Interview
Claude VonStroke Interview On ‘Wrong Number’ Album In 2026
Claude VonStroke interview about ‘Wrong Number’, his forthcoming album, stepping away from Dirtybird, and why making music entirely on his own terms feels like the right move.
Claude VonStroke has never been particularly interested in doing things the easy way, and ‘Wrong Number’, his forthcoming album, makes that clearer than ever. More than two decades into his career, the Dirtybird founder is stepping away from the label, stripping things back, and making exactly the kind of music he wants to make: patient, detailed, and completely unbothered by what’s trending. We sat down with him to talk about the album, the family members who voiced it, and why turning down big paydays right now feels like the right call.
When you started writing Wrong Number after the Dirtybird chapter ended, what direction did you want the album to take compared with the music you had been releasing in recent years?
I was able to drop expectations because I took year off from all house music. This album is not so much weirder or so drastically different, but just for example there was a massive banger on the album and I actually took it off because it didn’t feel right. In the past that would have probably been single AA1.
While working on Wrong Number, which producers or labels from the early minimal and house scenes did you find yourself returning to?
I kept going back to labels like Playhouse, Poker Flat, Planet E—stuff that felt like it had space and identity. Records that weren’t trying too hard. There’s a confidence in that era the records don’t always go left when they are supposed to go left. Sometimes they go right or up or down, and that mindset definitely crept into this album. A the same time I’m not a guy who makes grasshoppers on tinfoil – my records are easy to dance to.
“Static In The Deep End” is the first single from Wrong Number, so what about that track made you feel it was the right introduction to the album?
It sets the tone without over-explaining anything. It’s restrained, a little hypnotic, a little uneasy. It doesn’t try to win you over immediately, which is kind of the point of the whole project. I led with a deep cut on purpose just to let the fans know where Im headed. I dont need 1000 bro-tastic commercial tech house fans showing up and being disappointed on my tour dates because I didn’t play 15 drum roll breakdowns and a bunch of bongos at 132bpm. I’m trying to tip my hand early.
Nearly all the vocals on Wrong Number come from inside your own family, especially your son Jasper, so what made you decide to keep the vocal side of the album completely within the VonStroke household?
The whole project is more personal, so it made sense that the voices were too. Both Jasper and Ella are incredible musicians and singer songwriters. They know more about music theory than I ever will. For example Ella and I created an entire choral section with just our two voices and she directed all of it herself. Jasper came in and just riffed magical R&B vibes all of the place. They are just so talented I am a proud Dad.
Jasper appears across several tracks on Wrong Number while studying pop vocals at USC, so how did the two of you actually work together when recording those parts?
It was pretty loose. I made most of the record then he came in and just riffed on top of it. Then I would spend tons of hours chopping and effecting things. At one point Jasper and Ella made the track Two Line Groove with me which is them singing in the round. It was tough to record becuase I couldn’t get them in at the same time but I think this is one of the coolest records on the album. They go back and forth until it resolves in a giant harmony moment.
Since the music on Wrong Number was written with club spaces in mind, what made you decide this tour should focus on smaller venues like Vent in Tokyo or Panorama Bar in Berlin?
Because that’s where this music actually works. These tracks are built on detail and patience—you need a room where people are really listening with a nice sound system that isnt all muffled and massive. Smaller spaces, better systems – It’s less about spectacle and more about immersion. That environment lets the music breathe the way it’s supposed to. I’m also adding some free open air events I think that is also a space where this music can work.
After spending years building Dirtybird and helping launch artists like Fisher and Eats Everything, how has completing Wrong Number changed the way you think about your place in dance music today?
I used to actually worry about things like this which in my opinion is a waste of time. Now, if you are lucky enough to book me, you will get something that isnt generic that has been crafted and honed and is fucking dope. That’s all I can offer. Before, there was a responsibility to a sound and a whole ecosystem. Now I can follow ideas that don’t make sense commercially or strategically. I’m making a ton of terrible business decisions and it’s awesome.
When people listen through Wrong Number from beginning to end, what do you hope they understand about where you are creatively today?
I’m not trying to be the loudest voice in the room. If the record feels a little unexpected, a little more human, then it’s doing its job. I mixed and mastered this record myself for the very first time I didn’t ship it off to get finalized in some expensive mastering suite – so you are getting this straight from my home studio warts and all. This is what I do now.
Stream the first single ‘Static In The Deep End’ from this album below.
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Hypaton interview Talks ‘Slide’, Tomorrowland Debut, Avicii’s ‘Levels’ as he reflects on his musical roots, studio process, and what he’s building for 2026
We spoke with Hypaton following the release of ‘Slide’ with Izzy Bizu, a record that has started to appear in his recent sets while marking his current direction in the studio. His introduction to electronic music came through his cousin Giuseppe Ottaviani, which followed early guitar sessions at home and led him into producing his own material with a focus on melody and structure. That path later gained wider attention while he was still studying dentistry, when his rework of ‘Be My Lover’ by La Bouche was picked up by Juventus FC on Instagram, eventually reaching David Guetta and leading to an official release that has since passed 360 million streams. From there, he learned to DJ in 47 days at Guetta’s request and went on to open a Future Rave show at Hï Ibiza, before playing venues such as Ushuaïa Ibiza, Ministry of Sound, and [UNVRS] Ibiza. That same approach carries into ‘Slide’ with Izzy Bizu, where the track started from a simple groove and piano idea before expanding around the vocal and arrangement. Alongside this, his debut at Tomorrowland places him on a major festival stage for the first time, bringing that same mindset into a live setting where the set develops through how the crowd responds. In conversation, he also pointed to ‘Levels’ by Avicii as a record he returns to during longer sets, while noting how his background in dentistry still influences his workflow through discipline and attention to detail, and how his studio process continues to involve instruments like guitar and piano as he works on new material into 2026.
What inspired you to create music in the first place?
It really started at home. My dad introduced me to music when I was very young, and I began taking guitar lessons. In the evenings we would often play together, and that’s where my connection with music really started.
Later on, my cousin Giuseppe Ottaviani, who is also a DJ, introduced me to electronic music, and that was a big turning point. I remember feeling that mix of energy and emotion, and that’s what made me want to start creating my own tracks.
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You’re a qualified dentist! What factors and mantras from your previous profession did you carry over to your DJ and music career?
Precision, discipline and focus. Those are the main things I carried with me. Dentistry taught me that details matter and that consistency is everything if you want to reach a high level. And of course, the smile. That’s probably the most important one.
What song is a must-have on your USB stick at the moment, one that makes the crowd go wild?
For me, it’s definitely “Levels” by Avicii. When you’re playing long sets, it’s normal to see the energy go up and down at certain moments, but that track is one of those that can instantly bring everything back to life. As soon as it drops, the reaction is always insane. It’s one of those timeless records that just works every single time.
You’ve recently released your single ‘Slide’ with Izzy Bizu. Tell us how the collaboration came about and the production process behind the track.
The track started from a groove that felt very natural and immediate. I didn’t want to overcomplicate it, just something that works from the first listen. The piano hook came in quite early, and that really defined the identity of the track. From there, I built the production around that, keeping a balance between energy and musicality. For the vocal, Izzy was a perfect match. Her voice sits really well on the production. There’s a strong piano hook and quite bright synths in the drop, so her tone brings the right balance and makes everything feel cohesive.
Do you reach for places, things, or people for inspiration when producing, or does it come to you unexpectedly?
It’s a bit of both. Sometimes inspiration just comes naturally, especially when you’re in the right mindset. Other times, it’s about putting yourself in the right environment. Even small things can make a difference, like the space you’re in or the energy around you. Sometimes I even scroll through frames from movies. Looking at certain scenes, with specific colors and landscapes, can really help me unlock ideas. When I feel good and relaxed, that’s when the best music usually happens.
You’ve remixed songs by the likes of RAYE, La Bouche and Bonnie Tyler. What is the next song you would love to remix and why?
I think it would definitely be something that, when brought into today’s sound, can feel fresh again. Not every track is right to remix at every moment. It really depends on the current musical taste and what people are connecting with at that time. For me, it’s always about finding something that already has a strong identity and translating it in a way that feels relevant today.
You’ve just recently built your own studio. Tell us what your dream piece of equipment is and why?
For me, more than a specific piece of equipment, the real “dream” is the environment itself. I think having a space that makes you feel relaxed and inspired is way more important than any single gear. The studio should feel like a place where you enjoy being, where ideas come naturally. At the same time, I have a strong connection with instruments like guitars and piano. I often start in a more analog way, I need to physically feel the notes under my hands. That connection gives me a different kind of emotion when I create. If I had to choose one thing, I’d still say natural light. Having windows in the studio makes a huge difference, it completely changes the way I feel and create.
It’s your Tomorrowland debut this year. What can we expect from your set, and what DJs are you looking forward to seeing?
Tomorrowland is something I’ve always looked up to, so playing there for the first time is a very special moment for me. You can expect a set with a lot of energy, but also a strong musical identity. I always try to create a journey, not just play tracks, so there will be moments of tension, release, and connection with the crowd. I’ll also spend some time going around and listening to as many DJs as possible. I think it’s very important to stay updated and understand what’s happening in the scene.
Believe in yourself, always. Surround yourself with positive energy, and forget about ego completely. Just put it aside and work hard, really hard. More than anything, stay calm. There are always ups and downs, and they happen often, so what really matters is staying relaxed and keeping a positive mindset.
Finally, what can we expect from Hypaton in 2026?
My sound will evolve naturally, but it will always stay connected to my roots, especially the focus on melody. I’m really focused on bringing more emotion into my music, while still keeping the energy needed for the dancefloor. It’s about finding that balance and pushing it forward. I also want to introduce more analog elements into my productions, working more with real instruments and bringing that human feeling into the tracks. At the same time, I just want to keep growing, improving, and taking everything to the next level step by step.
With ‘Slide’ out now alongside Izzy Bizu and his first set at Tomorrowland on the horizon, the direction he is taking becomes clearer when you look at how everything connects back to the same starting point. The focus on melody that came from those early guitar sessions still runs through his work, but now it sits alongside a stronger intention to keep more of that physical, hands-on element in the process, whether that comes through piano ideas or how he builds a track from the ground up. That same thinking carries into how he approaches sets, especially across longer hours, where timing, restraint, and understanding when to bring certain records in plays a role, with tracks like ‘Levels’ by Avicii still holding a place because of how they land with a crowd in real time. What stands out is how consistent that approach has remained across different parts of his career so far, from early influences like Giuseppe Ottaviani through to recent releases and upcoming shows, where each step does not feel separate but connected through the same way of working. As he continues developing new material, adding more live elements, and stepping onto bigger stages, that link between what happens in the studio and what plays out in front of people stays at the center of how he moves forward into 2026.
Interview
Sam Blacky Interview On Mexico City, Ibiza Dreams, and Why Humans Will Always Win
We caught up with Sam Blacky in Tulum fresh off a set and asked her about her festival dream, AI in music, her favorite cities, and her long awaited Ibiza debut.
Sam Blacky interview on her Ibiza debut at Hi, favourite spots in Mexico City and Tulum, AI in music, and her biggest career moments to date.
Sam Blacky was in Tulum, fresh off a set at the iconic Papaya Playa Project that had the crowd locked in from first beat to last. The morning after, still buzzing, she sat down with EDM House Network for one of those conversations that covers everything that matters: dream festivals, the people who shaped her, where she stands on AI, her favorite corners of the world, and the career moments that hit different. Oh, and she drops an Ibiza announcement you will want to hear.
If You Could Have Your Own Festival, Where Would It Be, What Would the Theme Be, and Who Would Headline?
Sam did not hesitate long. Mexico City, even after briefly entertaining Tulum.
“Gun to my head, it would be in Mexico City because I think that is one of my favorite places in the world. I’m sure Tulum would be cool but I think I’m gonna go with Mexico City. Headliners would be myself, BLOND:ISH, Keinemusik, Hugel & Juany Bravo. The theme is… sexy jungle fairies.”
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Who Is the Smartest Person You Know and What Have You Learned From Them?
The answer was not a mentor or a music industry veteran.
“The smartest person I know is my sister. And I have learned patience, humility, and kindness from her. She’s older, seven years, her, my brother and I, we’re all seven years apart.”
How Do You Feel About AI in Music?
Sam uses ChatGPT daily but draws a hard line when it comes to the music itself.
“I personally do not use AI in music. If anything I use sample vocals, but most of the time I use original vocals. I used Chatgpt everyday. I know that we have to learn to work together but I’m slow to that game. I don’t think it’s gonna take over the music industry or take our jobs. The human aspect is unrelenting and there’s nothing that can copy it, especially live performances. I think we’re gonna win.”
Which City Do You Know Best? And Where Are Your Favorite Spots for Food, Drinks, and Music?
Born and raised in San Diego, though she keeps it off limits for going out. Ask her for a city where she actually hits the town and the answer comes fast.
“Mexico City, 100%, also Tulum. Shout out Orchid House, that is my favorite place to stay in Tulum and Mexico. They have the best food. And my favorite club by far in Mexico City is Phonique. I’ve been playing there for years and I’m very close with the owner and his wife. They’re like family to me. Mexico City just has everything dialed. Best music scene, best food, best drinks.”
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What Is the Most Game Changing Moment of Your Career So Far?
There have been many, but this year has been different.
“Honestly this year has stuck out to me the most. Make the Girls Dance, Hugel, Juany Bravo and that whole Make The Girls Dance family, it really is a family. The most unreal moment I’ve ever had was playing Space during Music Week, B2B with Grossomoddo. I’ve been dying to play there for 10 years. That was the craziest moment in my life and I’m so grateful.”
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“And Ibiza this year, I’m finally playing Ibiza. I’ve been going there for fun for 10 years and I said I wasn’t gonna go back until I played. This year I’m playing a bunch of shows at Hi. I can announce: Hugel presents Make the Girls Dance at Hi Ibiza, June 25.”
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Instagram: @samblacky
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NOME Talks “Other Side” at Space Plus Bangkok for the STMPD RCRDS 10-Year Tour During Songkran
Speaking with NOME in Bangkok during the STMPD RCRDS 10-Year Anniversary Tour placed the conversation within a night tied to both the label’s ten-year milestone and the reopening of Space Plus Bangkok during Songkran. As one of the newer artists connected to STMPD RCRDS, NOME has started to gain attention through recent releases including Other Side, along with performances alongside Martin Garrix, including appearances at Ushuaïa Ibiza. His recent output focuses on melodic records that still work in club sets, something he continues to test in his performances before release, often playing unreleased tracks across multiple shows. In conversation, he spoke about developing Other Side over several months, working with Alessia Labate on the topline, and adjusting the track to sit between an underground club record and a more accessible format. He also reflected on his first time playing during Songkran, the reaction from Bangkok crowds, and how his recent run of shows in Asia is pushing him toward more festival bookings while continuing to introduce new ideas in his sets.
Being here for the STMPD RCRDS 10-Year Anniversary Tour at the reopening of Space Plus Bangkok during Songkran week, how does it feel?
“It feels really special. I’ve been to Bangkok multiple times, but this is my first time during Songkran. I love the energy. It’s special to be outside and see everyone with the water. It’s also my first official STMPD RCRDS show. I did Ushuaïa with Martin Garrix last summer, but this is my first STMPD event, so I’m really happy to be here and I hope to come back soon.”
Your recent release Other Side just came out last Friday. Can you walk us through the creative process behind the track?
“I wanted to create a real underground club track, and I tested it for about six months in my sets. At a certain point, I felt like it needed to be a bit more accessible, so I added a topline for the breaks. I worked with Alessia Labate, who wrote the lyrics. I didn’t change much on the instrumental, and that’s how Other Side came together. I’m happy it’s out on STMPD RCRDS.”
Your sound is more melodic compared to some of the heavier tracks on the label. When you’re playing live, like you did tonight at Space Plus Bangkok, how do you decide what goes into your set?
“I’ve made a lot of music in the past couple of months, so around 70% of my set was my own tracks, including unreleased ones. If you listened closely, you might have heard some IDs. I like combining melodic tracks with harder club records, and I think that balance works well.”
You’ve just finished your set here at Space Plus Bangkok. How did it feel?
“It was amazing. I love the Thai fans. There was a group right in front of the booth going crazy, and that gave me a lot of energy to go all in as well. I loved every second.”
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This night in Bangkok adds a different point in NOME’s schedule, with his first time playing during Songkran placing the set within a setting he had not experienced before. At Space Plus Bangkok, the timing also connects to the STMPD RCRDS 10-Year Anniversary Tour, where his appearance sits within a lineup that reflects how STMPD RCRDS continues to bring newer artists into its shows during a milestone year.
His recent run of releases and performances shows a clear direction, with tracks like Other Side being tested across multiple sets before release and new material continuing to appear in his performances. That approach links directly to what comes next, with a focus on playing more festivals while continuing to introduce new ideas in his sets. In that sense, the night in Bangkok does not sit on its own, but connects to a stage where his work in the studio and time on tour continue to move forward alongside STMPD RCRDS.
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