Interview

Devin Wild on “Among The Noise”: Fusing Hardstyle and Hard Techno with Industrial Experimentation

Published

8 months ago

January 12, 2026

Devin Wild’s latest EP “Among The Noise” pushes genre boundaries by blending Hardstyle and Hard Techno into an underground, experimental sound. In this exclusive interview, Devin Wild discusses “Among The Noise” while sharing his production philosophy and his evolution from child prodigy to innovative producer.

Devin Wild on the Creative Vision Behind “Among The Noise”

“Among The Noise” is a fusion of Hardstyle and Hard Techno. What inspired this creative direction? How do you maintain your signature sound while exploring different genres?

“Among The Noise” represents the culmination of my experimental journey. Since I started doing these experimental EPs, the underground techno sound has played a major role. Certain ideas come into their own within this sound. Moreover, this style lends itself to more straightforward and dark flows.

Personally, I think you always retain your own style. You need to make choices that you really feel deep down and stand behind them 100%. Everyone is unique with their own mind. As long as you are the purest form of yourself, your style remains intact.

The EP features previously released tracks including “Chaos (Always Comes)” with Nathalie Blue, “Dance With Madness,” and “Hit Back,” along with the new “Silent (Left The System).” How do these four tracks work together to tell a cohesive story?

Musically speaking, all tracks follow the same vision by focusing on a more underground, yet out-of-the-box sound. There are choices I might not make in more normal tracks. However, “Among The Noise” gives me plenty of room to experiment. All vocals were written with that same idea in mind.

Devin Wild’s Industrial Production Techniques

You’ve described “Silent (Left The System)” as industrial and fierce, yet it’s unmistakably Devin Wild. Can you walk us through the production process and what elements you used to achieve that balance?

With this track, the Hardstyle producer wanted to focus more on dance floor-oriented elements. Industrial can quickly tend toward dark and obscure, which I absolutely appreciate. But here I wanted to keep the musical theme lighter and more open instead.

The sampler-style piano chops work perfectly for this, as do the high-pitched vocals. Additionally, the breakbeat elements tie it all together. In my opinion, these choices create the perfect balance.

The EP is described as playing “like a single trip” with cinematic bookends. In an era of single-track consumption, how important is the complete listening experience, and what do you hope audiences gain from it?

Projects like “Among The Noise” let you work within a certain style and theme. With this project, I wanted to try new things and explore new elements and song structures that I don’t usually do very often.

I approach such a project with certain thoughts and feelings. How I feel at that moment matters. The phases I’m going through influence the music, and with all that in mind, I work on the project.

I link all the components together, including visuals and lyrics. Through this, I hope to take people along in my processes without having to explain everything too literally.

Devin Wild’s Evolution: From Child Prodigy to Hardstyle Innovator

You started producing at just nine years old. Looking at your journey from tracks like “Into The Night” in 2015 to “Among The Noise” today, how has your production philosophy evolved?

My musical development runs parallel to my personal development. When I think back to how I was as a person then compared to now, the shift is easy to explain. As I’ve gotten older, I’ve started to think differently about music production.

I weigh choices differently now and value a certain form of integrity. Furthermore, I often try to challenge myself by trying new things. Your taste naturally changes as well. All of this is a fairly natural process for the Dutch producer.

Devin Wild on Collaboration and His Creative Process

Collaborations have been a major part of your career, from viral hits with Sub Zero Project like “Meltdown” and “DSTNY” to your 2018 mini-album “Maze Of Revelation” featuring Psyko Punkz, KELTEK, D-Sturb, and Warface. How have these collaborations influenced your approach to this more experimental, solo-focused EP?

Devin Wild notes this was the first project where he worked within a specific theme. In terms of musical vision, it doesn’t have much to do with what I’m doing now. Nevertheless, I learned from the processes involved in those individual tracks.

“Chaos (Always Comes)” features vocalist Nathalie Blue. How do you approach the decision of when a track needs vocals versus remaining instrumental? What role do vocals play in your creative vision?

Vocals can often serve as an element of recognizability and give a song a clearer structure. When I start working on a track, I often know what my goal is and what it needs to achieve that goal.

Looking Back at 2025 & What’s Next for Devin Wild

2025 has been a breakthrough year for you. Was there a defining moment that made your music stand out this year?

I can’t name a specific moment. For me personally, continuing to develop and learn new things is most important. Meeting new people and working with them matters greatly. Staying active is key, and looking for ways to improve and innovate drives me forward.

What can we expect from Devin Wild for 2026? What are you most looking forward to for next year?

I will do my utmost to keep seeking fresh perspectives on innovation. New projects are on my to-do list, along with exciting collaborations. Ultimately, I’m committed to pushing the boundaries of what’s possible in electronic music.

Devin Wild’s “Among The Noise” is available now on all major streaming platforms. The EP showcases his bold vision for the future of Hardstyle and Hard Techno fusion. Experience the full journey of “Among The Noise” and discover why Devin Wild continues to push the boundaries of electronic music.

Devin Wild Social Media Links https://www.instagram.com/devinwildnl https://www.facebook.com/devinwildnl https://x.com/devinwildmusic https://soundcloud.com/devinwildmusic https://www.youtube.com/devinwildnl

SCANTRAXX Social Media Links https://www.instagram.com/scantraxx https://www.facebook.com/scantraxx https://x.com/scantraxx https://soundcloud.com/scantraxx https://www.youtube.com/scantraxx https://www.scantraxx.com

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Interview

Reefer and Remixes: Wuki talks Sabrina Carpenter, Los Angeles vs. Denver and more at North Coast Music Festival 2026

Published

1 day ago

September 10, 2026

Dylan Smith

Ask anybody for an EDM remix of an all-time classic and there’s a good chance they pull out a Wuki tune, EDM House Network catches up with him.

Co-signed by Skrillex, Diplo, Valentino Khan, and more, Wuki has become one of the forerunners of viral dance music remixes, blending genres in the trap, house music, and electro scenes. Now, EDMHouseNetwork sat down with the electronic music icon after his headline show at North Coast Music Festival, to talk his love for weed, his early inspirations and more. Check out the full interview below:

Q: How does North Coast – just kind of the atmosphere – compare to some of the other festivals that you played at, and how does that kind of change your set list and plan as you go through?

A: Man, that’s a good question. So I never really know if I should go like houseier or bassier, bass year in Chicago. I feel like they like everything. So, really, at the end of the day, I just do me. I don’t really like think about it too much. I don’t even plan my sets these days. I just go up and I just like I have a bunch of shit to go to and I like I play. I don’t know, but um, I mean the vibe in North Coast is awesome. Like, it’s uh like it seems like it just keeps growing every year, and like people just I could tell people love it, and like yeah, it’s just it’s probably one of the dopest festivals in America.

Q: You’ve put your own touch on a lot of iconic records. “Ain’t it fun,” “Sunshine,” and now “Eye of the Tiger.” How is the creative process different from touching an iconic record like that and creating your own original track? And what’s kind of enriching about each?

A: I mean, I try to always like stay true to the song when I remix, and like keep the song intact. Like a lot of remixers, they’ll like take the like you could take a sample and just totally flip it so it doesn’t even sound like the song, right? Basically what I try to do is make a dance floor ready version of the song, and so I like to keep parts of it intact and like try and use the parts that are like most iconic and like use them in a way that is ready for the dance floor. That’s my goal when I remix. So yeah, I mean, and when it when it hits right, and I hit one that works really well, it’s hard to describe it. It’s just a really great feeling when I get the approval from the original artist, I get all the labels on board. I get all the writers on board. Fucking Smokey Robinson shouting me out for sunshine, like that’s crazy, you know. So yeah, it’s super cool, super rewarding, and I love that I just get to be like created this own path for myself, basically.

Q: Going from Denver to Los Angeles, what’s kind of different about those two EDM scenes? And do you think the change in scenery has kind of changed your sound or style at all, based on the environment in each city?

A: Not really. I do, I just do my thing now. I mean, I think, I think obviously Denver is more bassy, more heady, more. You know, I mean, I don’t even want to say that because like House is really big in Denver too. Like Dom Dolla did Red Rocks, Chris Lake did Red Rocks, I think. And so, I mean, obviously, dubstep’s probably bigger there. Like, I’m sure Subtronics could do seven nights at Red Rocks if you wanted to. But I don’t know. I think I kind of just stick to my own thing anyway. I’m not too influenced. I mean, these days I just really like being in the sunshine and enjoying the sun. So I tend to make like brighter music when I’m in the West Coast stuff like that.

Q: I know you started off with your electronic rock band in the early 2010s. How do you kind of take that sound and blend that into the artist that you are now?

A: I don’t know. I mean, I guess I always liked like energetic music. Like even when I was like before I was in the band, I was in like rock, like heavy rock bands, like like metal and stuff like that. So I always like stuff that like pump me up, and I think that has kind of been the common thread with everything. I don’t make, I do make some chill music, but for the most part, it’s all pretty energetic.

Q: Which record of yours would you say you kind of stepped outside of your comfort zone with most, and what about it particularly was challenging for you?

A: Man, that’s a good question. Oh, I got it. I just did a remix for Majid Jordan. I don’t know if you know who they are. They just had like a new album right now, and I I know Jordan. I know the one guy, and so he sent me the stems, and it’s definitely way different than something I usually do. But I love them so much that I wanted to make it work, so I ended up making this kind of like deep tech thing that is like usually not something I make, but so that came out pretty cool though. I think.

Q: I know R&B is kind of one of your early passions, some of the inspiration. Majid Jordan specifically. Have you taken any of those elements from non EDM artists and blended it into your music and if so, how?

A: I mean, I think I’m a pop music junkie. Like, I love pop music, so I’m always looking for like earworms and like, like, kind of like things that will…

Q: Any particular artists?

A: I love Katy Perry. I know she gets a lot of hate now, but I love Katy Perry, and I love, I really like Sabrina Carpenter too. I think she’s great. And so I don’t know. I think I’m always, the way I kind of produce music is I’m trying to make a hook. Like I’m always trying to find like a good hook to use. And to me, like it’s not all about the sound design and stuff. Like it just has to hit and like fill that role really well, but it’s got to have a good hook, no matter what.

Q: Also, from Denver to LA, I gotta ask, who’s got the better weed?

A: Oh man, dude, it’s all so good now. Honestly, I’m at the point where I need I need meds again. Yeah, all the weed is too good. So I don’t know. It’s I think Denver though, because, this is the real reason why Denver weed is better, is because it’s drier. So you get more bang for your buck, and you get it like you get it, and it like all like breaks up, and then like I like that, and then you like pack a bowl and it like rips really hard.

Q: Pick four DJs: dream blunt rotation.

A: Tiesto, Carl Cox, Sara Landry, and Subtronics.

Q: Any records that people should be watching out for coming out?

A: It’s actually going to be me a collab with Notorious BIG, which is fucking nuts. I did a remix of “Big Papa,” and it got really big online, so they’re we’re putting that out. Officially cleared. Should be in like the next two months. And then I also have a remix for Starship’s “Nothing’s Gonna Stop Us Now.” That’s coming out like literally next month.

Be sure to stay up to date here on EDM House Network as we continue to bring you the latest news on new releases and artist interviews from festivals around the world.

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Interview

Danny Eviza Talks New Single ‘Good, Bad, Ok’

Published

3 weeks ago

August 23, 2026

Dylan Smith

Danny Eviza sitting on a wall with a laptop in front of the illuminated Colosseum at night

Danny Eviza’s latest release “Good, Bad, Ok” arrived almost by accident, built entirely around a chance discovery of Sam Welch’s voice.

Danny Eviza‘s latest release “Good, Bad, Ok” arrived almost by accident. What began as a chance discovery of Sam Welch’s voice turned into a full collaboration, with Eviza building the entire instrumental around Welch’s melodic demo rather than the other way round. The result is a deep, UK Garage-tinged production that leans further into the more melodic, emotionally driven sound he’s been developing across his recent work, out now via More Than A Feeling and Lilyera. We caught up with Danny Eviza to talk through the making of the track, his first-time collaboration with Sam Welch, and where his sound is headed next.

“Good, Bad, Ok” is a very sentimental track. Was there a specific moment or emotion that inspired the production behind the song?

The track actually started in a very spontaneous way. There wasn’t a specific moment or story behind the production at first. I was looking for a particular emotional atmosphere, and the whole idea developed naturally from Sam’s vocal. Once I heard his voice, I immediately felt there was something special there, and I wanted to build a production around that emotion.

Is this the first time you’ve worked with Sam Welch?

Yes, it is. The collaboration actually happened almost by chance. I came across some of Sam’s music and immediately really liked his voice. I decided to contact him, and he sent me a melodic demo. I connected with it straight away and started building the entire instrumental around his vocal. That’s how “Good, Bad, Ok” was born.

How do you feel Sam’s vocals complete the production?

Sam’s voice was actually the starting point of the production, so in a way the instrumental was built around him rather than the other way around. His vocal already had a strong emotional character, and my goal was to create a production that supported it without taking away from that feeling. I think that’s what gives the track its atmosphere.

The track has been released on More Than A Feeling / Lilyera. What makes the label the right home for “Good, Bad, Ok”?

I’m really happy to be releasing “Good, Bad, Ok” with More Than A Feeling and Lilyera. I feel that the track fits very naturally with the sound and direction of the label. It’s always important to me that a song finds the right home, and I think this release is a great match.

Talk us through the creative process behind “Good, Bad, Ok”. Did the track evolve significantly from the initial idea to the final version?

The creative process was quite different from how I usually work. Instead of starting with an instrumental idea, I started with Sam’s melodic demo. I listened to it and immediately heard the potential, so I began building the instrumental around his melody and vocal. From there, the track evolved through the production, arrangement and sound design until we reached the final version. The original vocal idea was always the heart of the track.

Throughout your career, you’ve explored a variety of dance music subgenres. However, your three most recent releases share a similar deep house sound to “Good, Bad, Ok”. How does this track fit into where you want to take your sound next?

With this track, I moved a little closer to a UK Garage-inspired deep sound, mainly because I felt it suited Sam’s vocal better and helped me create the right groove around it. However, I still see myself staying within a chill and deep house style. In the future, I could also see myself releasing tracks with a darker sound, perhaps moving more towards Tech House. But for now, Deep House remains the style that inspires me the most and feels the most natural to me.

Do you see this more melodic sound as a potential part of your sonic identity going forward, or do you still want to keep experimenting with different styles?

I definitely want to keep experimenting. I don’t think having a recognizable sound means limiting yourself to one genre. For me, it’s more about developing an emotional identity while still being able to explore different sounds, tempos and styles. The melodic side is definitely something I want to continue developing, while keeping that chill and deep feeling that represents me.

Is there a specific message that you’d like listeners to take away from “Good, Bad, Ok”?

I think the main message is that it’s okay to simply be okay. We don’t always have to be extremely happy or completely sad. Sometimes we’re somewhere in the middle, and that’s perfectly normal. I hope listeners can connect with that feeling and find their own meaning in the song.

Is there a particular element of the production that you’re especially proud of?

I’m particularly proud of the way the instrumental was built around Sam’s vocal. Because the vocal was the starting point, I wanted every element of the production to support it and enhance its emotion. I think the balance between the melody, groove and vocal is one of the strongest aspects of the track.

Looking ahead, what can fans expect from Danny Eviza following “Good, Bad, Ok”?

There is definitely more music coming. I’m continuing to work on new productions and collaborations, and I’m exploring this deeper and more melodic side of my sound even further. At the same time, I don’t want to limit myself, so in the future there could also be some darker and more Tech House-oriented releases. For now, though, Deep House remains my strongest source of inspiration.

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Interview

Ørjan Nilsen Talks New DJ MEETCH Collab ‘Body On Me’

Published

3 weeks ago

August 21, 2026

Dylan Smith

Ahead of his new single with DJ MEETCH, ‘Body On Me’, Ørjan Nilsen sits down with EDM House Network to talk collaboration and staying fresh.

Rising US producer DJ MEETCH kicks off the first in a run of major new music releases with hot new single ‘Body On Me’, a collaboration with everyone’s favourite Norwegian dance superstar Ørjan Nilsen, dropping August 21st on Robotic Rumbling Records.

The track, which sees the pair unite in the studio for the very first time, is a high octane slice of bouncing electro peppered with vocal stabs and swaggering, jacking synth lines that gradually build up to a rushing, euphoria-tinged drop. It’s an emotive dance floor banger that perfectly encapsulates the production values of both artists, as DJ MEETCH explained:

“I have always had a vision of what I want my music to sound like and what my brand would be about. ‘Body On Me’ is the perfect reflection of that – it’s energetic, yet emotional, it allows for people to see the dancefloor as their safe haven, it’s groovy, it’s fun, it’s just a song for the people. I am everyone’s favourite robot, I am a man of the people and I want to bring groove, joy and happiness on the dancefloor.”

Speaking about the experience of working with Nilsen, whose 20 year career has established him as one of the biggest influences from the North European electronic circuit, MEETCH said: “Working with Ørjan was such an amazing experience – he brings so much legacy and knowledge, and I think together we managed to bring a perfect balance between melodic house and peak groove energy. I can’t wait to see how people connect with it!”

As ‘Body On Me’ finally lands on the dance floor and global DSPs, EDM House Network got the chance to sit down with MEETCH’s collaborator – and all round clubbing legend – Ørjan Nilsen to get his take on the single, working with the young US producer, and how he still keeps things fresh in the studio and on the dance floor after 2 decades in the business…

Hi Ørjan, welcome to EDM House Network! Where are you in the world right now and what are you doing?

Ø: Hi guys and thank you! Right now I’m at home, just came back from Street Parade in Zürich and getting ready for Park Beats Festival in Poland this coming weekend.

Congrats on the new single with MEETCH, Body On Me. What was it like working together on the track?

Ø: Thank you! Oh it was so much fun, it’s always good stepping out of your comfort zone and working with new talented people, and Meetch is such a nice guy it just flowed.

You’ve said that MEETCH “reminds you why you fell in love with music in the first place.” How did he do that, and why had you forgotten?

Ø: Just the joy he has for it and the pure happiness it creates starting up. I’ve been doing this for 20+ years and even tho I haven’t forgotten, travelling for so long and working so much sometimes mean that you kinda forget how lucky you are in the end, being able to do this. The love for music and playing it tho? Will never be forgotten or go away.

You’ve had a long career, and you don’t seem like you’re going to stop any time soon. How do you stay fresh and relevant?

Ø: Not a chance!! I love this too much. Learning new techniques and dabbling with other genres creates a lot of inspiration and creativity. I think if you stop and refuse to embrace other genres or even changes in your own you’re doomed to stagnate. So far, I just love the journey of finding out new things.

It looks like you have a lot of fun making videos for your socials – are you as friendly and crazy in real life?? Is there an Ørjan Nilsen the performer, and a private Ørjan Nilsen, or is what we see what we get?

Ø: sometimes when I look at the videoes I reeeaally really wish it was a made up persona (cause God that guy can be a bit embarrassing haha) but unfortunately, I can’t even blame that… So I guess what you see, is what you get.

How was it remixing Darude’s Feel The Beat? Is it true that he performed at your school when you were a kid?

Ø: It was like a full circle kind of moment, and that track was actually my favorite of his. Yes not Sandstorm! Haha he did perform at an elementary school up here in Kirkenes, not mine tho! Was already out of elementary school at that time. Was so surreal!

Do you think trance music will ever be as dominant as it was back in the 2000s? Would you like to see it come back or do you think there are new genres of music that are more interesting these days?

Ø: I think the borders between genres are getting more and more blurred, for better or for worse. And yes, the share melodic aspect of trance means it’ll never lose potency within music, there will always be trance. Whether it’s gonna be as big as that era I have no idea, but I do think it’ll still be a major part of festivals and the clubscene for maaany years to come, in some shape or form.

We heard there’s more new music coming up from you and MEETCH, can you tell us more about that?

Ø: That is true!!! Can’t disclose too much yet, except it’ll be released on my label «In My Opinion» and cannot WAIT for it to be released!!