Marco Weber interview goes in depth about his new single ‘Dance With Me’ in collaboration with Dirty Den.

Every track has a story, and Marco Weber’s latest release, ‘Dance With Me’, is no exception. In this interview, he pulls back the curtain to reveal the creative process, inspirations, and late-night studio sessions that brought the high-energy track to life.

Hi Marco! How are you?

Amazing, thank you!

How did the initial concept for “Dance With Me” first come?

The song came together in a very organic way. While jamming on the synthesizer, I found the melodic idea that became the heart of the track. From there, I built everything around that moment and finished it with Dirty Den’s vocals.

How do you believe this song stands out compared to your previous releases?

One big difference is that, as with some of my previous productions, the vocals were recorded in the studio – but this time, the process was far more collaborative and shaped closely together with Dirty Den. On top of that, the synth line really stands out and gives the song a hook that stays with you.

What was the first layer of the track that you worked on in the studio?

As mentioned earlier, the synth hook was the very first layer I worked on. After that, the process flowed quite naturally.

Did you face any particular challenges while making this track?

There weren’t any major challenges, but working with clean recorded vocals on a House track is always a bit tricky. Even when the vocals are spoken rather than sung, it still takes a lot of processing and fine-tuning to make them sit right in the mix.

How do you define the “signature sound”?

I think my signature sound is all about catchy synth hooks, a solid groove, and a clean, striped-back production that works both emotionally and on the dance floor.

In what way do you believe “Dance With Me” pushes the boundaries of the genre?

I wouldn’t say it’s pushing boundaries – it’s not that rebellious. It just doesn’t behave particularly well when it comes to sticking to one genre.

Could you share a favorite memory from the studio sessions for this project?

One of my favorite memories was taking the almost finished track to New York to record vocals with Dirty Den at the legendary Quad Studios back in December 2024.

We originally went in to work on a completely different song, which is still in the pipeline. In the end, we had about an hour left, so we decided to quickly try something for “Dance With Me”. She just threw in a few dirty spoken lines, but they fit the track perfectly and ended up being exactly what it needed.

What was the most time-consuming part of the production process for you?

Definitely the vocals. Editing them, chopping everything up, putting it back together and processing it properly took by far the most time.

How many different versions of the track did you create before reaching the final master?

I actually kept track this time – it landed around version 19 before it finally felt right. I’ve definitely had more versions on other productions.

How has the completion of this song influenced your future production style?

It didn’t really change my sound, but it confirmed my style. What I do want to do more going forward is recording vocals with real people in the studio – it makes the process more exciting and enjoyable.

From early sketches to the final mix, ‘Dance With Me’ reflects Marco Weber’s dedication and vision. As listeners hit play, they’re not just hearing a track, they’re experiencing the journey behind it, one beat at a time.

Marco Weber Online

Website | Instagram | Spotify

With over 25 years as a DJ and producer, Swiss-based artist Nenad Jovanovic continues to evolve through his latest project, JOHANNSON. Blending Afro, Latin, Balearic, and Tech House influences, the project has quickly gained attention and strong support from key names in the scene.

Hello JOHANNSON! How are you? I hope you’ve had a great day.

For those who are just discovering your music, how would you describe your artistic identity in three words?

Versatile, open-minded, passionate.

Who were the early musical influences that shaped the way you listen to and create music today?

In my youth, I loved the synth-heavy sounds of artists like Jean-Michel Jarre, Jan Hammer, Vangelis, Giorgio Moroder etc.! I listened to their albums constantly, as well as various synthesizer greatest hits compilations. That’s why you’ll hear not only club-oriented music from me, but also softer, melodic and emotional sounds.

How has your journey as a listener evolved into your journey as a creator?

I’m still both a listener and a creator, constantly seeking new inspiration. Over the years, I’ve developed a better ear for high-quality, well-produced music, but for me, it’s more important that the music evokes emotions than that it’s perfectly produced. That’s why I’m such a big fan of lo-fi House. The music doesn’t sound as pristine as high-end productions, but it has a special, warm, and melancholic character.

What was the defining moment that made you realize you wanted to pursue a career in music?

I entered the music scene step by step, but the decisive moment was clearly when I first felt the energy of the audience and the connection with them while DJing. The vibes that arise when you play the right music for the right people are incomparable.

What is your favorite part of the creative process?

My favourite part is when something unexpected and good emerges. Often, it’s mistakes that lead to something brilliant. For example, I once mistakenly dragged a synth lead VST preset onto the bass track, and the MIDI notes meant for the bass turned into a fantastic synth melody. That’s how the bass can quickly become the main idea for a track.

What is the most unconventional object you have ever recorded to use as a sound effect in a song?

I once recorded the sound of the spray bottle I use for watering my flowers. Then I used that sound for the shaker effect. But in the end, it was too much work for something that’s barely noticeable in the track 🙂

What is the biggest challenge you have faced so in the industry?

The biggest challenge is staying true to yourself, because social media makes you unconsciously compare yourself to other artists. That’s why I use social media as little as possible.

We are curious: what is the best piece of advice another artist has ever given you?

I recently spoke with an artist who has a successful career and travels a lot. She told me: don’t forget to have fun, like when you first started. And she’s absolutely right. I think of her words every time I go to a gig or during stressful periods.

How do you push yourself to step outside of your comfort zone when you are in the studio?

Honestly, I never have to push myself because I’m completely obsessed with music. I always find inspiration, ideas, and motivation to work on new music, especially because I’m very open-minded musically.

What are your main goals for the coming year in terms of releases?

I want to continue releasing music with high recognition value, because that’s what matters most to me. I want to create tracks that DJs and listeners won’t get tired of even years later.

With new music on the way, JOHANNSON continues to build strong momentum in global Dance music, driven by passion, experience, and a distinctive cross-genre sound.

JOHANNSON Online 

Spotify | Instagram | Beatport

HASKELL goes into 2026 with momentum built with consistency rather than hype. A run of releases across labels including Toolroom, Nervous Records, Myth Of NYX and IN/Rotation has established him as a front runner in the house music scene, reinforced by a standout collaboration with Mark Knight and Gene Farris and a busy schedule across the UK and Europe.

That focus carries into ‘Ice’, his first release on Strangelove, and a track that neatly captures where his sound is heading. Funkier in tone but rooted in groove and restraint, it arrives as a confident step forward, aligning naturally with the label’s evolving direction while keeping HASKELL firmly in control of his own. We had the pleasure of speaking with HASKELL about this single, his mind creatively, and more.

After the releases and shows you’ve had recently, what’s been on your mind creatively?

For me, it’s always about making more music and continually refining the sound I want to be known for. Of course, I keep one eye on what’s happening in the wider scene and what’s resonating globally, but I’m very conscious of staying firm in my own lane. I think that balance is crucial — being aware without being reactive. Ultimately, the goal is to cultivate a sound that feels authentic and consistent, rather than chasing trends that don’t quite fit.

When you’re starting a new track now, what usually sets the direction early before you’ve built much around it?

Everything begins with the drums. I’m very groove-led, and building a solid drum foundation is the most important part of getting the process moving for me. Once that’s locked, the vocal hook becomes absolutely vital — where it sits, how it evolves, and how it drives the energy of the track. Referencing is a big part of that stage too; understanding how similar ideas work in other records really helps shape where your own track is heading.

After releasing on labels like Toolroom and Nervous, what do you listen for to make sure a track still reflects your own decisions and not outside expectations?

One of the trickiest parts of releasing music is the moment where personal taste meets label opinion. You can absolutely love a track, and an A&R might not — and then you’re faced with the challenge of whether to adapt it or stand your ground. That’s a constant internal battle: do you believe in the track more than you believe in getting it signed? For me, I always come back to the same principle — I make music I genuinely like and want to play. If I’m excited to play it out, that’s the most important measure.

Working closely with Mark Knight and Gene Farris puts you in a very direct creative space, so how did these collaborative sessions influence the decisions you make when you work alone?

Collaboration really is the spice of life. Working with people like Mark Knight and Gene Farris has been hugely valuable, but the same applies to any collaborative process. You have to listen, take feedback, and remain open-minded — while also being clear that the song is in the right place before you even begin. Bouncing ideas off more experienced producers has made the whole process far more enjoyable, but even when you’re working solo, you’re constantly sharpening your skills.

With Ice as your first release on Strangelove, what made this track feel like the right way to introduce your sound via this label?

I think Strangelove is really having a moment, and Ice felt like the perfect fit. It’s probably a funkier record than I’d released before, but that’s exactly what excited me about it. I’d been watching what the label was doing, liked the direction they were heading in, and wanted to be part of that journey. Thankfully, they loved the track too, so it all aligned very naturally.

While finishing Ice, which part of the track took the longest to work on before you felt that it was finally ready to be released?

With Ice, using the vocal properly was absolutely key. We went back and tweaked it multiple times, really focusing on when it should drop in, when it should pull out, and how to maintain interest throughout the arrangement. At the same time, it was important to let the funky bassline and the drums have their own moments — not everything needs to shout at once.

Before focusing fully on music, you spent years competing at international level in rugby, so how does that background still influence how you structure your time and focus now?

I try to be ruthlessly organised. I’m always seeking feedback from people I genuinely respect, and I’m very analytical about both success and failure. If something doesn’t work, I compartmentalise it, break it down, and learn from it rather than dwelling emotionally. That mindset has been essential.

As you move further into 2026 with more releases already lined up, which parts of your sound still feel open and in progress for you?

My sound is something I’m constantly working on. I’ve collaborated with different engineers over time, and each partnership brings slightly different results, which I find fascinating. Right now, I’m particularly interested in exploring the American scene and the sound they’re playing over there. It feels like a natural next step, and I’ve already got records lined up that lean into that direction.

Follow HASKELL:

Soundcloud / Instagram / Spotify