely electric, and being surrounded by so many passionate music lovers and industry professionals made it truly special. It was not just about the performance itself, but also the connections and inspiration I gained from the event.
Moments like these remind me why I started making music in the first place and fuel my drive to keep pushing forward. It’s those experiences that shape my growth as an artist and define the path I want to take.
Dance music trends are constantly evolving. How do you stay current and maintain a unique sound while embracing the latest trends?
Staying current in dance music is all about finding the balance between embracing new trends and maintaining your own unique sound.
I make it a point to listen to a wide variety of music, not just within the dance genre, to stay inspired and keep my creativity flowing. While I pay attention to what’s trending, I always look for ways to add my own twist and make it authentic to my style.
What are your future plans for 5L-Records and your own releases? Can you give us any hints about upcoming projects or collaborations that fans can look forward to?
For 5L-Records, I plan to keep expanding the label’s reach and continue supporting both established and up-and-coming artists who bring something unique to the electronic music scene.
As for my own releases, I’m excited to share that my next priority release, ‘Lean On My Love,’ is coming out on November 8 under Warner Music SEE. This track is especially meaningful to me, and I can’t wait to see how it resonates with my fans and new listeners.
There are, of course, more songs in the pipeline, but I’ll keep those under wraps for now—let’s just say there’s plenty to look forward to!
It’s important to evolve with the scene, but I focus on what makes my music distinctive and aim to bring something fresh that stands out, rather than just following trends.
