Interview
DJ Bander Talks How To Make Money Doing What You Love, Growing On Social Media & More
DJ Bander is a multi-millionaire investor, entrepreneur, composer, and producer originally from New York and now based in Los Angeles. DJ Bander (Zach Schnall) not only wears many hats but is a wealth of knowledge on a myriad of topics such as finance, digital marketing, music production, and branding. Put simply, DJ Bander is an expert on how to actually make money (real money) doing what you love.
What advice do you have for DJs and producers when it comes to social media marketing and branding?
What I always tell DJs and producers is to focus on production first and make sure that what you’re doing is original work. Itâs hard, and even I was tempted when I was coming up as a producer, we had to program everything, it was like drum programming and synth programming and making the sounds and everything. Now, anybody can be a producer because you can take four loops from splice and make a beat and loop it and now you’re a producer. I think that a lot of these young people are not getting the traction with it because people are going to relate to something that sounds unique and original. I think if you really want to separate yourself as a producer, you really need to also study musicianship. Play an instrument, understand music like actually know how to compose and not just be a programmer so that would be the first thing is the best producers are the ones who are brilliant programmer mixers combined with composers.
Then the other thing completing works. Every producer I know, including myself, we have those top 20 tracks we’re working on right now and they’re all so cool but they’re all not done. What my business partner who’s my dearest friend, he has been so good for me in my life, because not only is my partner but he also is one of my top engineers and he knows, he’s every month he’d be like forget your top 20 I want your top five now. I want you to email me your top five songs and then from the top five he’s like, these three we’re getting done in the next 30 days. I want this, next week we’re booking Wednesday in the studio to complete this the next week, this the next week that you got to finish your stuff. You don’t need a hundred great ideas, you need three to five tightly finished records finished, mixed and mastered and a marketing plan for them. So, I think that like really if you notice the producers and the DJs who really shine are the ones who’ve really completed works and I’ve been consistently marketing those completed works.
So, I want to talk a little bit about all your amazing accomplishments that led you to where we are today, one being the remix that you did for Katie Perry that’s huge. Can you walk us through the creative process for that and how did you go about achieving that?
A big thing that I did during that period of time that is really interesting is that my original following from electronic music was actually from remixes. With the Katy Perry one, while it didn’t end up being placed on her actual record it did make the final 10 of all of those remixes. So, it got promoted on all the big channels on Twitter back when Twitter was really popping, so it was on like the Universal pages and on the Katie Perry fan pages. You know, I tell people it’s not as much that my best remixes that were really successful or that I was any more talented at
doing them or that I did a better job on that one, it was almost like certain remixes just worked in the best way. What I mean by that is like that Katy Perry song âCalifornia Girlsâ fit perfectly with the type of EDM beats that I’m good at making. So, it was like the vocals and the arrangement because it was just perfectly done and it was perfectly sitting close to the BPM, because it was popular at the time. I think that it just felt very easy and natural and flowing to build a remix to it. I’ve been sent other projects like where the vocals are just like I love the song but it’s just like oh it’s so frustrating and hard to kind of come up with the beat around it because it just doesn’t sit right.
So, I think with the remixes with that one, it’s a combination of knowing how to really finish and making a solid remix in a fast amount of time. That was another element of it and it’s interesting sometimes when you have time pressure you almost do a better job. I only had like four days to do that remix. I was literally just cranking it out and part of what worked about that was like I didn’t focus on making lots of different instruments because I didn’t have time. I didn’t have time to like try this and try that and fiddle with a thousand different like experimental synth plugins. I went right with my bread and butter with the bass plugin, I know the synth plugin I use all the time. I didn’t try to go outside of my wheelhouse I was like okay I’m just going to focus on a solid hard kick a dope a dope Baseline and smooth pad and that’s it. So it ended up coming out really good because I think I didn’t put any fluff into it. I just banged it out and it ended up coming together in a tight way. So, with remixes, I have so much respect for these guys who just do all these big complex remixes because remixing is really, really, really hard.
Remixing is harder than making original pieces of work because you have to adapt your production to another producer and vocal arrangement. I’m a big fan of chess, remixing in a way reminds me of chess and the fact that like you can be a great chess player, but if you’re not used to the style of the opponent that they’re that they’re playing you’re going to lose, they’re going to smoke you. They’re coming at you and they have a different strategy way of handling it and that’s the same thing with remixes. If you don’t know how to get into the mindset of another producer, you’re never going to be a good remixer.
What tips do you have for artists or people who are just starting a brand when it comes to financial management, because you did mention investing in yourself putting money into different things, but how do you make smart financial decisions while still having fun staying true to your brand enjoying life?
It’s hard. Look I mean I’m not going to deny it’s very hard, the economy is getting more difficult I was very lucky. Iâm a little bit older now, but I was very lucky that in the early stages when I when I when I started making money, I was very frugal with it and I reinvested it and I saved it. I mean that’s the most important thing the first and foremost thing that I that I teach young people who are starting to make money or figuring it out is you have nothing to prove to anybody else the only thing you should want to do with your money is to be able to enjoy looking at your accounts going up and seeing those that your investments are doing well. You don’t need to prove to other people things with cars or clothes or lifestyle.
The main mistake that young people make as their money income increases is they try to match it with their spending and in many place they exceed it. So if they’re making you know 5,000 a month they live a 7,000 a month lifestyle you know when they start making 10 they try to show off a 12 to 20,000 a month lifestyle with 10 coming in. That’s a huge mistake. If your spending only goes up by about 20 to 30% of your earned income, you’re always going to have money. It’s like simple math. Itâs like you know calorie deficit you know so it’s like if you are always saving more than you’re spending or at least making sure that your savings rate is at a strong level you’ll always be in a good position.
So, that’s the first thing and the second thing is you have to be able to provide a service and a skill set. People want to just be paid for their art and unfortunately, we don’t really live in that world as much anymore. You must look at it as more that you give your art away to monetize your brand and that’s something that a lot of young musicians don’t understand so they’re focusing on making music but you really need to focus on services. Meaning like what is it that you offer to other people that is monetizable. Part of my success is that I have a range of service skills. Obviously, I’ve invested in real estate that’s not as much service but I understand how to put my money to work and to do something with it. I’ve learned how to do marketing, I know how to engineer, I can make Productions and do vocal stuff for other artists and clients. So, there’s a lot of different things that I can do. Iâm a consultant, I’m a business investor consultant so I focus on providing value to other people and I think that’s something that young people really need to focus on. If you’re a great beat programmer, awesome, figure out can you know figure out a way to monetize your services for other big producers. Or let’s say you’re a really great producer at making uh Tempo changes, okay dope, I would like especially like when I get a big remix project there’s a lot of there’s a lot of things that I wouldn’t necessarily want to do with my remixing like that I don’t need to I’d rather focus on programming so I would pay a younger producer. I would say, âhey could you get these vocals to like 128 for meâ and then I’ll just pay you for that and then I’ll focus on making the track and the remix. So, the young people that I know who are doing well in the industry know how to monetize their service. Then they can always earn money. So that’s something that’s important.
Then when it comes to investing in your brand, it is something that’s important to do. Itâs a tough reality but if you don’t put money into your stuff, it’s really not going to go anywhere. People look at these people who are just posting videos and getting tons of views and they’re like wow like how they do like to be honest if you look at if you deep dive a lot of these girls these beautiful young girls that have like insane views on Tik Tok most of them if you notice have come from some money. Someone invested in them, they had Tik Tock ADs, they did something to get the ball rolling to make their stuff get more viral. You don’t see like them on very inexpensive phones in like crummy little apartments and they have like a million something views. Thereâs no shame if you must work a regular job or have to do something to get the bills paid so you can invest in build this brand. You can start a side business, that’s even better too. So, it’s about building your value and um you know really just focusing on that and making yourself something that you can always monetize with beyond the music.
This interview was originally published on the Drop Bass Not Bombs podcast and an excerpt has been transcribed for this article.
Interview
Fede Spamer’s ‘Silence’: New Melodic Techno Track & Creative Process
Fede Spamerâs latest release, âSilenceâ, marks a new shift in the Argentine Producerâs artistic direction. Known for his emotive production and subtle sonic layering, Spamer leans into a more introspective space with this track, balancing ambient textures, evocative vocals, and a restrained but resolute energy. Itâs a work born out of doubt, yet shaped by creative persistence, capturing the quiet tension of uncertainty and the gradual pull toward clarity.Â
We sat down with Fede to explore the creative process behind âSilenceâ, and how this track reflects a deeper evolution in his sound and mindset.
Hi Fede, how are you doing?
Hi! Iâm doing great, thank you. How about you?
Letâs start with the creative spark â where did the initial idea or emotion behind âSilenceâ come from?
Silence came together at a time when I was dealing with a lot of self-doubt. It was during a quiet period I took for myself, right at the beginning of fall in Argentina. The cold weather was starting to come around, and since Iâve never been a fan of the cold, that season always makes me feel a bit sentimental. At the time, I wasnât feeling very inspired and wasnât happy with the tracks I was working on. But I knew I wanted to use spoken words. When I found these, they perfectly captured what I wanted to express. They took me back to a time years ago when I was also doubting my path in music. I wanted Silence to sound like a conversation youâd have with yourself, that inner voice reflecting, feeling close to giving up but not quite, and deciding to keep going and keep believing that you can make it.
What kind of mood or energy were you aiming to capture with this track?
I wanted to capture a mood that felt introspective but also hopeful. The track has this sense of quiet energy, almost like being suspended in your own thoughts, but thereâs also a subtle energy pushing you forward. Itâs not a sad track, even though it comes from a nostalgic place. Itâs more about acceptance, reflection, and finding calm in uncertainty. I also wanted it to have an abstract feel, something open to interpretation, where listeners can connect with their own emotions and thoughts. I wanted them to feel that quiet space where doubt turns into motivation.
Was there a moment in the production when you felt the identity of the track really locked in? What came together to make it feel complete?
This track actually took longer to produce than usual for me. It really started to take shape once I managed to organize the vocals and find ways to make them feel like an introverted conversation. That was the moment when the identity of the track began to come together. I also spent quite a bit of time refining the chords, both in the main section and the breakdown. I used NI Kontakt 8âs Glaze 2 to layer choir-like sounds with the synths, which helped give those chords a more emotional and textured feel. Thatâs why the chord progression carries a melancholic yet uplifting energy. It was a very detailed process, and I wish I could show you the MIDI because every note, section, and layer was placed with intention.
The female vocal stands out as a distinct element. What drew you to this particular sample, and how did you shape it into the mix?
It really started with the line âOh darling, what is the meaning of life?â and everything just flowed from there. I spent many hours experimenting with different phrases until it began to feel like a real conversation, almost like a phone call with your inner self. Thatâs why, at the beginning of the track, I placed a faint beeping sound in the background that resembles the tone of an old phone hanging up, as if one part of you has ended the call but another part still wants to stay on the line. The story continues until it ends with âDeep into the silent nothingness,â which isnât about giving up, but more about surrendering to the moment and choosing to stay on the line anyway. The track concludes with the beeping sound alongside an uplifting lead, symbolizing both the end of the thoughts and a sense of forward motion. When mixing the vocal, I added delay effects and reverb to give it a distant, reflective quality, almost as if the voice is bouncing around inside your head. I also used FabFilterâs Saturn 2 to add saturation, which gave the vocal a bit more warmth and to make it sound slightly distant at the same time, and T-RackS Mic Room to help it stand out in the mix.
Compared to your previous EP âLove Missionâ, what new ground does âSilenceâ explore for you â sonically or emotionally?
With Silence, I wanted to move toward a more melodic techno feel. Love Mission had a brighter, more uplifting energy, while this track goes deeper both sonically and emotionally. I focused more on atmosphere and texture, building layers that feel immersive rather than straightforward. It has a slow emotional build that reflects the kind of space I was in when I created it.
Letâs talk production â were there any specific tools, synths, or plugins that played a key role in shaping the sound?
For this production, I used many new plugins. It was the first time in a while that I upgraded my setup, so I wanted to experiment with different sounds and textures. I worked mainly with Native Instruments plugins and synths, but the main chords and synths started with Serum, which is still my go-to. From there, I layered other elements using Massive and Kontakt 8âs Glaze 2 and Natch for the leads. The bass also came from Serum, while for the echoes I used Replika XT, which was new to me and quickly became my favorite delay plugin. I also used Solid EQ during the mastering process.
âSilenceâ moves with a real sense of momentum. How did you approach structure and progression to keep the energy evolving throughout?
For this track, I wanted the structure to feel like a gradual emotional journey that eventually leads to a powerful release. It starts in a very minimal and reflective space, almost like youâre entering your own thoughts, and then builds up into a more intense and energetic section. I focused on creating tension through subtle transitions and layering so that when the shift happens, it feels earned and emotional rather than abrupt. The idea was to guide the listener through that contrast between calm and intensity.
When it comes to balancing groove and texture, melody and rhythm â is this instinctual in your workflow, or do you make conscious decisions to guide that balance?
Itâs a bit of both. I usually start from instinct, just feeling out what works in the moment and letting the groove and textures build naturally. But once I have the main idea down, I shift into producer mode and start refining everything. I always say that I constantly move between artist and producer modes, where the artist side is about emotion and intuition, and the producer side brings structure and precision. I always end my tracks in producer mode, making sure every detail feels intentional and polished.
Looking at your process for âSilenceâ, what did you learn that youâre carrying into your next project?
That you have to trust your intuition. I was actually about to discard this track, but something told me to finish it. In the end, it felt like an upgrade in many ways, both creatively and technically. I learned that sometimes the projects you doubt the most can push you to a new level if you just trust the process and follow your instinct.
Finally, can you share what you have lined up next? Any upcoming releases we should keep an eye out for?
Yes! Iâm about to release a new single in a few weeks. Itâs actually a project I produced at the beginning of this year, before Silence. Right now, Iâm making a few adjustments and tweaks to bring it up to the level of my current workflow and techniques.
With âSilenceâ, Fede Spamer offers more than just a listening experience, as it showcases his own reflections on artistic vulnerability and self-belief. Built from moments of stillness and shaped by careful production choices, the track reveals an artist increasingly confident in letting the process guide the outcome. As he prepares to release new material, Fede Spamer continues to carve his own path defined by both emotional resonance and refined sonic craftsmanship.
Listen and Buy âSilenceâ Now:Â
Fede Spamer OnlineÂ
Spotify | Soundcloud | Instagram Â
Interview
Maike Depas Talks The Sphere 001, Kyronex, Where Hard Techno Is Heading & More
Italian DJ and producer Maike Depas is one of the rising names in the hard techno scene, known for mixing 90s rave energy with cinematic and psy-trance influences. After earning attention from DJ Mag Italia, Mixmag Germany, and FAZE, heâs now pushing his sound and visuals to new levels through his label, The Innovation Studio Records. With his new project ‘The Sphere 001’ and the launch of his futuristic persona Kyronex, Maike is stepping into an exciting new chapter. We caught up with him to talk about his latest work, his vision for hard techno, and whatâs coming next.
Hey Maike, thanks for speaking with us! How are you doing today?Â
Hey, thanks for having me! Iâm doing really well.
Iâve just come out of an intense period of production and creative work in the studio. Thereâs a lot of new energy flowing right now, and Iâm feeling inspired by whatâs coming next.
Letâs kick things off with your latest project, ‘The Sphere 001’. This long-form filmed live set merges hard techno with cinematic visuals, can you tell us about the concept behind it and what inspired it?
âThe Sphere 001â is the project that truly represents the evolution of who Iâve become as an artist. Itâs not just a set, itâs an immersive experience that connects music, visual art, and storytelling. I wanted to show how a DJ today can be more than a selector, someone who builds a universe and invites the audience inside it.
The concept comes from my symbol, the sphere, which for me is a bridge between two realities: the present and the future. It embodies balance, energy, and timeless beauty, the same values I try to translate through my music. The live set was recorded in a cinematic environment, with lights, lasers, and visuals designed to amplify the emotions of each track and turn sound into a physical journey.
Musically, itâs a blend of hard techno, psy-trance, and cinematic influences, powerful but emotional, raw but refined. Half of the tracks are my own productions, some unreleased, and the whole narrative reflects the tension, euphoria, and release that define my sound. For me, âThe Sphere 001â is a statement: a vision of what you will hear from me in 2026 across different stages worldwide.
The performance also introduces your new Kyronex identity, featuring futuristic fiberglass headpieces created with Tokyo artist Miq Han. How did this collaboration come about, and what does the Kyronex persona represent?
Kyronex is the visual and physical extension of my artistic identity, the point where sound, design, and the human form merge. Iâve always been fascinated by futuristic and cyberpunk aesthetics, and I felt it was time to bring that vision beyond music itself. The collaboration with Tokyo-based designer Miq Han was born from this idea: to create something that feels alive, not as a costume, but as a transformation of the body.
The fiberglass headpiece you see in âThe Sphere 001â was entirely modeled along the lines of my skull. It represents precision, speed, and evolution, a symbol of what I call the âus of the future.â Kyronex is not about hiding behind a mask, but revealing another dimension of what we are becoming as humans in a hyper-technological era. Itâs a bridge between biology and design, emotion and machine. Over time, this identity will evolve through new 1:1 elements, expanding into a complete visual armor that embodies my vision.
Youâve had an incredible past year with Hard Never Dies, a powerful compilation featuring SCARLETT., Akoriz, WarinD, and Marco Leckbert. What was your vision when curating that project, and how do you see it reflecting the current evolution of hard techno?
âHard Never Diesâ was born from the idea of celebrating a new wave of hard techno, one thatâs raw, emotional, and forward-looking. I wanted to bring together artists who each represent a unique perspective on this sound, from SCARLETT and Akoriz to WarinD and Marco Leckbert.
The goal was to create a compilation that feels like a snapshot of where the scene is right now, while also pointing toward where itâs heading.
For me, hard techno today isnât just about speed or aggression, itâs about energy, emotion, and identity. Each artist on the release brought their own world into the project, and together we built something that connects the underground roots of the genre with its evolving, more futuristic dimension.
âHard Never Diesâ is both a statement and a reminder: no matter how styles evolve, the raw spirit of hard techno will always endure.
Your track Back To You and the remix by Bonnie Strange hit the Beatport Top 10 and earned major streaming traction. What was it like the reaction to that?
The reaction to âBack To Youâ was incredible. It marked my first real step into a more EDM and festival-oriented sound, while staying deeply connected to my emotional and hard roots. Seeing it reach the #1 position on the Beatport Mainstage chart and resonate with so many listeners proved that sometimes itâs important to let emotions flow in their most primal form, thatâs when music feels truly real.
Bonnie Strangeâs remix gave the track a completely new dimension. It added a vibrant, euphoric energy that perfectly balanced my original vision. For me, this release was more than just a streaming success; it was a moment of artistic transition, showing how my sound can evolve while keeping its soul intact.
2024 saw the release of Sexy Devil Horse on your own label, The Innovation Studio Records, with features from Luca Agnelli, OGUZ, and CHRS. How important is it for you to build a platform for collaboration and innovation through your own label?
The Innovation Studio Records has always been more than just a label for me, itâs a creative ecosystem where collaboration and experimentation come first. With âSexy Devil Horse,â I wanted to highlight that philosophy by bringing together artists like Luca Agnelli, OGUZ, and CHRS, who each represent a different side of the hard and emotional techno spectrum.
The goal of the label is to connect visionary artists from around the world and give them the space to express themselves freely, without boundaries. I believe innovation happens when you combine different minds and energies in the same room, thatâs exactly what The Innovation Studio Records is built for. Itâs not just about releasing music, but about shaping the sound of the future together.
With support from outlets like DJ Mag Italia, Mixmag Germany, and FAZE, youâre quickly becoming one of the most talked-about names in European hard techno. How do you feel about that?
Itâs honestly an incredible feeling. Iâve been building this project step by step, driven purely by passion and a clear artistic vision, so seeing major media outlets like DJ Mag Italia, Mixmag Germany, and FAZE recognize my work means a lot. It tells me that people are connecting not just with the music, but with the story and the energy behind it.
At the same time, I try to stay focused on what really matters, evolving as an artist and keeping my sound authentic. The hard techno scene is growing fast, and I feel proud to contribute to its new wave with a futuristic and emotionally-driven approach.
Hard techno is evolving rapidly right now, blending influences from trance, industrial, and even cinematic music. Where do you see the genre heading next, and what role do you hope to play in shaping that future?
Hard techno is going through one of its most exciting transformations. Itâs becoming more hybrid, blending trance, industrial, cinematic, and even EDM influences, but what really matters is the emotional energy behind it. I believe the future of the genre will be defined by artists who can merge intensity with emotion, creating something powerful yet meaningful.
My goal is to help shape that direction by bringing a more cinematic and futuristic vision to hard techno. I want to push the boundaries of production and performance, turning each release and live set into a full voyage to another dimension.
As an artist who constantly experiments and pushes boundaries, how important is it for you to take creative risks and challenge the expectations of what hard techno âshouldâ sound like?
Taking creative risks is essential, itâs the only way to keep art alive. Iâve never been interested in following formulas or sticking to what people expect hard techno to sound like. For me, the goal is to evolve the genre without losing its raw spirit. That means blending different influences, from cinematic textures to psy-trance atmospheres and pure hard techno mayhem, and turning them into something new while keeping the same intensity that defines the underground.
When you experiment, you expose yourself, but that vulnerability is where the most powerful ideas are born. Every time I step into the studio, I try to challenge my own limits and build a sound that feels authentic, futuristic, and emotionally human at the same time.
Finally, thanks for taking the time to chat with us! Is there anything youâd like to share with your fans or tease about whatâs coming next from Maike Depas and The Innovation Studio?
Thank you for having me, itâs been a pleasure. I canât reveal too much yet, but whatâs coming next will push my project to a completely new level, both musically and visually.
With The Innovation Studio, my goal is to expand the platform globally and bring together even more visionary artists who share the same drive for experimentation. The next chapter will be about evolution, creating experiences that go beyond sound, where music becomes something you can truly feel and see. The journey has just begun.
Interview
Sandro Silva on ‘In Another Life’, Evolution, and Building a Legacy Beyond ‘Epic’
Over a decade after redefining the sound of big room with ‘Epic’, Dutch producer Sandro Silva returns with a more emotional and cinematic approach on his latest single ‘In Another Life’. In this exclusive interview, he reflects on his creative evolution, fatherhood, and the vision behind his label AVANTII Records.
‘In Another Life’ feels both personal and cinematic. When you were creating it, did you start from the lyrical idea of eternal love, or did the music itself inspire that story?
Thanks for the kind words to kick this interview off!
This song feels very personal to me, since Iâve experienced so many good things this year. That really influenced the song and its message, showing that love is truly eternal. The lyrics brought that idea to life, especially in combination with the melodies.
Youâve gone from shaping the sound of big room in the early 2010s to now exploring melodic and emotional house textures. What made you feel it was time to shift into this new direction?
Back then I was very young and more âclub-oriented,â so creating that big room sound, seeing it take over the biggest clubs, festivals, and radio definitely made an impact on me. I witnessed something I created going from very niche to mainstream.
Now that Iâm older, Iâm drawn to records that still have power but express emotion differently. Music that isnât just for big stages, but also fits a relaxed setting, like reading a book, having dinner or in a more romantic setting:). Iâve also been listening to music from the era I grew up more, which has influenced my current sound and shift as well.
Your early work, especially âEpic,â defined an era. Do you ever feel pressure to live up to that legacy when experimenting with something softer or more introspective?
I definitely felt that pressure when I was younger, but now I just try to have fun and focus on projects I truly enjoy. For me, the emotion and vibe during the creative process are crucial. If I start feeling pressure, the music loses its soul, if you know what I mean.
Becoming a father seems to have influenced your new creative era. How has that changed the way you approach the studio, both technically and emotionally?
Iâm much more focused on whatâs ahead rather than looking back. That brings a kind of calm energy into the studio, Iâm more relaxed now.
That balance really matters when youâve been in the industry for a long time. You need new, fresh energy to create something truly different.
AVANTII Records has become your home base for this new chapter. What kind of sound or vision do you want AVANTII to represent beyond your own releases?
It was always my dream to have my own label and release music that I believe will mean something to people.
Iâve always experimented with new sounds and genre combinations but not every label or A&R understood that. Now that Iâm in control, it feels amazing. I want to release music with deeper meaning, something you can feel in the melodies, use of sounds, and vocals.
In the future, weâll definitely be releasing music from other artists too. Iâll embrace anyone who thinks outside the box and dares to be different. Thatâs my motto, and Iâve always believed in it.
Youâve worked with artists across very different worlds such as Steve Aoki, W&W, Naeleck, Julian, MVNA, and Chris Crone. What do you look for in a collaborator today that you might not have ten years ago?
Now itâs all about the music itself. Ten years ago, we looked at different factors before deciding to collaborate. Today, itâs the art that matters and not the people behind it. Thatâs probably the biggest shift when I look back.
If you could go back to 2011 Sandro, the one about to release âEpic,â what would you tell him about the long game of being an artist in dance music?
Great question. Iâd tell him that staying true to yourself is everything. Itâs easy to get lost in this industry, mentally and musically, but staying grounded and authentic is what keeps your journey meaningful and future proof:)
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