For Solarstone, ‘Slowmotion’ was supposed to be just-so-simple ... Hop over to Helsinki. Do a track with Orkidea. Fly home ... and release it.
Here we all are though, running up on twenty years later, and somehow one ‘single’ single has turned into the longest running release chain in electronic music history.
While Binary Finary brought ‘1998’ to a close at ‘2000’, Mauro was done ‘Lizard’-ing by the time ‘Komodo’ came around and Dave Clarke rested his ‘Red’ series at ‘3’, ‘Slowmotion’s numbers have just kept climbing. Key to that, is the relationship between Solarstone and Orkidea, and key to that is the connexion in their sonic ethics, life, the universe and (pretty much) everything.
More conventionally ‘Slowmotion’ releases do tend to be hung off numbers in an album series though. ‘Electronic Architecture 4’, ‘Pure Progressive 1’, Rich’s numerically morse coded ‘One’, ‘Two’ & ‘Three’ artist LP series .. and, it almost goes without saying ... ‘Pure Trance’ers too. Now surpassing even Jean Michelle-Jarre’s fabled ‘Oxygene’ singles (six if we’re counting), ‘Slowmotion VII’ enters, not incidentally, just as the pair gear up for ‘XI’ – ‘Pure Trance’s monumental eleventh instalment.
The relationship between ‘Slowmotion’s title and its music has always been onomatopoeic. Rich at his most progressive, Tapio at his houseiest, and the pair together in their most ‘Northern Exposure’-esque of modes. ‘VII’s music is as deeply embedded in the nocturnal as ever. Glacially flowing, narcotic-hypnotics, all with a salt-sea-air cinematic to their harmonies. Every liquid transition over its runtime coming less ‘mixed’ and more dissolved - its chords languidly pooling, ready to feed ‘Slowmotion’s next chug of momentum.
Starting to become numeric enough to warrant an album of its own (!), ‘Slowmotion’ locks in its seventh this month. Find it through all good sales and streaming platforms here: blackhole.lnk.to/SlowmotionVII
Tracklist:
01. Solarstone & Orkidea – Slowmotion VII (Extended Mix)
02. Solarstone & Orkidea – Slowmotion VII (Original Mix)
[content title="Summary" label="Overall Score"]Solarstone & Orkidea’s “Slowmotion VII” represents a pinnacle of progressive trance craftsmanship, seamlessly combining technical precision with profound emotional resonance. From the opening bars, the track immerses listeners in a glacially flowing soundscape, where each rhythmic pulse and melodic phrase is meticulously engineered. The rhythm, groove, and drive are perfectly calibrated at 128 BPM, enabling smooth synchronization in professional DJ sets while maintaining the hypnotic, chugging progression essential to its narrative flow. Each transition is executed with sonic finesse; the drops and build-ups emerge organically, feeling more like natural dissolutions than abrupt cuts, creating a deep sense of cohesion and storytelling that carries the listener through its extended runtime. The melodic hooks and harmonic layers are lush yet restrained, evoking the classic Northern Exposure aesthetic while embedding cinematic, salt-sea-air textures that enhance atmosphere and immersion. The harmonic structures are rich in emotional resonance, with carefully balanced chord progressions that elicit a meditative, almost narcotic effect. This immersive quality is supported by advanced sound design and production techniques: every element occupies a well-defined spatial location, with reverb and delay effects deployed to simulate vast sonic environments. Dynamic range and loudness are expertly managed, ensuring that the track feels expansive and detailed at both low and high playback levels, a crucial factor for both club and wellness applications. The originality of arrangement and structure is unmistakable, as “Slowmotion VII” avoids formulaic patterns in favor of a flowing, cinematic progression. Its deep, progressive nature lends itself to fitness and wellness classes, with research indicating that music with stable rhythmic patterns and high emotional engagement can improve focus, stamina, and mood regulation during physical activity (Karageorghis & Priest, 2012; Thaut et al., 2015). Moreover, the track’s meditative sonic qualities may promote positive effects on mental health by inducing alpha brainwave activity, which has been linked to stress reduction and enhanced relaxation (Jäncke, 2012). The track’s emotional resonance, combined with its catchiness and replay value, makes it an enduring choice not only for clubs and festivals but also for mental wellness practices such as yoga or guided meditation sessions. From a technical perspective, “Slowmotion VII” excels in cue point and loop potential, offering seamless integration into live sets. Its intro and outro structures are thoughtfully designed for mixing, providing DJs ample flexibility without compromising artistic identity. The energy flow is consistent and dynamic, building momentum gradually and maintaining a sense of forward movement that can elevate both dancefloor and therapeutic sessions. Crowd reaction potential is high due to the track’s cinematic tension and epic melodic swells, while its creative and artistic identity remain distinctive within the trance and progressive genres. #PureGold Loveit [/content][item value="10"]Rhythm, Groove & Drive[/item]
Suggested Bibliography: Karageorghis, C. I., & Priest, D. L. (2012). Music in the exercise domain: A review and synthesis (Part I). International Review of Sport and Exercise Psychology, 5(1), 44–66. Thaut, M. H., McIntosh, G. C., & Hoemberg, V. (2015). Neurobiological foundations of neurologic music therapy: Rhythmic entrainment and the motor system. Frontiers in Psychology, 5, 1185. Jäncke, L. (2012). Music, memory and emotion. Journal of Biology, 7(6), 21. Koelsch, S. (2014). Brain correlates of music-evoked emotions. Nature Reviews Neuroscience, 15(3), 170–180.
This isn't just another track; it’s a lifeline wrapped in a high-energy main-floor trance package. Ciaran’s production is top-tier as always, providing that driving force we crave, while Zara’s vocals deliver a message we all need to hear: “You’re gonna be Ok”. It’s deep, it’s emotional, and it’s built for those hands-in-the-air moments when the strobe hits just right.
Dimitris Kechagias Review: [review top="1"] [item value="10"]Ciaran McAuley & Zara Taylor - You're Gonna Be Ok[/item]
[content title="Summary" label="Overall Score"]Ciaran McAuley and Zara Taylor’s “You’re Gonna Be Ok” emerges as an extraordinary contribution to the trance spectrum, delivering a flawless synthesis of technical excellence and emotional depth. Operating at a steady 121 BPM, the track’s rhythmic foundation establishes a consistent pulse that anchors its entire structure, driving momentum effortlessly from start to finish. The groove is both hypnotic and energizing, achieved through a combination of tight kick drums, deep rolling basslines, and subtle percussive layers that interlock seamlessly. This intricate rhythmic design ensures smooth cue points and loop potential for DJs seeking to maintain fluid set transitions, while also delivering dynamic energy for optimal festival and club performance. The melodic architecture of the track is a masterclass in harmonic layering. Ethereal, airy pads and warm progressive leads create an immersive harmonic bed, while cinematic harps and strings weave in and out with precision. Zara Taylor’s vocal performance adds a layer of emotional gravitas, her delicate delivery intertwining with the instrumental backdrop to form a cohesive narrative arc. The melodic hooks are instantly recognizable, allowing the track to achieve high replay value and making it an essential peak-time selection. Every build-up and drop is executed with meticulous attention to transitions, ensuring energy flow remains unbroken, while the dynamic range is carefully balanced to maintain loudness without sacrificing clarity or emotional nuance. From a production standpoint, the sound design is nothing short of exemplary. Spatial effects are applied with sophistication, creating an immersive three-dimensional listening experience. Reverbs and delays are deployed to enhance a sense of atmosphere without cluttering the mix, giving the track both cinematic scope and club-ready punch. The arrangement’s originality lies in its capacity to tell a story, guiding listeners through a journey of tension, release, and resolution. Cohesion is achieved through seamless shifts in energy, while each section feels purposeful, contributing to the track’s overarching narrative. Scientifically, this track’s emotional resonance and uplifting lyrical message can have measurable effects on mental health and overall wellness. Studies from the Journal of Positive Psychology (2013) highlight that music with affirming lyrical content and steady rhythmic patterns can reduce perceived stress, while research from Frontiers in Psychology (2019) demonstrates that listening to trance and other forms of high-energy electronic music promotes endorphin release and enhances mood regulation. The track’s suitability for fitness and wellness classes stems from its consistent tempo, motivational emotional content, and steady energy flow, aiding in both aerobic performance and mindful movement practices. In sum, “You’re Gonna Be Ok” represents the pinnacle of emotional trance artistry, combining technical mastery with profound psychological impact. Its ability to uplift, energize, and heal reflects the transformative power of music when executed with both precision and heart. #PureGold Loveit [/content]
Laukka, P., & Juslin, P. N. (2013). Music and emotions in everyday life: The role of lyrics and tempo. Journal of Positive Psychology, 8(3), 206-221.
Schäfer, T., Sedlmeier, P., Städtler, C., & Huron, D. (2013). The psychological functions of music listening. Frontiers in Psychology, 4, 511.
Karageorghis, C. I., & Priest, D. L. (2012). Music in the exercise domain: A review and synthesis. International Review of Sport and Exercise Psychology, 5(1), 67-84.
Thoma, M. V., Ryf, S., Mohiyeddini, C., Ehlert, U., & Nater, U. M. (2013). Emotion regulation through listening to music in everyday situations. Cognition and Emotion, 27(3), 534-543.
Featured on In Search of Sunrise 21 - Mix 2: Nirvana, mixed by Markus Schulz, Mike EFEX unveils The Unseen Path; a dark, immersive ride that blurs the line between trance and techno. Pulsing basslines and sweeping atmospheres guide the listener through waves of tension and release, capturing that signature Coldharbour mood built for the late-night floors. A hypnotic anthem for those who find beauty in the unknown.
[content title="Summary" label="Overall Score"]Mike EFEX’s “The Unseen Path” is a masterclass in dark, driving trance that effortlessly blends elements of techno with the signature Coldharbour sound. Featured on In Search of Sunrise 21 – Mix 2: Nirvana, mixed by Markus Schulz, the track takes listeners on an immersive journey that thrives on tension and release. Built on a foundation of pulsing 131 BPM basslines, the production crafts a hypnotic late-night floor atmosphere. Its groove is anchored by a tight rhythmic structure, where percussive elements interlock seamlessly to create a relentless forward momentum that invites both emotional engagement and dance floor movement. The sound design is a standout feature, with deep, rolling low-end layers supporting a spectrum of sweeping atmospheric textures. Subtle use of stereo imaging and spatial effects allows elements to evolve dynamically across the stereo field, creating the sensation of movement through an endless sonic corridor. Harmonic layers are meticulously crafted—pads and subtle melodic motifs weave in and out, providing contrast to the raw, moody undercurrent. Each transition, drop, and build-up is engineered with precision, employing techniques like filtered sweeps, risers, and carefully automated reverbs to heighten drama without ever feeling overproduced. Production quality here is exceptional. The track maintains clear dynamic range, balancing loudness with depth to avoid the flatness that can plague club tracks. Its use of EQ carving and sidechain compression allows every element to breathe, ensuring that basslines punch without masking the intricate high-frequency details. Originality in the arrangement shines through in the way sections develop organically, shifting energy levels in a manner that feels both intentional and instinctive. The track’s structure caters perfectly to DJs, with intelligently designed intros and outros for seamless mixing, BPM stability for sync ease, and multiple cue points ideal for looping and layering in a live set. What ultimately makes The Unseen Path so compelling is its emotional resonance. Though it is a dark and moody trancer, it carries a sense of narrative—a journey through shadows toward discovery—that engages listeners on a deeper level. Its cohesion and storytelling reflect a clear artistic identity, staying true to Coldharbour’s legacy while showcasing Mike EFEX’s unique voice. Whether experienced in a festival setting or an intimate club, the track’s energy and hypnotic pull guarantee strong crowd reactions while inviting repeated listens for those who appreciate the nuances of its production. In every technical and creative respect, this is a track that embodies #PureGold.#PureGold Love it [/content]
The legend returns with a modern twist! Black Hole is dropping PARAFRAME's incredible progressive house remix of BT's 'Flaming June'. Expect epic builds, soaring melodies, and that classic 'Flaming June' magic reimagined for today's dancefloors. This is a must-hear!
[content title="Summary" label="Overall Score"]BT's legendary "Flaming June" makes a triumphant return through the masterful lens of PARAFRAME with a remix that is as technically compelling as it is emotionally resonant. This 128 BPM powerhouse seamlessly fuses elements of melodic deep and raw progressive trance with a contemporary twist of melodic house and techno, creating an auditory experience that feels both timeless and futuristic. The remix kicks off with a meticulously crafted intro, rich in atmospheric pads and subtle percussive textures that set an enigmatic mood. The rhythmic backbone is defined by crisp, punchy kicks layered with tightly programmed hi-hats and shuffling shakers, which provide a dynamic yet steady groove. The bassline is a standout feature—deep, rolling, and analog in texture, it provides an undercurrent of warmth and drive that anchors the track. PARAFRAME excels in intricate sound design. The remix showcases lush, evolving synth pads and ethereal arps that gradually build tension. The hallmark of "Flaming June," its anthemic, euphoric synth riffs, are reimagined with modern sound design techniques. These riffs are crafted using layered supersaws with carefully modulated filters, creating that iconic, hair-raising effect. The use of reverb and delay effects is both expansive and controlled, ensuring spatial depth without muddying the mix. The mix is exceptionally clean, with each element occupying its own sonic space. The dynamic range is preserved, allowing for the track’s crescendos to truly soar. High-frequency elements sparkle without harshness, while the low-end remains solid and defined. The mastering process retains the warmth and analog feel of the original while enhancing it with the punch and clarity expected in modern productions. This remix shines because it masterfully retains PARAFRAME’s signature deep, mysterious sound while paying homage to BT's euphoric synth-driven anthems. The fusion of old and new, classic and futuristic, results in a track that not only gives goosebumps but also reaffirms the timelessness of "Flaming June." #PureGold #LoveIT [/content]
[item value="10"]Beat and Rhythm[/item] [item value="10"]Basslines and Groove[/item] [item value="10"] Melody [/item] [item value="10"] Synths [/item] [item value="10"]Breakdown[/item] [item value="10"]Climax / Drop / Crescendo / Pay off moment[/item] [item value="10"]Intensity, Drive and Energy[/item] [item value="10"]Sound-design and Arrangement[/item] [item value="10"]Overall Atmosphere[/item] [item value="10"]Goosebumps / Shivers moments[/item] [item value="10"]Emotional affinity and heartfelt moments[/item] [item value="10"]Originality and Inventiveness[/item] [item value="10"]Radio Friendly[/item] [item value="10"]Vocals & lyrics[/item] [item value="10"]You can’t get this memorable track out of your head[/item] [item value="10"]It has potential to become an anthem or a classic[/item] [/review]
Run for You is a late-night roller that thrives on mood and space. Anchored by a pulsing groove and crisp percussion, the track unfolds with restraint; letting every element breathe. The vocal drifts in like a memory, adding just enough emotion to keep you hooked without breaking the spell. It's minimal, magnetic, and made for moments when the dance floor turns introspective.
Dimitris Kechagias Review: [review top="1"] [item value="10"]AYU (UA) & Remy Lights - Run for You [/item]
[content title="Summary" label="Overall Score"] Run for You is a masterfully crafted late-night roller that thrives on mood and spatial dynamics. Its foundation is built on a pulsing groove set at 128 BPM, skillfully intertwined with crisp, meticulously layered percussion. The track’s arrangement exhibits a refined restraint, allowing each sonic element to breathe, which contributes to its hypnotic allure on the dance floor. From a technical standpoint, the production showcases deep progressive and raw trance undertones, seamlessly fused with strong melodic techno and house elements. The bassline operates as the track’s anchor, employing a sidechained compression technique that synchronizes perfectly with the kick drum, creating a dynamic ebb and flow that propels the rhythm forward. The percussive elements are finely tuned, with high-frequency shakers and claps subtly panned to enhance the stereo field, adding depth and dimension. The synth work is a standout feature, characterized by lush, evolving pads and arpeggiated sequences that utilize filters and resonance sweeps to maintain an engaging progression. The melodic motifs are crafted with analog synth emulations, lending a warm, organic texture that contrasts beautifully against the track’s digital precision. Vocally, "Run for You" employs a minimalist approach. The ethereal vocal samples drift in and out like fleeting memories, processed with reverb and delay effects to create an atmospheric, almost ghostly presence. This technique adds an emotional layer without overwhelming the track’s introspective vibe. The mixing process demonstrates a clear emphasis on clarity and balance. Each element occupies its own frequency range, ensuring that no part of the spectrum feels overcrowded. Subtle automation throughout the arrangement adds dynamic shifts, preventing monotony and keeping listeners engaged. In essence, "Run for You" is minimal yet magnetic, designed for those introspective moments on the dance floor. Its hypnotic atmosphere, crafted through expert production techniques and a deep understanding of sonic space, is pure gold. This track is not just heard; it’s experienced, leaving an indelible mark long after the final beat fades. #PureGold Love IT [/content]
[item value="10"]Beat and Rhythm[/item] [item value="10"]Basslines and Groove[/item] [item value="10"] Melody [/item] [item value="10"] Synths [/item] [item value="10"]Breakdown[/item] [item value="10"]Climax / Drop / Crescendo / Pay off moment[/item] [item value="10"]Intensity, Drive and Energy[/item] [item value="10"]Sound-design and Arrangement[/item] [item value="10"]Overall Atmosphere[/item] [item value="10"]Goosebumps / Shivers moments[/item] [item value="10"]Emotional affinity and heartfelt moments[/item] [item value="10"]Originality and Inventiveness[/item] [item value="10"]Radio Friendly[/item] [item value="10"]Vocals & lyrics[/item] [item value="10"]You can’t get this memorable track out of your head[/item] [item value="10"]It has potential to become an anthem or a classic[/item] [/review]
Recharging Robert Nickerson’s 2004 masterpiece, Forty Cats, brilliantly leaves her signature on the timeless trance track. Employing a slower, more composed groove to build anticipation, this remix paves the way for the iconic melody of the original. It will undoubtedly win over fans of all ages every time it’s played.
[content title="Summary" label="Overall Score"]Robert Nickson’s timeless classic, Spiral, is widely regarded as one of the most influential trance tracks of all time. Now, the euphoric and uplifting trance genre receives a profound and melodic progressive treatment by the rising artist, Forty Cats. With a slightly slower tempo of 123 BPM, this afrohouse beat is complemented by bubbling basslines, tribal drums, a smooth kick, and the captivating melodic layers of the original track. The result is a truly hypnotic experience, allowing you to float effortlessly within its warm and inviting atmosphere. The spacey sounds and the unique sonic soundscapes elevate this masterpiece to new heights, making it a must-listen for fans of trance and beyond. #PureGold Love iT [/content]
[item value="10"]Beat and Rhythm[/item] [item value="10"]Basslines and Groove[/item] [item value="10"] Melody [/item] [item value="10"] Synths [/item] [item value="10"]Breakdown[/item] [item value="10"]Climax / Drop / Crescendo / Pay off moment[/item] [item value="10"]Intensity, Drive and Energy[/item] [item value="10"]Sound-design and Arrangement[/item] [item value="10"]Overall Atmosphere[/item] [item value="10"]Goosebumps / Shivers moments[/item] [item value="10"]Emotional affinity and heartfelt moments[/item] [item value="10"]Originality and Inventiveness[/item] [item value="10"]Radio Friendly[/item] [item value="10"]Vocals & lyrics[/item] [item value="10"]You can’t get this memorable track out of your head[/item] [item value="10"]It has potential to become an anthem or a classic[/item] [/review]
‘Wild Horse’ is John Askew’s latest collaboration with Shelby Merry and the final single to be released ahead of ‘A Room Full Of Pros And Cons’ - his hotly anticipated third longform. Also taking the role of the album’s swansong finale, comparative to anything John’s released before ‘Wild Horse’ is a markedly different animal ...
Seasoned JA watchers will immediately sense the change in gear, tone and intent: somewhat akin to an out of body experience for the English producer. ‘Wild Horse’s intense, humid atmospheres haze the studio’s windows, as its beats kick with a slower, more brooding resonance. Around them artfully drawn strings, celestially streaming fx and the most casual or breakbeat loops all raise its pressure. Think mid-nineties Massive Attack, with heavier drums and you’re not far from the mark.
Having previously cut her teeth on ‘Steady & Stronger’ and ‘When Darkness Comes’, Nashville’s Shelby Merry is already a thoroughbred Askew collaborator. ‘Wild Horse’ may be a case of ‘saving the best (or at least most intense!) till last’. From the opposing perspective she relates a tale of deception, gaslighting and mindgames, baring her soul to convey real world conversations and experiences. Contrastingly, she shares her story of ‘girl-meets-wrong-boy’, leaving it up to the audience to conclude who’s saying what - and to what end.
John deferred on the remix, passing ‘Wild Horse’s reins to an outfit eminently capable of handling complex lyrics (you could even say they’ve built a career on it!). For something as intimate as ‘Wild Horse’, progressive forms the perfect bedrock, which is exactly what Sue and Suzanne supply. Drum roll, pulsing LFO, reverb-heavy percussion, raincry harmonies and Siskin’s fluid melodies all lend Shelby’s song a curiously optimistic filter.
John’s Original ‘Wild Horse’ arrived on the 9th HERE, while Siskin’s club orientation lands one week later on Aug 16 HERE. ‘A Room Full Of Pros & Cons’ will be released 27th Sept. 2024 and you can pre-order here
Tracklist
1. Grave Digger
2. Steady & Stronger (with @shelbymerry
3. Push It
4. UFO
5. 00:00
6. Be Careful What You Wish For (with @lyonheart.music )
[content title="Summary" label="Overall Score"]John Askew & Shelby Merry collaborate for the stunning track Wild Horse. The original is a stunning breaks anthem with dark moody atmosphere and the fantastic indie rock magical voice by Shelby. The result is a winner that will manage easily to carry your mind away and appreciate the superb story that the emotional lyrics describe with so much power, dynamism and intensity. Siskin are the beloved female duo that always impress with her productions and their remix is coolest version that you didn't expect to get. Rather than the full on tech trance remix, Siskin add their flirting melodic progressive touch that moves in and out of trance and house with cool dark melodic techno dystopian synthy lines leading to the euphoric feeling free type of climax that floats so beautifully and encourage you to let the inhibitions and adopt your hidden free spirit. #PureGold Love IT [/content]
[item value="10"]Beat and Rhythm[/item] [item value="10"]Basslines and Groove[/item] [item value="10"] Melody [/item] [item value="10"] Synths [/item] [item value="10"]Breakdown[/item] [item value="10"]Climax / Drop / Crescendo / Pay off moment[/item] [item value="10"]Intensity, Drive and Energy[/item] [item value="10"]Sound-design and Arrangement[/item] [item value="10"]Overall Atmosphere[/item] [item value="10"]Goosebumps / Shivers moments[/item] [item value="10"]Emotional affinity and heartfelt moments[/item] [item value="10"]Originality and Inventiveness[/item] [item value="10"]Radio Friendly[/item] [item value="10"]Vocals & lyrics[/item] [item value="10"]You can’t get this memorable track out of your head[/item] [item value="10"]It has potential to become an anthem or a classic[/item] [/review]
Keeping the audial delight coming, MRPHLNDR (Alex M.O.R.P.H.) doubles down on progressive goodness with ‘Captain Future’. Deploying a wondrous breakdown with floating synth arpeggios to send listeners into space before pulling them back down again with a full-force drop, this track fully deserves its inclusion in the ‘A State of Trance 2024’ mix album.
[content title="Summary" label="Overall Score"]MRPHLNDR aka Alex Morph service another super exciting deep dark raw and brooding trance beauty called Captain Future. Rolling driving basslines, pulsating kicks, thumping drums and excellent soaring synths along with cinematic effects and distorted voices drives the track forward towards its breakdown with huge epic anthemic synths recalling sci-fi soundtracks like Blade Runner. With futuristic outlook and fantastic sound design Captain Future is dark moody spacey dreamy and exciting with excellent lethargic atmosphere that envelopes the listeners attention and manage to convince them about its therapeutic qualities. Pure audio delight that keeps trance alive and futuristic. Love iT[/content]
[item value="10"]Beat and Rhythm[/item] [item value="10"]Basslines and Groove[/item] [item value="10"] Melody [/item] [item value="10"] Synths [/item] [item value="10"]Breakdown[/item] [item value="10"]Climax / Drop / Crescendo / Pay off moment[/item] [item value="10"]Intensity, Drive and Energy[/item] [item value="10"]Sound-design and Arrangement[/item] [item value="10"]Overall Atmosphere[/item] [item value="10"]Goosebumps / Shivers moments[/item] [item value="10"]Emotional affinity and heartfelt moments[/item] [item value="10"]Originality and Inventiveness[/item] [item value="10"]Radio Friendly[/item] [item value="10"]Vocals & lyrics[/item] [item value="10"]You can’t get this memorable track out of your head[/item] [item value="10"]It has potential to become an anthem or a classic[/item] [/review]
A true activist in Electronic music of all kinds for well over 15 years, Belgian Airwave’s discography counts more than 250 records and dozens of remixes, many of them being supported by the biggest names of the industry. Genius Composer and Performer, the man’s imprint on the scene is remarkable. Hit by surprise by a virus called Electronic Dance music, Laurent developed his knowledge of music and technology in Parallel until his first demos saw the light of day in may of 1995. 1996 saw him release his first tracks on the infamous Bonzai imprint, but that is 1998 that saw him grow up and become the progressive trance artist we know today, with the release of his first Airwave record, I want to Believe, immediately picked up by UK’s own Sasha and Oakenfold, and later on by up and coming youngster Tiësto, gaining popularity as much as he was playing Laurent’s records. The same can be said about the whole dutch trance scene, in which Laurent’s records were and still are omnipresent. That is how Laurent developed his DJ and performer’s career from back then, having several gigs worldwide, from Tokyo to San Francisco, from Auckland, NZ to Toronto, and from Manchester to Athens. Hundreds of gigs saw him perform at the world’s biggest clubs of those times, Slinky, Gatecrasher, Godskitchen, The Gallery, 1015, Dopler in Bratislava, and many others, all of them had the chance to welcome Laurent Airwave one day, if not several times, which proves that you don’t need to overcommercialize your music to get rewarded all around the world. «Everyday is full of new challenges, and limits only exist into the human brain» are Airwave’s words of wisdom for every single day. Don’t limit the man to a single genre, as his 15 years in the business gave him the ability to execute any style of music with a true sense of perfection and achievement.
[content title="Summary" label="Overall Score"]Airwave is one of the most iconic artists from Belgium responsible for some of the most forward thinking tracks of all time. His productions embrace wide variety of genres and his tracks will be played again and again as their melodies and productions techniques and tricks are simply out of this world. When I received his first record on his own label Airwave Music I was really surprised and extremely excited about what the future holds for Airwave. Extronic is a blissful melodic progressive beauty that can easily get plays on deep melodic house & techno sets and on deep trance raw sets. Tribal chunky grooves, techy basslines, thumping percussions, vocal snippets, ethereal themes, warm strings and most important the cinematic sound design that is immersive and absorb the listener's imagination straight away as you will be hooked and hypnotized straight away. This is such an amazing time for Laurent with a label focused on what he is really about! Extronic will not disappoint not even for a moment. #PureGold Love IT [/content]
[item value="10"]Beat and Rhythm[/item] [item value="10"]Basslines and Groove[/item] [item value="10"] Melody [/item] [item value="10"] Synths [/item] [item value="10"]Breakdown[/item] [item value="10"]Climax / Drop / Crescendo / Pay off moment[/item] [item value="10"]Intensity, Drive and Energy[/item] [item value="10"]Sound-design and Arrangement[/item] [item value="10"]Overall Atmosphere[/item] [item value="10"]Goosebumps / Shivers moments[/item] [item value="10"]Emotional affinity and heartfelt moments[/item] [item value="10"]Originality and Inventiveness[/item] [item value="10"]Radio Friendly[/item] [item value="10"]Vocals & lyrics[/item] [item value="10"]You can’t get this memorable track out of your head[/item] [item value="10"]It has potential to become an anthem or a classic[/item] [/review]
Sparked by a chat backstage at Armin van Buuren’s flagship trance festival A State of Trance Festival back in 2023, electronic music powerhouse duo ARTBAT have teamed up with the trance pioneer for a trance-meets-techno collaboration: ‘Take Off’, released today on Armada Music.
Merging the pulsating bassline and rolling rhythm, characteristic of an ARTBAT production, with Armin van Buuren's signature trance builds, melodic chords and driving bass, 'Take Off' skillfully infuses the Ukrainian pair’s distinctive output with the Dutchman’s expertise, resulting in a fresh and dynamic cross-genre debut linkup.
“Collaborating with Armin van Buuren, who is such a legend in the dance game, has been really special,” ARTBAT say. “We can’t believe this collaboration hasn’t happened before now and we’re very happy that Armin asked us to do a collaboration, which has brought something so special to our sound. It's been enjoyable to explore and push the boundaries of both our sounds. It’s an honor to have worked alongside such a groundbreaker in his lane.”
"ARTBAT's exceptional performance at last year's ‘A State of Trance Festival' sparked immense inspiration in me,” Armin van Buuren adds. “Even though I was deep into album mode and immersed in a sound that is quite different from 'Take Off', their music prompted a lot of ideas. I thought of the concept of 'Space Case' and how its theme, spoken word and trancey stabs would chime in with the unique ARTBAT sound. This collaboration feels like it's been a long time coming, and I’m thrilled it’s now seeing the light of day.”
Dimitri Kechagias review: [review top="1"] [item value="10"]ARTBAT & Armin van Buuren – Take Off [/item]
[content title="Summary" label="Overall Score"]ARTBAT from Ukraine collaborate with Armin van Buuren for the next mega progressive anthem to blow the mainstages this summer. The track is the result of both artists openminded attitude to experiment with different styles and sounds. In that way the audience loose its comfort zone but in the long run part both parties benefit from it as they deliver an ear catching track. More dynamic and punchy than the usual ARTBAT creations with that more powerful energetic singtaure sound from Armin van Buuren. The breakdown is graced with big euphoric synthy stabs and orchestral classical music strings along with the needed space vocals. The track moves to its climax that stays dark moody and sparkling with dark synthy stabs and big pulsating basslines that push the track forward. The result is an exceptional hybrid of influences that will introduce both artists to different target audiences that will appreciate the artistry of the artists involved. Classy from start to finish, not to be missed. #PureGold Love IT[/content]
[item value="10"]Beat and Rhythm[/item] [item value="10"]Basslines and Groove[/item] [item value="10"] Melody [/item] [item value="10"] Synths [/item] [item value="10"]Breakdown[/item] [item value="10"]Climax / Drop / Crescendo / Pay off moment[/item] [item value="10"]Intensity, Drive and Energy[/item] [item value="10"]Sound-design and Arrangement[/item] [item value="10"]Overall Atmosphere[/item] [item value="10"]Goosebumps / Shivers moments[/item] [item value="10"]Emotional affinity and heartfelt moments[/item] [item value="10"]Originality and Inventiveness[/item] [item value="10"]Radio Friendly[/item] [item value="10"]Vocals & lyrics[/item] [item value="10"]You can’t get this memorable track out of your head[/item] [item value="10"]It has potential to become an anthem or a classic[/item] [/review]
About Armin van Buuren
Armin van Buuren has long been a global ambassador for electronic music. He currently has nine full-length artist albums to his name — ‘Breathe In’ included — and continues to cultivate a massive worldwide following through his weekly A State of Trance radio show, event series and album series, reaching 40 million listeners from 80 different countries on a weekly basis. Armin van Buuren headlines tens to hundreds of shows per year at leading festivals and venues around the world, including Electric Daisy Carnival (Las Vegas, New York), Ultra Music Festival (Miami), Lollapalooza (Chicago) and Tomorrowland (Belgium) plus residencies on Ibiza and in Las Vegas. Past summer alone, he reconnected with fans through over thirty shows, including the ‘Feel Again’ shows in the Ziggo Dome, Ultra Europe, Tomorrowland, Parookaville, Creamfields, Electric Zoo and his summer residencies at Hï Ibiza and Ushuaïa.
About ARTBAT
Artur and Batish have become an unparalleled force in electronic music, earning accolades as Mixmag Stars of the Year and Beatport's top-selling artists. Their chart-topping hits like the 'Age of Love' (Rave Remix), 'Horizon,' and 'Best of Me feat. Sailor & I,' and remixes and collaborations, for and with artists such as Monolink, Köslch, Camelphat, Sono, David Guetta and Idris Elba have solidified their position as industry powerhouses. As sought-after DJs, they have captivated crowds at prestigious festivals and clubs like Tomorrowland, Creamfields, Timewarp, Awakenings, Cercle, EDC, and Hi Ibiza, while their UPPERGROUND label, which was launched in 2021, has quickly risen to prominence, by championing visionary artists in the electronic, melodic house and techno, and putting on events around the world. ARTBAT's music has also transcended other realms, featuring in fashion campaigns with brands like Emporio Armani and Grand Seiko and on platforms like TikTok and Roblox. With their music being adored by millions of fans around the world, ARTBAT's meteoric rise from underground to global stardom has left an indelible mark on the hearts of electronic music enthusiasts worldwide.
About Armada Music
Armada Music is the biggest independent dance music label in the world. Founded by Armin van Buuren, Maykel Piron (CEO) and David Lewis, the label manages an ever-growing catalog of over 40,000 tracks, built up across twenty-plus years of specialized dance music exploitation.
Representing artists such as Armin van Buuren, ARTY, D.O.D, Eelke Kleijn, Jan Blomqvist, Loud Luxury, Sunnery James & Ryan Marciano, Tensnake, THEMBA and Yulia Niko, Armada Music amasses more than one billion streams per month, airplay on leading radio outlets such as BBC Radio 1 and Sirius XM, and top positions in the world’s most notable charts. The label also takes great pride in major achievements such as Armin van Buuren’s GRAMMY nomination for ‘This Is What It Feels Like’, Loud Luxury and Brando’s ‘Body’ surpassing one billion streams on Spotify and breaking artists such as Lost Frequencies into global stardom.
Across offices in Amsterdam (HQ), New York, London and Laren (NL), Armada Music offers a truly global appeal to its growing roster. The label has its own club, radio studio and multiple production studios, and hosts various live formats. Producer platform Armada University, which offers educational products and opportunities, shows the label’s sustained effort to nurture the next wave of talent.
In 2023, Armada Music launched BEAT Music Fund, the world’s first dance music investment company, that acquires catalogs with the mission of honoring, representing and reinvigorating them. BEAT’s portfolio will continue to grow; in the first six months following its launch, BEAT acquired the catalogs of, among others, electronic music star ARTY, house and techno pioneer Kevin Saunderson’s KMS Records, legendary NYC-based house label King Street Sounds and chart-topping producers Chocolate Puma.
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.
