Umloud are best friends and a dynamic DJ duo, who is benefitting from their differences.
Their music can be described as Deep and yet funky.
Their latest track on Settlement is called Ghost Particles and reach the top 10 of the beatport specialized Raw/Deep trance chart.
We are glad to have an interview with them and here you can read their answers while Ghost Particles is playing at the background.
1-Dimitris: It would be nice to start by telling us your 3 most important achievements or goals fulfilled in your career so far that you very are proud of.
Umloud: For us, our first important achievement was our first release.
Our second was when we played at the Alchemy stage at Boom festival in Portugal last summer.
And the third is getting booked at Ozora festival, this summer in Hungary.
2-Dimitris: Why and under which circumstances did you took the decision to start DJing or producing electronic dance music?
Umloud: We have been going to underground rave parties since the late 90's. After several years of dancing and collecting music,, we started dj'ing, in the Copenhagen underground scene. The next step for us, was to dive into music production.
3-Dimitris: Can you note down the top 3 producers that have influenced your decision to get involved in the electronic dance music scene and you admire and respect them very much?
Umloud: Phaxe, Flowjob, Bitmonx
4-Dimitris: Can you tell us the top 3 tracks from the past that have influenced your sound the most and why?
Umloud: Township Rebellion - Magna Spe
H.O.S.H. - Jet Stream
Bitmonx - Renoiser
5-Dimitris: It would be fantastic to talk about your latest release Ghost Particles on Settlement. Please tell us how this track came about and what was the idea behind it.
Umloud: We came upon the vocal, sampled it, and went intergalactic :-)
6-Dimitris: How long it took you to produce it and can u describe the production process in simple steps?
Umloud: It took around 5-6 studio sessions, that involved late night hours and a lot of coffee.
7-Dimitris: Did you had any particular difficulties accomplishing that particular track or any specific technical challenges or obstacles that you had to overcome during its production.
Umloud: In the process of making the track, we had to exchange the old computer with our new one. That gave us a minor setback.
8-Dimitris: If you would have the opportunity to change something in your track and maybe to do a new remix what elements are you unhappy with and you are going to change? Is there any artist that you feel would be fantastic to remix this track and why?
Umloud: Actually, we are quite happy with the result. We definetly think that Fuenka could do a massive job remixing this one.
9- Dimitris: Which music composition software or hardware you prefer and why? What is your opinion of the latest movement to produce music with more analogue equipment and with less or without any digital software?
Umloud: We have produced in Presonus studio one, since they launced the first version. We think it has the best workflow.
We are gearsluts, so off course we have a lot of analog gear.
We like the best of the two worlds, and the digital sound is also has a place in our music
10-Dimitris: Do you prefer vocal or instrumental tracks? If there are vocals on the track we discuss about tell us about the singer you work with?
Umloud: It depends, sometimes the track speaks for it self, other times it needs a vocal to tell the story.
11-Dimitris: Are there any vocalists/singers on electronic dance music you aspire to work with?
Umloud: Not really, it's a hard pick, with so many talented singers out there.
12-Dimitris: Please choose the most powerful lyrics ever included in a dance track and why these lyrics have touched you so deeply and have a special meaning for you?
Umloud: Rui da Silva feat. Cassandra - Touch Me.
We just love the vocal.
13-Dimitris: Do you believe that artwork on your latest track is good and do you believe that artwork can attract listeners or record buyers? Can you mention the best artwork of a track ever released?
Umloud: The artwork on the release, is fire, and we do believe it will attract listeners.
Our personal favourite, is the cover for our track Outpost 9, that we did with Strukture.
Shoutout to Daniel Kose, for the artwork
14-Dimitris: Can you pick your favorite top 3 record labels including the one released the track that we discuss in this interview and give us a short comment about why these labels are important to you and the music scene too?
Umloud: 1. Stil vor Talent, the roster speaks for it self, and we like that they have a versatile sound
2. Settlement Recordings - We think our sound fist this label perfectly, and they are the strongest label for this genre.
3. iboga/ibogatech - This is the label we 'grew up' with
15-Dimitris: Are you planning to complete an album or mix compilation soon? if yes please give us all the details about regarding tracks and how will look and sound like?
Umloud: Not at the moment, for now our focus is one track at the time.
16-Dimitris: Can you pick up your all time favorite album or compilation and tell us why you adore it so much?
Umloud: Frogacult - Something for sundays
17-Dimitris:How much time do you spend promoting yourself in your social media and you see this as essential tool for self promotion and getting bookings too? Which social media is the one that seems to work better for you?
Umloud: Not enough.
Instragram, facebook and souncloud is what we use for promotion.
18-Dimitris: Do you have any gigs/festival performances confirmed so far for 2024 in which ones are you most excited to perform and why?
Umloud: We are playing at Ozora Festival in Hungary this summer, and we are very excited
19-Dimitris: Please share your most funny and most serious incident that happen to you during your DJ or LIVE PA performance?
Umloud: On the serious side: While we were playing, the generator caught fire.
On the funny side: It has happened twice.
20-Dimitris: Are you happy about the quality of the tracks released in your preferred music genres? Please justify your answer with your opinion about it!
Umloud: There is a lot of high quality tunes out there, but we wish for more diversity in the tracks
21-Your current Top 3 tracks with short comment:
Umloud: - Kaskade, deadmau5, kx5 - Alive
Silver Panda - Soul Conection
Y do I - xXx
22-Dimitris: If you expect to have a steady income from your music productions are you satisfied with the way that royalties system works particularly regarding streaming revenue? Do you believe that artists get what they deserve from streaming providers/DJs playing your tracks in gigs/radio and selling music in physical formats like CDs/Vinyl or digitally.
Umloud: We believe it was better for the artist, when people was buying the music.
23-Dimitris: Please note for all the new talents that read this interview to get some inspiration from you any technical tips in relation to your DJing or music productions. Also any piece of personal or music business' advice that has helped you to progress even further and is worth telling to the new upcoming talents.
Umloud: Music production is a long and expensive journey. You just have to keep going, and the more effort you put into it, the better results you get in the end.
24-Dimitris: Many producers and DJs offer online masterclasses or teach to music production & DJing courses. Do you believe is essential to take part in any of these courses to develop your skills? Are you are offering any of these services? or other related services like ghost-producing or mastering? please tell us about these activities
Umloud: It is always good idea to improve your skills.
No we are not offering masterclasses or similar right now.
25-Dimitris: Is there a club classic that you would like to remix or rework in 2023? Do you attempt often to do your own bootlegs of classics?
Umloud: Paul van Dyk - Nothing but You
26-Dimitris: Please choose the best and worst remix of club classic and tell us why you like or dislike them.
Umloud: We have two good remixes.
Ian van Dahl - Castles in the sky (Wippenberg Remix),
The energy right from the beginning of the track is insane.
Dj Sammy feat. Yanou - Heaven (Green Court Remix)
The bassline and the synth hook in the buildup is out of this world.
27-Dimitris: How much do you care if your fans or followers like your productions? Do you struggle with the audience reception of your tracks and is this thought adds extra pressure on you and discourage you too?
Umloud: Our aim is to make people dance and put a smile on their faces. So obviously it means a lot if we hit the target.
28-Dimitris: Can you describe your music as certain music genre such as trance, house, techno or your music exempts these categorizations? What is your opinion about hybrid styles and artists who are attempting to mix influences from various genres in their tracks?
Umloud: We would describe our style as melodic techno, with a trancy twist
29-Dimitris: Is your music business your full time occupation and are you able to make a leaving out of your music business (DJ/producer/label owner/teaching or mastering tracks)? If not what other jobs are you doing in order to support your income?
Umloud: It's a part time job for both of us.
30-Dimitris: Do you believe that audience should be banned from constantly taking photos or videos during DJ sets or are you happy with these activities?
Umloud: We don't like the word banned, but we miss the good old days, when people went out to actually dance.
31-Dimitris: Do you prefer small clubs or huge festivals to perform? in which festivals or clubs you aspire to play in the future?
Umloud: It is not about the size, but the vibe.
We would love to play at Fusion festival, and Rainbow Serpant festival
32-Please choose for us your favourite holiday destination and share with us your most unforgettable holiday experience(good/bad)
Umloud: Fusion festival in Germany or any place with palmtrees.
Dimitris: Your message & wishes for Flux Bpm Online readers.
Umloud: If you ar going to visit Denmark, do it in the summertime
Thanks to Umloud for this superb interview
Thanks to Stuart Roberts at FSOE offices for organising this interview.
Ursarix is a producer and DJ from Poland who is quickly gaining popularity and respect in the Progressive House, Melodic Techno, and Deep Trance scenes across the globe via his releases on music labels such as JOOF Aura, Krafted Underground, and ICONYC Noir.
His debut on the prestigious JOOF Aura became the label's highest charting and selling record, climbing to #1 in the Beatport Progressive House Releases Chart and #8 in the Progressive House Main Chart.
His first original EP on Krafted Underground, including a remix from one of the most talented trance artists from Poland – Matt Bukovski – became the highest charting and highest selling EP on the label, climbing to #1 in the Beatport Deep Trance Releases Chart, #2 in the Progressive House Releases Chart and #2 in the Deep Trance Main Chart.
Ursarix brings a fresh take on House and Techno by blending in elements of Trance music with epic cinematic soundscapes on top of dark driving beats. His tracks receive notable support from big names, including John 00 Fleming, Korolova, Basil O'Glue, Airwave, Paul Sawyer, Fuenka, and Christopher Lawrence.
1-Dimitris: It would be nice to start by telling us your 3 most important achievements or goals fulfilled in your career so far that you very are proud of.
Ursarix: The #1 achievement was getting signed with the prestigious JOOF Recordings, specifically the JOOF Aura sublabel. I've been to John 00 Fleming's JOOF Radio for a long time before that, and getting my demo approved was incredible. I have a massive respect for John's music and his labels' releases. My favorite is "Spirit Awaking"; I remember the impact it made on me when I listened for the first time to one of the recorded Aly & Fila sets from some festival. There was also an incredible cinematic fan video made to it, which made it even more impactful.
The #2 was an unexpected success of that debut release – the tracks were picked by influencer DJs – Korolova, DeepMe, and Armina – and then things went viral on YouTube and Instagram.
As the #3, on this list, I would probably add getting signed with Fuenka's new label – Settlement. I greatly respect their music, and getting an offer to sign music with Settlement was very important for me.
2-Dimitris: Why and under which circumstances did you took the decision to start DJing or producing electronic dance music?
Ursarix: This decision has been growing in me for many years. I made my first attempt when I was finishing my studies in IT and started my first job at a university. I was raised in a small town, and we didn't have a satellite or cable TV at home; there was just a single disco club in the city, and my primary contact with electronic music was mainly through a weekly techno broadcast on the radio in one of the national stations. This music was fascinating to me, and I remember listening to it for hours during the night and recording it on cassette tapes.
When I moved to a bigger city to study, I lived in the same apartment with friends fascinated with Mayday events and the VIVA TV channel. I got them many VHS tapes they recorded from it, and I remember watching Paul Van Dyk's set from Mayday 2000 countless times, recordings from Love Parade, music videos, etc.
A few years later, I met a nice pack of friends at work with whom we started going to trance events, which were very popular back then in Poland. In the meantime, I tried to learn some early versions of Reason software, but it was pretty tricky, and I had minimal learning resources then, so I dropped it.
Years later, I returned to the idea when one of my friends at Mayday Poland challenged me about why I was not playing music at that festival stage. Then, I returned to production, and it took me several years to reach where I am now.
3-Dimitris: Can you note down the top 3 producers that have influenced your decision to get involved in the electronic dance music scene and you admire and respect them very much?
Ursarix: That list evolved when I started dreaming about it about 20 years ago; that would probably be Paul Van Dyk, Armin Van Buuren, and M.I.K.E. Push. - that's because of all of the music events I either watched on VHS or attended with friends, and M.I.K.E. Push, primarily because of his progressive trance music I listened to so much, including classics like "Universal Nation" and "Strange World".
When it comes to the actual fruition and thinking of first releases, that would be John 00 Fleming, ARTBAT, and Matt Bukovski. When I started producing underground music, I listened to an interview with John, and discovered so much great music and artists through JOOF Radio.
ARTBAT was a fascinating phenomenon for me – I discovered their music through their remix for Monolink's "Return to Oz", and I started recreating their tracks to learn the production craft and to understand why they work.
Matt Bukovski is one of the most talented producers from Poland, from whom I learned a lot about music production, especially from his feedback on my music.
4-Dimitris: Can you tell us the top 3 tracks from the past that have influenced your sound the most and why?
Ursarix: If we talk about tracks from other artists, these would probably be Monolink – "Return To Oz (ARTBAT Remix)", Dead Can Dance – "Summoning of the Muse", and Fuenka – "Ion".
The first one – you might notice that this remix heavily inspired my most successful track at this point, and that's why I called it "Oz".
Dead Can Dance – I'm such a big fan of the album "Within the Realm of a Dying Sun", from which this track is coming, and the beautiful vocals of Lisa Gerrard. In some of my tracks, you can probably hear the atmospheres reminding her vocals, including the remix for "Dimension". Lisa was also singing on the soundtrack to "Gladiator", but I'd been listening to DCD and her other albums a long time before that movie. I was also lucky to attend two concerts of this duo in Poland, both unforgettable. I think "Summoning of the Muse" and "The Host of Seraphim" are two of the most impactful tracks they recorded.
Finally, "Ion", I love this track; I discovered it through JOOF Radio. For some reason, I use it often as a reference for the sound I'd like to get close to – modern, dark & polished.
5-Dimitris: It would be fantastic to talk about your remix on Dimension by Blake Walker MTL on Settlement. Please tell us how this remix came about and what was the idea behind it.
Ursarix: I'll talk about the remix. I loved the original, so I didn't wait too long to accept a proposal to remix this. I liked the dark and disturbing atmosphere of that and the strong foundations.
My idea behind the remix was to respect the original melodic ideas, then deconstruct and destroy the original theme and give the remix a more underground, lo-fi character. I also wanted to add my signature sound on the top, which you can hear in the breakdown. It may sound funny and unconventional, but I'm most enjoying working on the breakdown sections of the tracks. This is the area, in my opinion, where you can convey more emotions and create an unforgettable experience for the listener. I thought I would also include the dark, "alien" vocal, which I made as a happy accident for another track – it's just an artifact of a heavily processed synth sound.
6-Dimitris: How long it took you to produce it and can u describe the production process in simple steps?
Ursarix: I'll be honest; I'm not quick in producing music. This track for sure took longer than ten sessions in my studio. In this case, I started by reviewing the original and the remix pack, selecting the elements I liked. Then I started destroying some of the elements using FX plugins – creative delays, granular synthesis, distortion, multi-fx plugins, etc. looking for some interesting accidents. Next, my goal was to create two loops – one for the drop parts and one for the breakdown. When I realized I had enough elements and variations to carry the track forward – I made a first arrangement, gathered feedback from other people, and then implemented the necessary changes, getting the track ready for mastering.
7-Dimitris: Did you had any particular difficulties accomplishing that particular track or any specific technical challenges or obstacles that you had to overcome during its production.
Ursarix: There were a few for sure. They were mostly related to mixdown, and you can hear that this remix is not perfect at all. Also, I had to find a way to carry forward the main melody I received as a sample throughout the track while still keeping it interesting. There was a ton of experimentation, but it was an enjoyable challenge.
8-Dimitris: If you would have the opportunity to change something in your track and maybe to do a new remix what elements are you unhappy with and you are going to change? Is there any artist that you feel would be fantastic to remix this track and why?
Ursarix: Probably, these would be the low-end elements (except the breakdown) and hats. I think a fantastic artist for a remix could be Basil O'Glue, as he's excellent at making darker tracks.
9- Dimitris: Which music composition software or hardware you prefer and why? What is your opinion of the latest movement to produce music with more analogue equipment and with less or without any digital software?
Ursarix: I use Ableton Live and Push 2 as hardware controllers and many software-based instruments. I like this compact studio configuration, as it allows me to have the production session even when I travel. I was thinking about buying a SUB 37 hardware synth, but unfortunately, I don't have space for it in my studio. If the hardware inspires you, go for it, just to make sure it's not an excuse for procrastination in making music. I see some friends around me who are focused more on buying new gear and constructing their studios instead of finishing and releasing new music.
10-Dimitris: Do you prefer vocal or instrumental tracks? If there are vocals on the track we discuss about tell us about the singer you work with?
Ursarix: I prefer instrumentals and using vocal samples, phrases, and atmospheres – you can hear them in this particular remix.
11-Dimitris: Please choose the most powerful lyrics ever included in a dance track and why these lyrics have touched you so deeply and have a special meaning for you?
Ursarix: I think there are other music genres with touching vocals – for me, that would be more cinematic, dark wave, and different alternative genres of music. To be honest, I value the vocal itself more than the lyrics. I love Lisa Gerrard's vocals on tracks such as "The Host of Seraphim" or "Amergin's Invocation" so much. That's the vocal music that profoundly touches me - lyrics, in this case, are unnecessary.
12-Dimitris: Do you believe that artwork on your latest track is good and do you believe that artwork can attract listeners or record buyers? Can you mention the best artwork of a track ever released?
Ursarix: I think it just works; it is hard to say whether it can attract more listeners. In terms of the best artwork - that would be for an album, then probably again Dead Can Dance – "Within The Realm of a Dying Sun", maybe because this album had such a substantial impact on my music taste in general.
13-Dimitris: Can you pick your favorite top 3 record labels including the one released the track that we discuss in this interview and give us a short comment about why these labels are important to you and the music scene too?
Ursarix: JOOF Recordings – because of a very long tradition in promoting underground music, fantastic artists, and music; UV Noir – because of the music catalog, which I listened to at some point several times and Settlement – because of the respect I have for the founders, and some of the artists who are releasing there.
14-Dimitris: Do you have your own record label?
Ursarix: No, I don't. However, I'd love to think about it if I become more successful with my music.
15-Dimitris: Can you pick up your all time favorite album or compilation and tell us why you adore it so much?
Ursarix: Dead Can Dance – "Within a Realm of a Dying Sun" – in my opinion, the best album of the duo, sounding perfect from the beginning to the end. I listened to it many times, also during challenging periods. I remember buying the original cassette, which I played countless times. It's such a fantastic dark music journey. It is profoundly emotionally touching and has exceptional production, sound arrangement, and vocals. It starts calm and chilled for the first few tracks. Then the atmosphere changes with "Dawn of the Iconoclast", with complete emotional destruction of the listener during "Summoning of the Muse" and a disturbing closing with "Persephone". On the cassette, this "chilled" first half of the album was on side A, and the monumental, dark, and touching vocals of Lisa on side B.
16-Dimitris:How much time do you spend promoting yourself in your social media and you see this as essential tool for self promotion and getting bookings too? Which social media is the one that seems to work better for you?
Ursarix: Too much :-) Typically, I'm more active on social media when there's a new release or attend some exciting events. I think IG seems to be working best for me recently. I'm also experimenting with TikTok, and I'm surprised with the organic reach you can get, especially on odd videos.
17-Dimitris: Do you have your own radio show/podcast/twitch stream or Vlog(video blog)? If yes please give us a comment about it and how long it take you to prepare for it and if you are always excited to produce it?
Ursarix: I started my underground podcast last year, which, for fun, I called "DOPEamine RADIO" just to see if that would work for me. It always requires at least a few hours of preparation, but it's a good exercise, which gives me a lot of satisfaction that I support the music I love and the artists behind it.
18-Do you post videos on tiktok? If yes please reference for us your favourite? What is your opinion about the power of tiktok to promote music releases?Is there any tiktok video created by fans of you with your music worth mentioning?
Ursarix: I'm experimenting with it to see what kind of content works. I guess the one with a teaser for the latest release is my favorite.
It seems to be working with my audience as well.
19-Dimitris: Do you have any gigs/festival performances confirmed so far for 2024 in which ones are you most excited to perform and why?
Ursarix: At this point, I have confirmed just a small gig at Warsaw's well-known underground techno club - Luzztro. It's an event arranged by my friend Not Dead Yet, and we're expecting some famous names from the progressive scene in Poland – Cream (PL), Tuxedo, and Nihil Young. Why am I excited? Because I have a great respect for the other artists who will be playing there.
I'll be looking for more opportunities this year, maybe some event arranged by my friends from the UK scene. I was getting indications from some of my friends that they'd love to invite me to the future gigs they will be arranging.
20-Dimitris: Please share your most funny and most serious incident that happen to you during your DJ or LIVE PA performance?
Ursarix: I played a small gig in Prague a few years ago, where the power of the sound system went down two times during my set, which, as you can imagine, was quite disturbing :-)
21-Dimitris: Are you happy about the quality of the tracks released in your preferred music genres? Please justify your answer with your opinion about it!
Ursarix: In general, yes; however, what's disappointing a bit is the fact that there is so much great music that doesn't get discovered at all and is quickly being forgotten, as the artists and labels don't put enough focus on promoting it, especially if we talk about niche labels.
22-Your current Top 3 tracks with short comment:
Ursarix: It's interesting, but when I think about the top tracks, they are typically mentally connected with some great experiences in my life. My top 3 from the last year probably would be:
Fuenka – "Akkala" – that's the first release on Settlement, and I remember listening to this tune so many times during my vacation in Ibiza last year. I love the vibe, vocal atmospheres, and attention to details.
Rafa'EL – "Endeavour" – I fell in love with this track when I heard it perform live at the Audio River Festival 2022 – Poland's biggest alternative electronic music festival. Glad to see it released in 2023.
Basil O'Glue – "Tell Nobody". There were so many great tunes last year, which I've been listening to during my little car trip from Las Vegas to Palm Springs for a few days off after the conference. I remember hearing this one in the middle of nowhere while it started getting dark. Sometimes, I like just to be alone, get into a car and drive ahead, listen to music, and take a few breaks to enjoy the views and fresh air.
23-Dimitris: If you expect to have a steady income from your music productions are you satisfied with the way that royalties system works particularly regarding streaming revenue? Do you believe that artists get what they deserve from streaming providers/DJs playing your tracks in gigs/radio and selling music in physical formats like CDs/Vinyl or digitally.
Ursarix: I don't think that artists get a fair share, especially if we talk about streaming services. The situation is incredibly unjust for the newcomers or artists who haven't been discovered yet. Unless you're lucky, you get found by an influencer DJ, who will play your track in a professionally recorded set on YouTube, which hundreds of thousands of people watch. Revenue from downloads seems to be more decent, but it's still probably unfair, and I can't comment on physical, as I haven't released anything yet on this medium.
24-Dimitris: Please note for all the new talents that read this interview to get some inspiration from you any technical tips in relation to your DJing or music productions. Also any piece of personal or music business' advice that has helped you to progress even further and is worth telling to the new upcoming talents.
Ursarix: If you're into music production, my main advice would be not to be afraid to make bad music initially; the quality should come over time. Second, instead of mindlessly watching tutorials on YouTube, try to find mentors who are much more experienced in the production and the business so they can give you professional feedback for your music and guidance on navigating through this industry. Third, network with others. It's much easier to navigate the industry if you have people around you who can support you on your journey; if you're alone, you may feel completely lost.
25-Dimitris: Many producers and DJs offer online masterclasses or teach to music production & DJing courses. Do you believe is essential to take part in any of these courses to develop your skills? Are you are offering any of these services? or other related services like ghost-producing or mastering? please tell us about these activities
Ursarix: Too many technical courses teach you more about using DAWs and VST plugins instead of the right mindset. One of the big mistakes beginners make (including myself) is attempting to make the best possible track, which takes months, and you struggle to finish it. It's better to accept that you should make more tracks and that some of them (in the beginning, most) will just land in the trash. I think it's essential to learn the tools available and then take a process-based approach to making music.
In terms of services – I'm not offering such services, at least at this point, and I instead consume them as I still need to learn a lot about this craft. I don't offer or use ghost-producing, but I'm using 3rd party mixing and mastering services, as these are not the areas of music production I enjoy much.
26-Dimitris: Is there a club classic that you would like to remix or rework in 2023? Do you attempt often to do your own bootlegs of classics?
Ursarix: There are a few on my ideas list, but I don't know if I ever work on them. One that I started last year was B.B.E. – Desire (Age Of Club Mix), but I didn't return to it for a while. On my ideas list, I have more crazy remake/remix ideas that go beyond the "traditional" music scene, but I don't want to share too much for now.
27-Dimitris: Please choose the best and worst remix of club classic and tell us why you like or dislike them.
Ursarix: The best one, or the one that had the most significant impact on my music taste in the last few years, was Monolink – "Return To Oz (ARTBAT Remix)". It was interesting to see both Monolink and ARTBAT playing it at the AudioRiver Festival last year, and Monolink's live performance was a massive discovery for me.
Regarding the worst one – I don't want to say anything negative about the work of other artists, to be honest. I bet the intentions are always good.
28-Dimitris: How much do you care if your fans or followers like your productions? Do you struggle with the audience reception of your tracks and is this thought adds extra pressure on you and discourage you too?
Ursarix: Honestly, I care the most if I like the result or not. What adds extra pressure in my case is whether the label will accept it. Of course, it's incredible to see other DJs playing the music and people dropping it in their stories on Instagram, but it's just an added value. If you love what you did, that's the most important thing.
29-Dimitris: Can you describe your music as certain music genre such as trance, house, techno or your music exempts these categorizations? What is your opinion about hybrid styles and artists who are attempting to mix influences from various genres in their tracks?
Ursarix: It's a good question. When I started producing with releasing music in mind, I thought that I was producing melodic techno with influences from other genres. When I passed my first demo to JOOF, I learned from John 00 Fleming's response that it was progressive house, which surprised me… On the other hand, some of my friends told me it's a trance; at the end of the day, I think it's somewhere between these three genres. Incorporating influences from other genres makes music much more interesting, so I highly recommend experimenting. I'm not a purist, and I don't care too much if something fits the genre, but rather, I care whether I like it or not.
30-Dimitris: Is your music business your full time occupation and are you able to make a leaving out of your music business (DJ/producer/label owner/teaching or mastering tracks)? If not what other jobs are you doing in order to support your income?
Ursarix: No, I couldn't quit my regular job yet to focus on music entirely. I'm working in IT, more specifically in Tech Marketing. I'm still learning a lot about music, so I don't offer music-related services, at least now.
31-Dimitris: Do you believe that audience should be banned from constantly taking photos or videos during DJ sets or are you happy with these activities?
Ursarix: I think it's OK unless it's too disturbing – e.g., happening too often or too close to the DJ booth. I must admit that I make videos and photos myself. It's excellent to keep the good memories you can bring up later and share the excitement, atmosphere, and great music on social media so more people can discover it.
32-Dimitris: Do you prefer small clubs or huge festivals to perform? in which festivals or clubs you aspire to play in the future?
Ursarix: I feel more comfortable in smaller venues, but I'd love to experience performing at more significant events. I'd love to play at the AudioRiver Festival and Shine Ibiza if that would be possible in a matter of the next few years.
33-Please choose for us your favourite holiday destination and share with us your most unforgettable holiday experience(good/bad)
Ursarix: For many years, my favorite destination has been Spain. I like to combine chilling, partying on the islands, and sightseeing in multiple cities on a single trip. For a few years, I visited Ibiza and enjoyed the great parties during the season, even the crazy party bus experience! Last year, I could see John 00 Fleming and Paul Van Dyk performing live at Shine again, and for the first time, Miss Monique at the Chinois club, which was excellent. But besides partying, Ibiza is great for chilling, trying some great food, and exploring the island.
Dimitris: Your message & wishes for Flux Bpm Online readers.
Ursarix: Thanks so much for taking the time to read this interview. Check out my IG profile if you'd like to explore more. I wish you many great music discoveries!
Thanks so much to Ursarix for this nice detailed interview.
Thanks so much to Stuart and the team for arranging this interview.
Born on the fringes of New York City, Obie Fernandez quickly developed a musical palate that spanned latin dance, garage house, hip-hop, and '80s pop/rock. By 14, he'd bought his own turntables, and it wasn't long before he was soaking up the city's rave culture and club scene, drawn especially to the euphoric beats of what would later be dubbed German trance. Relocating to Atlanta, he became a cornerstone of the local underground music scene, hosting legendary house parties that eventually spawned Unity Events, a game-changing promoter that revitalized Atlanta's trance community. Concurrently juggling a successful entrepreneurial career and authorship, Obie never stepped away from the decks or the studio. Under various aliases, he's been producing his own tracks since 2001, remaining steadfast in his dream of becoming a world-class producer and sharing his belief in the transformative power of music.
1-Dimitris: It would be nice to start by telling us your 3 most important achievements or goals fulfilled in your career so far that you very are proud of.
Obie Fernandez: 1. DJing for a huge hometown crowd in a prime timeslot at A State of Trance Festival in Mexico City, probably the biggest gig of my DJ career so far.
2. My close collaboration with trance legend Solarstone. We have quite a few tracks that we've made together under a brand new alias. None of them are released yet, but he's been playing them out as IDs and they get an enthusiastic reception. Earlier this year we did a nearly 4 hour B2B session too, which is super rare for him and a tremendous honor for me.
3. Every big label signing is special, and there are some like Pure Trance, JOOF and Perfecto that were milestones, but this latest for "Balaso" on Fuenka's Settlement is definitely a big achievement, since it's part of the Future Sound of Egypt family.
2-Dimitris: Why and under which circumstances did you took the decision to start DJing or producing electronic dance music?
Obie Fernandez: The decision to start DJing came naturally. One of my cousins (Frank, RIP!) was a big time disco DJ in the NYC area and had a vast record collection; you might say I idolized him a bit. When I was 14 I'd saved up enough to buy my own turntables and he taught me how to beatmatch. A few years later I was already obsessed with the NYC music scene, sneaking into clubs and attending Frankie Bones raves. But it was the German techno sound that really grabbed me—it was like nothing I'd heard before, just completely euphoric. That was the moment I knew I wanted to be more than just a spectator; I wanted to be a part of it, and I started picking up club residencies and doing regular parties around northern NJ where I grew up.
As for producing, that came a bit later, around 2001 after I had moved to Atlanta. After DJing for years, I wanted to take it to the next level. Plus, I had all these sounds and ideas in my head that I couldn't find in existing tracks. I started messing around with Fruity Loops and then Reason production software, and I bought myself a few MIDI synths, including the legendary JP8000, learning as I went. It was just a hobby for a long time, especially with raising a family, my business ventures, and even authoring well-known books. But no matter what else I was doing, making music was always the endgame. It's more than a passion—it's like a calling for me.
3-Dimitris: Can you note down the top 3 producers that have influenced your decision to get involved in the electronic dance music scene and you admire and respect them very much?
Obie Fernandez:
1. Rich Mowatt, better known as Solarstone. Seven Cities is the number one anthem from my heavy rave years! His talent and creative genius is unmatched in my opinion, and he's just such a kind and generous soul. The opportunity to work side-by-side with him and even teach him some tricks of my own has been heavenly.
2. John "OO" Fleming is a legend. I never missed his shows when he came to Atlanta, and I nearly fell out of my chair when he signed my first track to JOOF Recordings. I've since become a regular contributor there, and gotten to know him a bit better on a personal level and he's the real deal. Totally authentic and committed to his craft, plus his life story is inspirational to a superlative degree!
3. Last, but not least, BT was probably the biggest inspiration for me to start producing my own music. I've since asked him and he doesn't remember, but circa 2002 (a long time ago!) he and I talked for a couple hours over drinks at HALO in midtown Atlanta. His studio had just been burglarized, and we commiserated as well as discussing his own unique ideas about music and the DJ scene. This was right during the time he was working on the Somnambulist album, and since I was working as a computer programmer, we discussed some of the amazing software tricks that he was doing to get that massively cut up and glitched out sound that he's now famous for. It made me realize that even a massive nerd could be cool as fuck!
4-Dimitris: Can you tell us the top 3 tracks from the past that have influenced your sound the most and why?
Obie Fernandez: Oh man what a tough question. If you force me I'd have to say:
Inner City's Good Life: I wore out my original 12" copy of this one. An anthem that crosses house and techno boundaries and encapsulates the sheer joy and freedom that electronic music can offer. Absolutely formative.
Paul van Dyk - "For An Angel": Definitely not the first trance track that really captivated me, but the euphoric melody and driving beats defined the blueprint for the kind of trance I produced in that era when I was just starting out. Classic uplifting really showcases how electronic music can be both uplifting and deeply emotional, doesn't it?
Underworld - "Born Slippy (NUXX)": A masterblend of progressive house and almost industrial hard techno (which I'm thrilled to see is back in vogue). I could have picked almost any Underworld track but Slippy is so dark and complex yet accessible. I truly aspire to someday be able to blend genres so seamlessly to create something entirely new.
5-Dimitris: It would be fantastic to talk about your track Balaso under your project KNBI on Settlement. Please tell us how this track came about and what was the idea behind it.
Obie Fernandez: Like a lot of my favorite producers, I sample promiscuously across a wide range of genres. The vocal hook in Balaso is from an Indian pop song that I've since lost track of... it provided the inspiration. From the vocal I grab some of the notes in order to form a scale, and then from there (in this case) I started building out the break, taking cues from what other producers do in the melodic techno realm.
6-Dimitris: How long it took you to produce it and can u describe the production process in simple steps?
Obie Fernandez: For this project, I was challenging myself to let the break go to complete silence, which is something I've struggled with in the past, but I think I nailed it this time. Quite dramatic effect, I must add. The project has a ton of synth layers, mostly Dune for the plucks and Diva for the dramatic leads. It was originally a bit bouncier along the lines of my releases on JOOF, but after playing out a few times including a very big show in Mexico City, I went back into the studio and made it more dark and driving, and at that point I knew I had something special. This is probably one of my more time-consuming and large projects, with well over 50 individual tracks. Hard to tell, but maybe about 20-30 hours total?
7-Dimitris: Did you had any particular difficulties accomplishing that particular track or any specific technical challenges or obstacles that you had to overcome during its production.
Obie Fernandez: As I mentioned, the track was originally a bit bouncier and the mix was also not up to par on the earlier versions that I spun out as an ID. Big complex tracks can be quite hard to mix down properly. Thankfully, my mix and mastering engineer Juan Rendon is uber talented. We're best friends and he comes to my studio on a regular basis to help fix my mistakes. In the case of Balaso, after a lot of rework we were able to get that dark driving sound that I think Fuenka really keyed in on when they accepted it for their label.
8-Dimitris: If you would have the opportunity to change something in your track and maybe to do a new remix what elements are you unhappy with and you are going to change? Is there any artist that you feel would be fantastic to remix this track and why?
Obie Fernandez: Hmm, I guess as an artist that is still on the way up, I dream of collaborating with vocal talent that matches my production level instead of relying on vocal samples. The vocals in this track are no doubt pretty good, but I would love the chance to make music like this in collaboration with a real vocalist. Make it a real song in other words!
9- Dimitris: Which music composition software or hardware you prefer and why? What is your opinion of the latest movement to produce music with more analogue equipment and with less or without any digital software?
Obie Fernandez: I work exclusively in Ableton Live for many years now, although I'm familiar with all the major DAWs. Nothing comes close to Live's flexibility and ease of use (once you scale the sizable learning curve!) I have a few hardware synths that I probably should use more often than I do: Korg minilogue xd, Arturia Microfreak, and Behringer's Neutron and TD-3... As for producing without digital software, you can pry Ableton out of my cold dead hands, forget it!
10-Dimitris: Do you prefer vocal or instrumental tracks? If there are vocals on the track we discuss about tell us about the singer you work with?
Obie Fernandez: Oh man, that's a hard question. Depends on the mood, right? But I am an aspiring songwriter, and have made vocal tracks that I penned. It's much more difficult to do it well than simple instrumentals. In time I'm sure I'll be doing more and more vocal tracks though.
11-Dimitris: Are there any vocalists/singers on electronic dance music you aspire to work with?
Obie Fernandez: Kate Ryan. VNV Nation. Kirsty Hakshaw. Emma Hewitt!
12-Dimitris: Please choose the most powerful lyrics ever included in a dance track and why these lyrics have touched you so deeply and have a special meaning for you?
Obie Fernandez: "Sometimes I feel like throwing my hands up in the air, I know I can count on you" from "You Got The Love" hits different for me. It's not some sappy love song moment it's about the deep connection I've got with underground rave scene, especially if we're talking about trance and techno. When the grind gets tough or the inspiration runs dry, it reminds me that there's this whole community of diehards that get what it's about and appreciate it. So yeah, every time that track plays, it's like a nod to everyone who loves this music as much as I do. It's real, it's raw, and it's why I keep doing what I do.
13-Dimitris: Do you have your own record label? if yes tell us when did you set it up, the reasons behind this decision and your top 3 releases on the label so far plus 2 or 3 releases that we should look after from your label.
Obie Fernandez: I do in fact! It's called Music Over Matter (aka simply "MOM"). My partners and I started promoting big parties under that name in Mexico City about 5 years ago, and eventually decided it would be good to use it as a vehicle for helping some of the brilliant local talent here get wider exposure.
I often use the label to release quirky, conceptual tracks of my own. My favorite is probably "Ella". It's an old track of mine that I made as an homage to one of the main characters from the Philip K. Dick classic novel "Ubik". I'm also very fond of "Here Is Your Home" which is about going to Burning Man, and the so-called "Star Wars EP" that features three uplifting trance tracks heavily inspired by that film franchise. Our latest releases such as "Omen" and "Live As One" are top-notch, and have charted at Beatport on a wide range of genres from progressive to dubstep.
14-Dimitris: Please share your most funny and most serious incident that happen to you during your DJ or LIVE PA performance?
Obie Fernandez: Oh my god, yes I can tell you about my big Mexico City debut in 2018. I had a 2 hour set with packed room, and when I say packed I mean about 700 people in a room that should have maxed out at 500. Totally nuts. This was when I was mostly spinning driving tech trance, so the energy was through the roof. Well, it turns out the venue didn't have enough amperage, and the sound guys didn't bring a generator. So I'm about 10-15 mins into my set just as I'm really getting into a groove, they start turning up the volume, and BOOM the lights go out. Total wtf moment for everyone, especially me. I literally had the thought, thank god I've been DJing for over 20 years at this point, because I've kicked out a power cable or two in my day, so as they cycle the power and the crowd starts chanting, I calmy re-cue to where I was before and am able to pick up again. A little unnerved, but not really showing it. Party is pumping for another 15 mins or so, and then BOOM... silence and darkness once again. Okay, now this is not so cool. The sound guy scrambles up into the booth and tells me to keep the master a bit lower please. Sure thing boss, I recue and get going again. Crowd was so nice about it, and I keep my composure of course, I'm laughing. It was around Christmas time so I had a santa cap on for fun. We go for another 30 mins or so and then the lights go out again! This time me and the crowd just have a good old laugh. I throw my hands up and they start chanting my name, OBIE OBIE OBIE... ok well at least I could hear them clearly, right? The story's not over yet, though. The last pause really rattled me a bit, so the next mix in, I tap the wrong player and stop the music accidentally. Arrrggghhh... funny part is, everyone starts laughing, because they thought the power had gone out once again. But I do the old CUE-BOOM, pause, CUE-BOOM, pause, CUE-BOOM-Play and let the record rip again, and luckily at that point I got to play the remaining hour of the set without interruptions. Despite the drama, or perhaps because of it and how cool the crowd was, have to say it was one of the best sets of my life.
15-Dimitris: Please note for all the new talents that read this interview to get some inspiration from you any technical tips in relation to your DJing or music productions. Also any piece of personal or music business' advice that has helped you to progress even further and is worth telling to the new upcoming talents.
Obie Fernandez: Don't try to do everything alone. Get help from people further along than you. I mean this in both the business and production sense. When I first started out I had no clue about anything really, and my best friend who was a talented DJ and producer also had no industry network, so it was really just a hobby. When I started producing again about 5-6 years ago with the intention of getting signed and playing big gigs, I knew better. At every opportunity I took advantage of networking opportunities and getting bigger more established players to help me or collaborate on projects.
Dimitris: Your message & wishes for Flux Bpm Online readers.
Obie Fernandez: Stay tuned for tons of new music from me and thanks for reading my interview!
Thanks so much to Obie for this nice interview.
Thanks so much to Paul Thomas from FSOE HQ for arranging this interview.
