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Interview: Fede Spamer on ‘Neon City’ and His Evolving Production Style

By
Alex Gelevski
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Fede Spamer DJ
Fede Spamer

We sat down with Fede Spamer to explore the ideas and creative process behind his latest release, ‘Neon City’. Inspired by the vibrant nightlife and futuristic atmosphere of Kuala Lumpur, the track captures a unique blend of cinematic textures and driving groove, showcasing a refined and immersive approach to production.

With a focus on detailed sound design, layered atmospheres, and emotional energy, ‘Neon City’ reflects a new level of intention in Fede’s evolving sound.

In this conversation, he shares the inspiration behind the record, the challenges of bringing it to life, and the mindset shaping his current direction as both a producer and performer.

Check out the full interview below!

Hi Fede, how are you feeling today?


Hi! I’m doing great, thank you.

Was there anything in particular that served as an inspiration when creating “Neon City”?

It was actually the city of Kuala Lumpur that inspired “Neon City.” I produced the track while I was staying there, and the atmosphere at night really left an impression on me. The city lights, the skyline, and the futuristic energy all came together in a way that pushed me toward that sound.

How would you describe the overall “vibe” or mood of this release? 


I’d describe the overall vibe of the release as cinematic, futuristic, and energetic. It draws a lot of inspiration from science fiction, both in atmosphere and sound design.

I wanted it to feel immersive, almost like stepping into a different world, with a sense of movement and intensity that carries through the entire track.

How did you approach and produce the sound design of this track?

For the sound design, I approached it with a very atmospheric and cinematic mindset. I focused on creating textures and layers that evoke a futuristic, sci-fi feel while keeping the groove strong and club-oriented.

I used a mix of synthetic elements, sharp leads, and evolving pads to build depth, making sure each sound had its own space in the mix. The goal was to create something immersive but also energetic, so it works both as a listening experience and on the dancefloor.

What were the most challenging, and exciting parts of the process of creating “Neon City”?

I would say the most challenging parts were getting the bass to sound exactly how I wanted, and the mixing process was also more demanding than on other tracks I’ve created.

There are a lot of elements, so I had to be very careful with how everything sits in the mix. I wanted each sound to have its space and for every frequency to be heard clearly.

The most exciting part is always building the melodies and seeing how they come together throughout the track. I especially enjoy working on the build-ups and drops, making sure each one has its own distinctive feel. For the buildup, I wanted to introduce a slightly melancholic tone, which adds another layer to the overall energy.

Were there any unique “Easter eggs” or hidden sounds in the production that listeners might miss on the first play?

Yes, there are a few subtle details that might not stand out on the first listen. For example, just before the drop, I added some background pads that are designed to sound a bit like an oboe.

In the drop itself, there’s also a very subtle vocal in the background saying, “Feel the adrenaline rise.” It’s mixed quite low, so it works more as a texture than a main element.

Beyond that, there are multiple small elements layered in the background, mainly to support the harmony and add depth. They’re not always obvious, but they help shape the overall atmosphere of the track.

Did “Neon City” come together quickly, or was it a project that required many different versions to get right?

I usually start a lot of projects every month, but only a few of them end up being selected for a possible release. The ones I choose are the ones I really connect with.

With those tracks, everything tends to come together quite quickly. In that sense, it’s usually the first version that sets the foundation, and the rest of the process is about carving the sound and refining the different elements.

Also, once I get the vocals right, everything really starts to flow for me. That’s usually the point where the track fully comes together.

How do you decide when a track is finally “finished” and ready for the world to hear?

It’s pretty simple. A track feels finished when I know that no more elements need to be added and everything already in it has a clear purpose.

At that point, I also do a final check using some plugins to make sure everything is sitting where it should in the mix. Once everything feels balanced and in place, and I can feel that the track tells its own story, I know it’s ready.

What are you most proud of regarding your personal growth and confidence as a creator since you first started releasing music?

I think the main thing is becoming more confident in my sound and not being afraid to try new things. When I first started releasing music, I was more focused on what might work, but over time I’ve learned to trust my own instincts a lot more.

I’ve also grown in terms of being more patient with the process and more intentional with the details. Now I have a clearer sense of what I want to express with each track, and I’m more comfortable standing behind my creative decisions.

What advice would you give to other producers who are starting out in this industry?

Start as many tracks as you can. The more you create, the more you learn. Even if you don’t have access to everything you think you need, it doesn’t matter; you can still make it work.

Trust your instincts and don’t focus too much on what other people say. At first, things might not sound exactly how you want them to, but if you keep learning and pushing yourself, you’ll be surprised by what you’re able to achieve.

The key is having a clear vision of what you want to achieve and staying consistent with it.

Finally, how does this track set the stage for your upcoming performances in 2026?

This track really sets the tone for what’s coming in 2026. It represents the direction I want to take with my sound, more refined, more intentional, and with a stronger identity.

It’s also something I can translate into a live setting, especially in terms of energy and atmosphere. I want my performances to feel immersive, and this track is a good example of that balance between emotion and impact on the dancefloor.

As his journey continues to move forward, Spamer remains intentional in his approach, sustaining a commitment to authenticity and creative evolution. With ‘Neon City’ signaling the next steps for the Producer and DJ, the emphasis stays on refining ideas within the studio and translating them effectively into a live setting.

So, with more still to come from Fede Spamer, be sure to keep up with him via social media to stay up to date on his next releases, projects, and performances.

Listen to the track below.

Chmba Delivers a Unique Guest Mix for Rave Jungle

By
Andry Bosk
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Blending African electronic textures with groove-led House and Tech rhythms, Chmba brings a distinct, richly textured energy to this guest mix for Rave Jungle.

With a sound shaped by a deep connection to her cultural identity, she threads percussive nuance, rhythmic fluidity, and a pan-African sensibility through each selection.

Built on rolling basslines, melodic motifs, and organic textures, the mix highlights Chmba‘s signature sound, offering a clear snapshot of her sonic world and musical perspective.

So, settle in and dive into a journey defined by rhythm, movement, and energy.

Listen to the guest mix below!

 

Tracklist:

1. 104 BPM, Village Guru – Nang’ Egijima
2. DJ Satelite, DJ Gálio, Alex Kasion, Seres Producoes – Daya
3. Lemon & Herb ft. Mzulu Phaga – Yimithemba
4. Ekaya
5. HUGEL, SOLTO – Jamaican (Bam Bam) (Carleeto Afro Tech Edit)
6. Playboi Carti – Kid Cudi x Vapo Vapo (Afro Tech Edit)
7. Imini Pt. II
8. Cincity – Voulez Vous
9. DJ Nkabza – Step Down
10. Takulandilani v2
11. Britney Spears – Gimme More (Jersey Club Remix)
12. Naak – SHO!!
13. 3x (ft. Mixbwé)
14. Myekeleni
15. Frigid Armadillo, Jessica Mbangeni – Imbokodo
16. DJ Tunez, Wizkid, FOLA – One Condition (Afro Tech Remix)
17. Chmba – Dream
18. Pang’ono Remix – Joe Ikon, Liv
19. Gaza Land
20. Lemon & Herb ft. Fka Mash & Yallunder – Andifuni Ngawe
21. Afro Mojo – Chanuka
22. Vanco, Ahmed Sosso – Keladi

BLOND:ISH to Headline Daybreaker Event at Miami Music Week 2026

By
Marco Di
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Global community movement Daybreaker has announced that internationally acclaimed DJ and producer BLOND:ISH will headline its upcoming Wynwood Walls event on Sunday, March 29th, with an opening set by rising house artist GUDFELLA, adding major momentum to one of Miami Music Week’s most distinctive daytime gatherings.

Taking place at the iconic Wynwood Walls Museum, the event will transform the open-air cultural landmark into a dance floor centered on music, movement, art, and human connection. Positioned as a counterpoint to traditional nightlife, the experience invites attendees to realign, recharge, and reconnect at the close of a high-energy week across the city.

The experience will begin with a guided yoga session led by Mimi Yoga at 11am, followed by a two-hour daytime dance party featuring BLOND:ISH and GUDFELLA, alongside additional live elements, and will conclude with a closing speech from internationally renowned artist Peter Tunney. Set against Wynwood‘s globally recognized murals, the gathering blends wellness, creativity, and community in a uniquely immersive environment.

 

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A post shared by DAYBREAKER (@dybrkr)

Known for her globally recognized sets and community-driven approach to dance culture, BLOND:ISH brings a presence that aligns closely with Daybreaker‘s ethos, bridging the global club circuit with a growing movement toward more intentional, daytime experiences.

GUDFELLA, the Philippines-born, LA-based DJ and producer behind the breakout track “Morning Coffee,” has quickly emerged as one of house music’s most exciting new voices. The track has taken hold across Miami Music Week and beyond, earning support from top-tier artists and fueling a rapid global rise, including an upcoming performance at Coachella.

“Daybreaker has always partnered with the world’s most iconic venues, artists, and brands to reimagine how we gather – and this Miami Music Week collaboration is a clear expression of that vision,” said Radha Agrawal, co-founder of Daybreaker and founder of the Belong Center.

“For over a decade, Daybreaker has quietly led what is now being recognized as the social wellness movement – designing spaces where music, movement, and belonging take center stage. This isn’t a counterpoint to nightlife, but an expansion of it. Miami Music Week has always been a global expression of energy and release. We’re offering a new expression of that same spirit – one that leaves you feeling more alive than when you arrived.”

BLOND:ISH Wynwood Walls Daytime Rave MMW
BLOND:ISH Wynwood Walls Daytime Rave

Eli Clark-Davis, co-founder and head of partnerships adds:

“To bring our community to the storied Wynwood Walls with BLOND:ISH and Gudfella, alongside iHeartMedia and Einstein Bros. Bagels, is to capture the Daybreaker ethos in a single morning: world-class sound, monumental art, and a dance floor rooted in connection, not consumption.”

Daybreaker began in Brooklyn with a simple idea: wake up, gather, dance. What started as a single early-morning dance floor has grown into a global movement spanning 66 cities and more than 1,000,000 community members, bringing people together through alcohol-free experiences rooted in joy, self-expression, and belonging.

Unlike traditional nightlife events, Daybreaker gatherings are intentionally alcohol-free and emphasize shared experiences through music, dance, and creative expression. Attendees are encouraged to come as they are, whether solo or with friends, and participate in a welcoming, inclusive environment designed to foster genuine connection.

The Wynwood Walls Museum edition reflects a broader cultural shift toward daytime social experiences, as younger generations increasingly seek alternatives to alcohol-centered nightlife. Daybreaker has been at the forefront of this movement for more than a decade, helping pioneer formats such as morning dance gatherings and coffee-fueled events that prioritize presence, creativity, and community.

 

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A post shared by DAYBREAKER (@dybrkr)

This special Miami event is powered by iHeartRadio and Einstein Bros. Bagels. iHeartRadio, America’s leading audio platform, extends the music experience beyond the dance floor through its app, offering access to music, podcasts, and live radio. Einstein Bros. Bagels will provide complimentary fresh-baked bagels and cold brew to help fuel attendees for a morning of movement and connection.

Set within Wynwood Walls Museum, the event invites guests inside one of Miami’s most iconic cultural spaces for a morning of music, wellness, and dance.

Surrounded by large-scale murals from some of the world’s most celebrated street artists, participants will experience a daytime gathering that merges art, music, and community in a uniquely Miami setting.

The event is open to all ages and designed as a safe, inclusive space for movement, expression, and connection. For more information, click HERE.

Event Details:

DAYBREAKER MIAMI – WYNWOOD WALLS EDITION
Sunday, March 29th
Wynwood Walls Museum
2516 NW 2nd Ave
Miami, FL 33127

Daybreaker events are alcohol-free and open to all ages.

Swedish House Mafia Announce Ultra Miami 2026 Takeover

By
Metodi Gogovski
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This Saturday, the world-renowned trio Swedish House Mafia will take over the Ultra Music Festival main stage in Miami for an exclusive curated night that pays homage to the culture and musical identity that have defined the group across two decades.

Framed as a festival within a festival, the one-night only event brings together a carefully curated lineup of friends including Afrojack, Boys Noize, Armand van Helden, Kelly Lee Owens and MPH.

The evening opens with a rare back-to-back set from Steve Angello and Sebastian Ingrosso, before giving way to a programme that spans house, techno and beyond.

The night will culminate in a closing performance from the full trio, as Axwell joins Steve Angello and Sebastian Ingrosso on stage.

Swedish House Mafia Ultra Miami 2026
Swedish House Mafia Ultra Miami 2026

The Ultra Music Festival performance marks the beginning of a landmark year for Swedish House Mafia. The group will return to Ibiza for a new residency at Ushuaïa, make a historic homecoming to Sweden with two sold-out shows at Ullevi Stadium, and headline Goldenvoice‘s inaugural Head Trip festival this October.

No Art Manchester Reveals Spectacular Two-Stage Festival Lineup

By
Marco Di
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No Art Open Air will stage its biggest UK edition yet south of Manchester at Bolesworth Castle on Saturday 30th May 2026, launching with an expanded festival format.

The venue introduces a two-stage setup for the first time at a No Art open-air event outside the Netherlands, transforming the edition into a full festival experience on 6,000 acre grounds of the beautiful castle.

Located roughly an hour south of Manchester, Bolesworth Castle provides a spectacular backdrop and stunning open-air setting with expanded space for production, art installations and extended music programming. The rural location also allows for a higher-quality listening experience across the site.

No Art Manchester 2026 Lineup
No Art Manchester 2026 Lineup

The main stage will feature a selection of artists closely connected to the No Art sound alongside major international names. Early confirmations include of course event founders ANOTR, alongside Marco Carola, Max Dean and No Art regulars Toman, Benja and Silvie Loto. A second stage will host a programme of house and underground electronic artists including Arapu, Chaos In The CBD, Priku, Us Two, NTS tastemaker Moxie, and more.

Speaking on the announcement, Marketing Director, Oliver Hackett shares:

“Bolesworth Castle is an incredible setting and the scale of the site allows ANOTR and the No Art team to really expand the concept. We’re bringing in a cutting edge sound system to deliver the best listening experience that the music deserves, alongside ambitious production, art installations and a two-stage festival format.”

No Art events have built a reputation for combining forward-thinking house music with immersive art and unconventional locations. Previous editions have taken place in cities including Amsterdam, Barcelona, Miami, Rio de Janeiro and São Paulo. The Greater Manchester edition will be the brand’s largest UK open-air show to date with large-scale installations and production elements unlike anything seen before at Bolesworth Castle.

Bolesworth Castle
Bolesworth Castle

To support access to the countryside venue, organizers are coordinating an extensive coach network in partnership with Big Green Coach, offering direct services from Manchester, Stockport, Liverpool, Leeds, Birmingham and additional UK cities. The site will also offer on-site parking and remain accessible by train to nearby stations, followed by a short taxi journey or dedicated shuttle buses.

No Art Manchester tickets are available now including VIP Stage & Backstage options which allow access to a dance platform above the stage, situated behind the DJ booth.

Brunch Electronik 2026 Unveils Full Lineup and 3-Day Expansion

By
Metodi Gogovski
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Brunch Electronik

Brunch Electronik Festival announces the addition of a third day to its 2026 edition, expanding the event at Barcelona’s Parc del Fòrum to run from Friday 7 to Sunday 9 August. Alongside the extended programme, the festival also reveals a final wave of artists — including The Blaze (DJ), Mind Against, Parra for Cuva, RY X (DJ) and Marian Ariss — completing the full lineup for this year’s flagship gathering on the city’s Mediterranean seafront.

The newly added Sunday programme broadens the scope of the festival while giving audiences more time to explore the artists and sounds shaping contemporary electronic music. Set against the open-air backdrop of Parc del Fòrum, Brunch Electronik Festival has quickly become one of Barcelona’s defining late-summer events, bringing together global headliners, underground favorites, and emerging voices from across the electronic spectrum.

French duo The Blaze (DJ) – cousins Guillaume and Jonathan Alric – lead the newly announced additions for the festival’s Sunday closing programme, bringing their emotive, melody-driven electronic sound and striking visuals to Parc del Fòrum.

They are joined by Italian brothers Mind Against, whose productions and DJ sets have helped define the contemporary melodic techno landscape; German producer Parra for Cuva, the project of Nicolas Demuth, known for blending electronic music with organic instrumentation and atmospheric textures; and RY X (DJ), distilling his broader musical sensibility into a club-focused setting.

Brunch Electronik 2026 Lineup
Brunch Electronik Festival 2026 Lineup

The newly confirmed artists join a lineup already packed with internationally renowned names and influential club figures, reflecting the breadth of the festival’s musical identity.

Artists previously announced include Eric Prydz, Paul Kalkbrenner, Jamie Jones, Jen Cardini, Kaytranada, Luciano, Jeff Mills, Floating Points (Live), CamelPhat, Chaos in the CBD, I Hate Models, Deborah de Luca, and Enzo Siragusa, alongside a wide range of rising artists and scene leaders across house, techno, and live electronic music.

Brunch Electronik 2026 tickets available HERE.

Terminal V Croatia 2026 Expands Lineup with New Additions

By
Alex Gelevski
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Interplanetary Criminal, SPFDJ, Len Faki, Daria Kolosova, Southstar, Ben Techy and more are added to an already stacked line-up for Terminal V Croatia this July.

Scotland’s legendary Terminal V continues to build towards its epic Croatian return with an adventurous Phase Two adding another wave of cutting-edge global talent to an already stacked bill. Taking place from 16th – 20th July 2026 at The Garden Resort in Tisno, the five-day and five-night Adriatic escape now welcomes additional techno pioneers, underground innovators and emerging voices.

These new additions further reinforce Terminal V Croatia‘s reputation for bringing together some of the most essential artists in the scene, with UK garage and rave revivalist Interplanetary Criminal, Berlin favourite SPFDJ and the unmistakable techno authority of Len Faki, alongside the powerful, high-impact sounds of Daria Kolosova and viral electronic hitmaker Southstar.

Ben Techy and Ned Bennett add even more weight to the bill, helping to push Terminal V Croatia‘s 2026 line-up even deeper into the forefront of contemporary electronic music.

Terminal V Croatia 2026 Lineup Phase 2
Terminal V Croatia 2026 Lineup Phase 2

Following the massive Phase One announcement, the 2026 edition already boasts the likes of 999999999, AZYR, Ben Klock, Ewan McVicar, Restricted, Mall Grab, Hannah Laing, Trym, Yanamaste, Ellen Allien, Héctor Oaks, Patrick Mason, KiNK, Charlie Sparks, Anetha, Effy, Stef Mendesidis (live) and many more. Together the line-up now represents one of the most diverse and forward-thinking bills in the European summer festival calendar.

Set across four open-air stages, Terminal V Croatia blends world-class electronic music with one of Europe’s most breathtaking festival environments. The Garden Resort‘s stunning Adriatic coastline provides the perfect backdrop for beachside dance floors, shaded woodland stages and immersive production across day and night with dancing under the sun and stars.

It all goes down across iconic spaces including Barbarella‘s Discotheque, the legendary open-air club regularly voted among the best in the world by DJ Mag, alongside the atmospheric Olive Grove, the high-energy Main Stage, and the beloved Beach Stage.

An incredible host of partners from around the world will bring their own unique obsession with sound and curated line ups across sunset sessions and boat parties including Berlin’s BCCO, E1 London, Lyon’s hard dance crew 23.59, Madrid’s Black Works club, Basel’s Nord, Shine from Belfast, Slither from Dublin plus Hardbeats, Novel, Velocity, Music Reactions, Dangerous Goods and more.

Beyond the music, Terminal V Croatia offers a full destination experience. Daily boat parties, sunrise afterparties, and a range of daytime adventures from swimming and watersports to exploring local Croatian food and culture make it one of the most unique electronic music getaways in Europe.

With its boundary-pushing line-up, immersive production and unbeatable coastal setting, Terminal V Croatia 2026 is an unmissable adventure for techno fans worldwide.

Exclusive Interview: Claude VonStroke on life after Dirtybird and ‘Wrong Number’

By
Marco Di
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Claude VonStroke
Claude VonStroke

We sat down with Claude VonStroke during a rare moment of calm in what has been a transformative period in his career. After more than two decades shaping the global house music scene and building the iconic Dirtybird into a powerhouse, he’s now stepping into a new chapter—one defined by freedom, experimentation, and a deliberate move away from expectations.

With the release of his new project Wrong Number, VonStroke is dialing into a more personal and introspective sound, trading peak-time energy for depth, tension, and atmosphere. From working with his own family on vocals to choosing intimate club settings over massive festival stages, this new era is all about intention over impact.

In this conversation, he opens up about leaving behind a legacy, embracing creative risk, and why sometimes the “wrong” decisions are the ones that matter most.

Check out the full interview below!

1. Wrong Number feels like a deliberate pivot in your career. After selling Dirtybird and stepping away from that chapter, what pushed you creatively to start dialing a completely new number?

Dirtybird grew into something massive, which was incredible, and I am so grateful for that chapter of my life. We really crushed it with the brand and created something new that you could argue is the backbone of what’s popular right now. That success came with a very specific expectation—how the records should sound, how the shows should feel.

After a while the fans wanted it to keep going up and I wanted it to go back to the underground — and I wasn’t able to turn the ship. So we sold it and it was a great decision because we had been literally killing ourselves for more than 20 years. And then all the sudden there was this quiet moment where I could actually ask myself what I wanted to hear again without worrying about money or any of the noise.

Wrong Number is even more personal than Dirtybird. Less predictable, less commercial, and making all the wrong decisions for the right reasons.

2. The first single, “Static In The Deep End,” leans into a more minimal, late-night energy compared to the peak-time tech house sound you helped popularize. What inspired that shift in direction?

A lot of what’s happening right now is very loud, very fast, very “look at me.” I wanted to make something that a commercial DJ would never make, where the room is locked in and you don’t need a big obvious moment. “Static In The Deep End” is more about tension and atmosphere than payoff. It’s not trying to grab you immediately—it kind of pulls you underwater slowly with tension and depth.

3. One of the most unique aspects of the album is that nearly all of the vocals come from inside your own family, especially your son Jasper. How did that idea come about, and how did it influence the character of the record?

My kids (Jasper and Ella) are both very musical. Ella is an incredible songwriter and Jasper is in the extremely competitive pop music program at USC for singing. I played the records for both of them and just asked them to add whatever they were feeling. Ella and I even made an entire choral section together on the intro of “only Call the Landline.”

Everyone is always after me to do collabs for more views. But I’m kind of a hermit type producer. Sometimes collabs come together and I do them but it’s not my natural way of being. Jasper and Ella both did a great job and I’m very excited that they are on the record.

4. Your upcoming tour focuses on small, intimate club spaces rather than large festival stages. Why was it important for you to bring this new music to those kinds of environments?

Because that’s where this music actually works. Big stages kind of demand big moments, and this record isn’t about that. It’s about detail, patience, subtle shifts. In a smaller room, people are listening differently—you can take risks, you can let things breathe.

I wanted to put this music in the right spots. I’m also working on some free daytime events which has always been a dream of mine. I’m very inspired by the rapper LaRussel from the Bay Area. Everything he is doing right now is like the 3.0 version of what I’m trying to do in my career and he is really doing something special.

5. You’ve spent more than two decades shaping dance music as both an artist and a label founder. Now that you’re entering this new chapter, how has your perspective on creativity and the industry changed?

I don’t feel the need to be everywhere anymore and I dont feel the need to be like anybody else either so a lot of the pressure is off. I would so much rather make quality music and quality content than post every day and feed crap to the beast.

Everything I’m doing right now is 100% the wrong path for a new upcoming producer who needs to be everywhere in everyone’s face. This is another reason it’s called Wrong Number. I do not make myself available to play a million shows anymore. Honestly, I think you would be lucky to book me at this point, which is terrible advice for someone else in the music industry.

6. The Wrong Number concept seems to celebrate taking the “wrong” path creatively instead of following trends. Do you think electronic music needs more artists willing to take those kinds of risks right now?

Yeah, but I also get why people don’t. There’s a lot of pressure to stay relevant, and the safest way to do that is to do whatever’s working, to ride trends and stay on top of pop culture. But that’s also how everything starts to sound the same.

The “wrong” decision is the one that doesn’t have an obvious payoff. It’s hard to stand up in front of 3000 people and play your shit even if you know they want to only hear commercial house. But thats where I’m at now.

7. Looking ahead, what do you hope listeners and club audiences feel when they step into this new era of Claude VonStroke?

I want it to feel a little unexpected. Like you walked into something that’s familiar, but slightly off. Less pressure, less big-room energy, more curiosity. If people leave feeling like they heard something they weren’t quite expecting—but it stuck with them—that’s cool to me.

Claude VonStroke Static In The Deep End
Claude VonStroke – Static In The Deep End / Wrong Number

As Claude VonStroke steps into the Wrong Number era, it’s clear this isn’t just a sonic shift—it’s a mindset. Stripping away expectations and embracing unpredictability, he’s choosing a path that prioritizes authenticity over algorithm, and curiosity over convention.

In a landscape often driven by trends and instant gratification, this new chapter feels refreshingly intentional. Whether it’s in the subtle tension of his productions or the intimacy of the spaces he now prefers to play, VonStroke is redefining what success looks like on his own terms.

And if this journey proves anything, it’s that sometimes the most meaningful direction forward starts by dialing the wrong number.

Listen and purchase the first single of his forthcoming album, Wrong Number below!

JOHANNSON is back on Groove Society Records with ‘Waenda’

By
Metodi Gogovski
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JOHANSSON

JOHANNSON is back on Groove Society Records with ‘Waenda,’ a vibrant addition to his expanding catalogue. A track that builds on his February release, ‘De Mi Corazon,’ this latest single sustains the fresh, vibrant sound that defines JOHANNSON’s style, delivering a bright and grooving production that balances emotional pull with dancefloor functionality.

For JOHANNSON, exploration, authenticity and creative execution have remained a focus throughout his journey within Electronic Music. Standing with over 25 years of experience behind him, he approaches his work with clarity and understanding, acknowledging his experiences to date whilst pushing for evolution, whether through the sonic character of his music, his production approach, or in his live DJing efforts.

Having performed across Europe, the Swiss Producer and DJ looks to broaden his reach further: consolidating his creative vision through his latest project, JOHANNSON, he seeks to build on his momentum. Now, with the arrival of ‘Waenda’, he places his sonic identity firmly in focus, highlighting his signature sound and evolving style once again.

JOHANSSON Waenda
JOHANSSON – Waenda

Opening with expressive vocals, pulsating synth work, elevating risers, and a steady beat, ‘Waenda’ crafts an uplifting soundscape from the outset. As a driving beat supports melodic vocal phrases, the track evolves with fluidity: building with the listener in mind, it crafts a journey where moments of atmospheric introspection meet vibrant, rich textures.

A meeting point for cultural depth, JOHANNSON leans on his inspirations from Afro and Latin House, integrating percussive-led details, warm, soulful leads, rolling arpeggiators, and atmospheric chordal patterns. A track that aligns well with JOHANNSON’s current creative trajectory, ‘Waenda’ sees the Producer and DJ sharpen his signature style, offering a track that feels both distinct and intentional.

Grounded in a disciplined work ethic and an evolving outlook, JOHANNSON works to establish himself within the Electronic Music landscape, seeking to progress his vision while broadening both his reach and creative scope.

So, with ‘Waenda’ out now via Groove Society Records, dive into JOHANNSON’s latest single and explore the creative world he continues to shape – and be sure to follow him on social media to stay updated on forthcoming releases and projects.

Listen to the track below.

Ursul Records returns with ‘The Circus In Town Vol. 2.’ compilation

By
Andry Bosk
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Ursul Records

Ursul Records returns with its second various artists compilation, ‘The Circus In Town Vol. 2.’ A showcase of the label’s heavier, club-oriented direction, the album is rooted in the uplifting, rhythmically charged energy that Ursul Records continues to promote, giving way to a myriad of unique sounds and texturally rich productions.

A label founded by Omer Keinan and T-Puse, Ursul Records is emerging as a hub for artists looking to push boundaries. With a focus on music built for the dancefloor yet layered with cultural undertones, the label’s growing roster signals a clear direction and a strong sense of identity within the Electronic Music space.

Whether providing a platform for the founders themselves or delivering the work of other emerging names on the scene, Ursul Records’ release catalogue is an evolving showcase of fresh ideas and sonic personality.

Bringing together a carefully curated selection of standout producers, the compilation highlights the depth and diversity within House music, with each artist contributing their own distinct artistic flavor. From deeper, groove-led cuts to vibrant, high-energy House productions, every track adds a new dimension to what the label calls its ‘second Ursul circus.’

Ursul Records The Circus In Town Vol. 2.
Ursul Records ‘The Circus In Town Vol. 2.’

Including the original, ‘Massive Husk,’ from the label’s very own, Omer Keinan, and T-Puse’s production ‘Under Cover Gypsy,’ the pair have taken the opportunity to highlight their own individual production strengths, crafting soundscapes where psychedelic vibes meet with grooving beats.

With a tapestry of material from other Producers within the genre, such as Yannick Mueller and Oi, ‘The Circus In Town Vol. 2’ delivers a journey that feels both cohesive yet diverse in overall experience, navigating through catchy productions detailed with bouncy basslines, Jazz-inflected melodies, seductive vocal hooks, and intricately layered percussion.

Designed and built with dancefloors in mind, ‘The Circus In Town Vol. 2’ captures the bold, playful spirit of Ursul Records while leaning into a more powerful and refined club direction. Showcasing both variety and balance, the compilation feels crafted for selectors who value personality, movement, and impact, reinforcing the label’s distinct vision while delivering a refreshing energy for listeners to explore.

Be sure to keep up with the label via social media for news on upcoming Ursul Records releases and listen to its latest album, ‘The Circus In Town Vol. 2,’ today – available to stream and download across platforms now.

Listen to ‘The Circus In Town Vol. 2,’ album below.

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