Editorial
Chrispin Interview: More About His Live Set / Film in The Himalayas, ZEPHYR 11.
Chrispin interview about his most ambitious project to date, a live set and cinematic short film captured at 15,000 feet in Nepal’s Annapurna Circuit region.
High above sea level and far away from a traditional DJ booth, Chrispin has unveiled one of the most ambitious projects of his career, a live electronic set filmed at 15,000 feet in Nepal’s Annapurna Circuit region, reimagined as a cinematic short film. Blending years of original productions and remixes with sweeping Himalayan landscapes, the project merges music, storytelling and raw natural grandeur into a single immersive experience. Nine months in the making, the film-set hybrid captures Chrispin’s desire to challenge himself creatively, fusing his signature sound with narrative depth and visual symbolism. In an exclusive chat with EDMHouseNetwork, he opens up about the inspiration behind the concept, the challenges of bringing it to life, and how this mountain-top performance marks the beginning of an even bigger artistic chapter.
Hey Chrispin, your brand new live set is out now. How excited are you for the world to see this project?
I’m really excited and kinda nervous a bit as I’ve never put myself out there like this. This is a culmination of all the foundational phases of my work. Basically, years of experimentation in terms of sound and the imagery behind it. The project is about destiny and the sacrifices we make for the things we love.
It’s a unique concept that we’ve not quite seen before. How did the idea come about and did you encounter any challenges along the way?
Before coming up with something this specific, it was about how I can use the music I’ve made those years in a meaningful way. Then the whole cinema aspect came along very naturally along with the mountains as I love doing those things even if there was no project associated with it. The easiest thing was imagining combining them and the hardest part was spending months editing and fine tuning everything, figuring it out along the way as I had no exact blueprint for it. The story was always changing with the editing and the process was highly educational. The actual shoot itself was very challenging as it was just me and my friend trekking and carrying all the gear amidst the intense weather but I have nothing but deep appreciation for the place without which it was definitely not possible.
How happy were you with the finished product, and the response it has gotten so far?
I could have always changed and added more things but I think I stopped when I was happy with the quantity of narrative layers I managed to squeeze in and when I noticed I was spending a few days on just 4 seconds of the film or a bar of music. People initially thought of it as just a regular set somewhere and completely overlooked the entire vision but are slowly discovering the cinema aspect attached to it. I am really proud of what the project is.
You mentioned that you previewed the film in an actual theater. How was that experience and what made you choose it?
This was a personal move in what it meant watching all the hard work on a big screen. Definitely left me hungry for more and re-affirmed me in all the things I am planning to do next.
As a growing artist, how important is it for you to step outside of your comfort zone and do something unprecedented?
It is definitely important to do those things and I did it to stand out of course, but that completely disappeared when I was actually making the project and it was made out of pure love for the craft. I am a curious guy and I do not know how to explain it but I lose interest very quickly if the task is not challenging. It was also about the things I’m passionate about coming together which served as glue to those prolonged experimentations.
The blending of elements, sounds, styles, and genres was a massive part of this film, how important was it for you to get that message across for your artistic vision?
I crafted the whole film aspect on top of the musical layer of the set I already had. I had to make a lot of tough decisions in terms of leaving a good musical piece when the visuals and the story aspect did not align with it and also leaving behind good plot lines and visuals when I have no exact musical moment in the set to back it up. All the genres in the set came about as I try to start every musical project on a fresh slate and is a product of years of research and combining bits and pieces from everywhere. The editing process also took that long because of the constant edits I was making to the music as well. For example, in my reinterpretation of RAM by Daft Punk, after the second progressive drop, I had to transform a whole section with a lot of tempo changes, rhythm changes, huge reverbs, crazy distortions, different gates, a bunch of automations in every imaginable aspect, etc. before the faster, more intense drop to match the plot and take you into this void where the mystic zaps the protagonist into an alternate reality to confront him. That was the only way to add to the nervousness and otherworldliness in the character’s situation.
Do you plan to work on any more projects similar to this?
I am finishing up an album that has long been due and am developing several other things on the side like visuals, plots, shows, etc. The way I work is to keep doing the things I love individually just for the sake of it and when an opportunity or a major idea reveals itself, I glue all the ideas I had from every sector to one project and as long as it is genuine, it always sticks together perfectly. My debut single titled “Zephyr” will be out soon as I am actively leveraging the set/film to link up with the right people that understand my vision and I can’t wait to present what comes as a byproduct of that. I am really excited to release more music and add more to the world-building started by ZEPHYR 11 and one thing is for sure, it will surprise everyone, the people I work with and hopefully, myself too.
Watch the full set below.
Tracklist:
- Thomas Bangaltar – Chiropetra, mixed with Human Sadness by The Voidz and Julian Casablancas
- House Of The Dragon – Fate of The Kingdoms – Ramin Djawadi (Chrispin Remix)
- Sebastian Ingrosso, Steve Angello, PARISI – Speak Up, mixed with The Nights By Avicii
- ZEDD, Bea Miller – Out of Time (Chrispin Remix)
- Swedish House Mafia, Niki & The Dove – Lioness (Chrispin Remix)
- Daft Punk – Love is the Answer (Chrispin’s RAM Reinterpretation)
- Fred Again – Places to be ft. Anderson .Paak & Chika (Chrispin Remix)
- Justice – Audio, Video, Disco (Chrispin Remix)
- Chrispin – Whispers (ID)
- Martin Garrix, Third Party ft. Declan J Donovan, Winona Oak – Carry You (Chrispin Remix)
- Steve Angello, Modern Tales – Darkness In Me (Chrispin Remix)
With debut single “Zephyr” out soon, keep up to date and follow Chrispin below.
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Chris Candela becomes the first Venezuelan artist to release on mau5trap with debut single ‘Move Your Feet’ alongside AOSM.
Chris Candela and AOSM debut on mau5trap with the single ‘Move Your Feet’, making Candela the first Venezuelan artist to release music on deadmau5‘s iconic label. Marking a significant milestone and the beginning of a new chapter in his career, the record introduces a darker, more club-oriented sound from Chris Candela.
Discussing the track’s sonic identity, the Venezuelan artist says: “When AOSM first sent me the initial idea for ‘Move Your Feet,’ I immediately felt the track had something special. I’ve always been inspired by artists like Justice, Wolfgang Gartner, and even Knife Party, so bringing those influences together felt completely natural.”
Drawing on those influences, the two artists created a record that fits naturally within mau5trap’s darker, experimental sound. Blending gritty electro-house energy with cinematic sound design, “Move Your Feet” establishes a strong narrative identity. Built around distorted synths, driving grooves and atmospheric textures, the single delivers a modern club sound filled with raw energy.
Chris Candela not only produced the instrumental with AOSM, but also wrote and performed the track’s vocals.
“One of my favourite parts of the process was writing and recording my own vocals. The lyrics explore the overwhelming feeling that can sometimes come with being in a crowded club, until you realize the only thing that really matters is letting go and moving your feet,” says the artist.
Who Is Chris Candela?
Currently based in Mallorca, Spain, Chris Candela is an Italo-Venezuelan artist with more than 15 years of experience in the electronic music industry. Beyond the studio, he has built a substantial Spanish-speaking EDM community through his CDCVLOGS platform, before launching the Chris Candela alias project in 2025.
Throughout his career, Candela has received support from artists including Don Diablo and Fedde Le Grand, but also reached No. 44 on Beatport’s Bass House Top 100 with “Lost To The Rhythm”, his collaboration with RE-KA. Now, with his mau5trap debut, Candela reaches another major career milestone.
Reflecting on the significance of the release, he says: “Releasing on mau5trap has been a dream of mine for years. deadmau5 has been one of the artists who has influenced me the most, both creatively and personally. To become the first Venezuelan artist to sign with the label, alongside my good friend AOSM, who becomes only the second Mexican artist to do so, makes this milestone even more meaningful.”
With “Move Your Feet”, Candela enters a new chapter in his career, defined by a darker and more club-focused sound. “Move Your Feet” is out now on all major streaming platforms. Listen to Chris Candela and AOSM’s latest track below.
Follow Chris Candela:
Spotify / Apple Music / Instagram / YouTube / X (Twitter) / TikTok / SoundCloud
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Skrillex Says AI Songs Can Go Viral, But His Comments Point To A Bigger Issue Around Human Connection In Dance Music.
The debate around AI music has often focused on fake vocals, copied artist styles, copyright issues, and whether machine made songs should be labeled clearly, but Skrillex has brought the subject back to something more human. In his first formal interview in over a decade, published in 032c Issue #49 Summer 2026, Skrillex spoke with Ecco2K about creativity, rave culture, and the limits of AI in music, including the idea that AI songs can go viral while still missing the feeling of being seen by another human being. That distinction gives the topic more depth because he is not only questioning whether AI can generate music that performs well online. He is asking what happens to dance music when a song can reach listeners quickly, but the person, history, and lived experience behind it become harder to find.
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Why Skrillex’s View On AI Is Not About Rejecting Technology
Before Skrillex became known as a producer and DJ, he was the vocalist of From First To Last, a post hardcore band that already placed him in a scene where live emotion, distortion, and internet era fandom were closely connected. His move into solo production did not erase that background; it carried some of that intensity into songs like Scary Monsters And Nice Sprites and Bangarang, where chopped vocals, aggressive bass design, sharp edits, and software based production became part of the identity of the record. The same artist who helped make those sounds reach a wider audience is now saying that AI songs can go viral, which is why the point cannot be reduced to fear of computers in music.
His own career shows the opposite: technology can still carry feeling when there is a real person making the decisions behind it. In the 032c interview, Skrillex discussed making Mora in GarageBand before moving into Pro Tools and Ableton, along with ideas like Bangarang beginning from rough recordings on Snowball mics or laptop mics. Those details show that electronic music does not lose its human side just because it starts from rough digital material, software, or imperfect recordings. The difference is that an artist is choosing what to keep, cut, distort, rebuild, or leave imperfect, while a generated song can imitate the texture of those choices without carrying the bands, scenes, failed ideas, studio accidents, and years of taste that came before the final record.
Why Viral AI Songs Do Not Prove Listeners Are Connecting
When Skrillex talks about AI songs going viral, the point is easy to connect to cases the music industry has already dealt with. Heart On My Sleeve, the fake Drake and The Weeknd song made with AI vocals, did not become a talking point because listeners had discovered a new artist with a real story. It went viral because people were trying to work out how close the vocals sounded, whether the artists had approved it, and what it meant if a fake collaboration could travel that quickly. That kind of attention can make a song look successful on the surface, but the reaction is tied to the stunt, the confusion, and the technology behind it, not to a real connection between artist and listener.
Dance music has its own version of that problem because records often gain meaning before they are officially released. Rumble by Skrillex, Fred again.., and Flowdan was already circulating through DJ set recordings and crowd clips before its official release, while Baby again.. by Fred again.., Skrillex, and Four Tet gained more attention after being played live, including during their back to back set at Madison Square Garden. That path is different from an AI song going viral because it sounds close to an existing artist or copies a familiar vocal style. In dance music, the memory around a song is often tied to the DJ who tested it, the crowd that reacted to it, the festival or club clip that kept circulating, and the months of people asking for the release. AI can copy the sound of a viral record, but it cannot recreate the human trail that makes people care about where the song came from.
What This Means For AI Music Going Forward
The next stage of AI music will probably come down to what artists, labels, and platforms are willing to make clear before a song reaches listeners. John Summit’s call for human made music labels points to one possible response, especially as fake vocals and copied artist styles become harder to spot at first listen. David Guetta’s experiment with an AI generated vocal in the style of Eminem showed how quickly a technical demo can raise bigger questions about likeness and consent, while deadmau5 has already warned about deepfakes and false endorsement. Once a voice, image, or artist identity can be copied well enough to confuse people, the problem is no longer only about whether the song sounds convincing; it is about whether listeners know who actually made what they are hearing.
Skrillex’s point is closer to what listeners may start caring about as AI music becomes more common. AI may keep producing songs that go viral, especially when the hook feels familiar, the voice sounds close to someone famous, or the curiosity around the technology is strong enough to push the clip online. But dance music has always depended on more than a first reaction. People remember the DJ who played a song before release, the set where they first heard it, the crowd clip that made them search for the ID, and the artist history that made the record feel connected to something real. AI can copy parts of that format, but without a person behind the choices, the trust becomes weaker, and that may be the difference between a song people click on once and a record they keep returning to.
As AI music becomes easier to make and harder to identify, the future of dance music may depend less on whether listeners reject the technology and more on whether they still trust the people attached to the songs. Skrillex’s comments point to a problem that goes beyond one viral record or one copied vocal, because the deeper risk is a culture where the source of a song becomes unclear and the relationship between artist and audience starts to feel less certain. Dance music has always moved through clubs, festivals, IDs, edits, and shared recordings, but those moments only last when people believe there is a real person behind the choices, the risk, and the history of the record. AI may continue to create songs that travel quickly online, but the harder question for artists, labels, platforms, and listeners is whether speed can ever replace trust, and whether a song can still mean something long after the first reaction if no one can feel the human life behind it.
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Electrisize Festival Returns With Turbo Takeover and Fireworks as the 2026 Edition Brings Artist Signings, New Areas, Valley of Sound and 55,000 Visitors to Haus Hohenbusch.
Electrisize Festival returns from August 7 to 9, bringing the 2026 edition back to the historic grounds of Haus Hohenbusch near Dusseldorf. Presented by 1LIVE, Europe’s second largest youth radio station, the festival is expecting 55,000 visitors for a weekend built around new experiences, expanded stage production, artist signings and fireworks across all three days.
More than 150 artists will play across the three day event, covering EDM, hardstyle, techno and Mallorca party anthems. This year’s lineup includes Alle Farben, Brennan Heart, Showtek, David Puentez, Eko Fresh and Mia Julia, alongside rising names OSWALD and Yung Saint Paul, both featured on the 2026 New Music Hotlist. They join Gestört aber GeiL, Glockenbach, Paul Elstak and Kati K to round out the bill.
Meet the Artists Up Close
Festival founders Raphael Meyersieck and Michael Frentzen are introducing a handful of new experiences this year. For the first time, fans will get the chance to meet their favorite artists in person through dedicated Artist Signing Sessions, collecting autographs and photos to remember the weekend by. There’s also a new Ferris Wheel Flat Rate giving guests unlimited rides and sunset views all weekend long, and for those craving a cold beer with some rock energy, the new pub “The Thunder” offers a campfire setting built for tribute bands and karaoke nights.
Photography by janheesen.com
Winter Vibes in the Middle of Summer
Austria’s Valley of Sound is bringing its own stage to Haus Hohenbusch for all three days, adding a mountain inspired setup to the festival site during the summer weekend. Another new addition is The Source, an area tucked into nature and designed around yoga, music and mindfulness, giving festivalgoers a place to reset before heading back to the stages. The main stage production is also expanding this year, with lights, lasers and fireworks running across all three festival days instead of just one.
Turbo Takeover on the Mainstage
Electrisize’s Turbo Stage continues to be the home base for singalongs and Mallorca party hits, with artists like Calvin Kleinen, Caro Winter, Eko Fresh, Frenzy, Kreisligalegende and Van Keeken bringing the confetti and party focused sets attendees expect. Friday kicks off with a special Turbo Takeover as Frenzy and Rumbombe bring Turbo straight to the Mainstage, while Sunday closes out with Mia Julia taking over the Mainstage to wrap the weekend.
Beating the Summer Heat
Electrisize has come prepared for high temperatures, with free drinking water, complimentary sunscreen, shaded areas, sun sails and multiple chill out zones spread across the grounds. Water cannons will help cool down the crowd, and thanks to the festival’s partnership with Valley of Sound in Austria, snow machines can even be activated across the site if temperatures rise during the weekend.
Non Stop Action at Electricity
The Electrisize campsite, known as Electricity, comes with its own schedule of activities, from the Runners Club on Friday morning and the After Runners Club Party that follows, to Beer Yoga, Shuffle and Hakken workshops, Beer Pong tournaments and a full lineup of DJ sets. Paved walkways connect the campsite to the festival grounds, and campers can look forward to complimentary premium showers and sanitary facilities, along with a 24/7 supermarket stocked with Dutch snacks and camping essentials.
Photography by janheesen.com
Electrisize is also making the festival more accessible this year with the launch of NextGen Tickets, aimed at attendees aged 16 to 19 and starting at just 55 euros. The festival’s popular Group Deals are back too, letting groups of four or more save on tickets. More info and tickets are available at www.electrisize.de.
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