Interview
Fede Spamer’s ‘Silence’: New Melodic Techno Track & Creative Process
Fede Spamer’s latest release, ‘Silence’, marks a new shift in the Argentine Producer’s 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. It’s a work born out of doubt, yet shaped by creative persistence, capturing the quiet tension of uncertainty and the gradual pull toward clarity.
We sat down with Fede to explore the creative process behind ‘Silence’, and how this track reflects a deeper evolution in his sound and mindset.
Hi Fede, how are you doing?
Hi! I’m doing great, thank you. How about you?
Let’s start with the creative spark – where did the initial idea or emotion behind ‘Silence’ 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 I’ve never been a fan of the cold, that season always makes me feel a bit sentimental. At the time, I wasn’t feeling very inspired and wasn’t 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 you’d 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 there’s also a subtle energy pushing you forward. It’s not a sad track, even though it comes from a nostalgic place. It’s 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 8’s Glaze 2 to layer choir-like sounds with the synths, which helped give those chords a more emotional and textured feel. That’s 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 ‘Oh darling, what is the meaning of life?’ 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. That’s 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 ‘Deep into the silent nothingness,’ which isn’t 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 FabFilter’s 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 ‘Love Mission’, what new ground does ‘Silence’ explore for you – 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.
Let’s talk production – 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 8’s 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.
‘Silence’ 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 you’re 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 – is this instinctual in your workflow, or do you make conscious decisions to guide that balance?
It’s 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 ‘Silence’, what did you learn that you’re 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! I’m about to release a new single in a few weeks. It’s actually a project I produced at the beginning of this year, before Silence. Right now, I’m making a few adjustments and tweaks to bring it up to the level of my current workflow and techniques.
With ‘Silence’, 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 ‘Silence’ Now:
Fede Spamer Online
When Kenyan artist Sofiya Nzau’s voice first echoed across dance floors worldwide in 2023, few knew the incredible story behind the vocals. Her collaboration with Zerb on “Mwaki” wasn’t just another dance track—it became a cultural moment that proved authentic voices singing in native languages could dominate global charts. In this exclusive interview, Sofiya Nzau Mwaki’s creator opens up about her unexpected journey from village church choirs to international stardom, and how one reluctant decision changed everything.
From Village Churches to Viral Stardom
Growing up in Kenya, Sofiya never imagined music would become her profession. She sang in church choirs, Sunday school groups, and school performances, but it was simply something she loved doing.
“I’ve been singing in school, in church. I was raised in church and I was always in Sunday school, junior Sunday school, the youths, and I’ve always been part of a singing group,” Sofiya explains. “But I never thought it would be like something professional. It’s just, I have a good voice and I can sing and I just want to sing.”
After finishing high school, she moved from her village to the city, where her husband invited her to join their church worship team. He was also a producer working with a band, and he saw something in Sofiya that she didn’t see in herself—the power of her native language.
The Ultimatum That Changed Everything
The turning point in Sofiya Nzau’s Mwaki journey came with what felt like a limitation. Her husband, who served as her producer, gave her an ultimatum: sing in Kikuyu, your native language, or don’t record at all.
“I was really angry, honestly, because I didn’t want to sing in my language,” Sofiya admits candidly. “I thought you can only make it if you sing in English or something else. So I felt like he was limiting me, but he knew what he was doing.”
The resistance was rooted in years of conditioning. Like many African artists, Sofiya had internalized the belief that international success required singing in English. Her native Kikuyu felt like something to move past, not lean into.
But when her husband gave her a chorus to sing in Kikuyu, something clicked. “It was so good. And I was like, okay, this makes sense because it’s not the traditional Kikuyu songs that I know. So this sounds different.”
Creating Hundreds of Vocals—Then Lightning Struck
Her husband introduced her to Fiverr and other platforms where she could create vocal samples for DJs and producers. They began uploading samples in Kikuyu, sending them to producers worldwide. It was a numbers game—create enough content, and something would eventually break through.
“I remember telling him, these are a lot of vocals. One of them is going to be a hit,” Sofiya recalls. “And we waited and we waited and we waited.”
Multiple producers used the Mwaki sample, but nothing caught fire. Then Dutch DJ Zerb picked it up, and everything changed.
“There are so many Mwaki songs and then Zerb comes with a sample and the song and boom, it’s international. It’s a big one and it’s opening more doors. And that was it.”
The Sofiya Nzau Mwaki Phenomenon Nobody Expected
What makes the Sofiya Nzau Mwaki story even more remarkable is that she almost wasn’t officially part of the track. When Zerb’s version went viral on TikTok, fans demanded to know who was behind those captivating Kikuyu vocals.
“For me it was just another song because the Mwaki sample was used so many times and I was like I hope it’s not Mwaki,” she laughs. “I actually had it put on my notes so that when someone asks for translation, I can just copy paste because they were asking for it so many times.”
But this time was different. The song exploded across TikTok, and comment sections filled with one question: “Who is the singer?”
“TikTokers are asking, okay, who is the singer? Because it’s not you. Every time he posts that post, who is the singer? Tag the singer,” Sofiya remembers. “I wasn’t supposed to be part of the song and I became part of the song because the world demanded for it.”
TikTok: The Great Equalizer
The role of TikTok in the Sofiya Nzau Mwaki success story cannot be overstated. The platform allowed the track to reach millions organically, with users across countless niches using it as a soundtrack for their content.
“I think in this age, especially these past years and right now, I think you need TikTok,” Sofiya explains. “People are doing a lot of videos and as they are doing videos, they need a background song and you want your song to be that background song.”
The beauty of TikTok’s algorithm meant that people selling products, creating dance videos, or sharing life moments could all use the same track, exponentially increasing its exposure. “Your song is just, you’re being marketed for free,” she adds.
One particularly memorable moment came when a popular EDM reaction YouTuber featured the Sofiya Nzau Mwaki track. She and her husband had been longtime fans of his content.
“We’ve been watching that guy react to songs with my husband and we’re like, yeah, that drop is crazy. That drop is crazy. We never thought it will be the song he’s reacting to,” she says with wonder. “That was a dream that we didn’t even have coming true.”
Kenyans Fighting for Recognition
When the reactor expressed surprise that the vocals weren’t in English, Kenyans flooded the comments with pride. “Kenyans are there saying, hey, excuse me, this is Kenyan, that is Kenyan. It’s called Kikuyu,” Sofiya recalls warmly. “Honestly, Kenyans fought for this song. They fought for recognition. And it was amazing to see them owning the win even for them, because it was not just for me, it was for the whole country and the whole continent.”
Breaking Down Barriers for African Artists
The impact of Sofiya Nzau Mwaki extends far beyond one viral song. By achieving global success while singing in Kikuyu—one of 56 languages spoken in Kenya—she’s helped shift perceptions about what African artists need to do to succeed internationally.
“It was like this thing you need to get over. You need to get over your accent. You need to get over shrubbing and all those things,” Sofiya explains. “But right now, we can just speak as yourself. You can be yourself. You can be authentic and you can sing like that.”
The change is already visible. “Nigerians have been doing it, which is amazing. And Kenyans are also starting to embrace it,” she notes. “People are starting to acknowledge their roots. And it’s cool for me to sing in my language because it wasn’t cool.”
The comparison to “Despacito” isn’t lost on her. “I don’t even know what Despacito is, but I love that song and it’s an all time hit,” she says. “You don’t actually have to” sing in English to achieve global success.
What Does “Mwaki” Actually Mean?
Interestingly, the Sofiya Nzau Mwaki lyrics tell a story about forbidden love—but most listeners, even in Kenya, don’t understand the words.
“So many people even in my country don’t understand the language. So they actually don’t know what I’m singing about,” Sofiya reveals. “I think what resonated more with people was the difference and that, wait, this is different. And it’s actually going big.”
It was the shock factor—proof that artists don’t need to conform to Western language standards to achieve international recognition. The sound, emotion, and authenticity transcended linguistic barriers.
The Creative Process Behind the Magic
Working primarily with her husband as producer, Sofiya’s creative process varies based on each project’s origin. Sometimes producers send instrumentals requesting vocals; other times, they build songs from scratch using just piano keys.
“There’s just a way where producers and vocalists just match each other’s energy and whatever everyone was looking for in a song,” she explains. “I don’t have like a specific, I work with how the song started.”
The timing of her breakthrough was also fortuitous. “Mwaki came in a season where outside artists or international artists were very hungry or were looking for something new from Africa,” she notes. “That gave me a very good opportunity to collaborate with other big artists who are in the dance music.”
Life in Kenya’s Music-Filled Streets
For those unfamiliar with Kenyan culture, Sofiya paints a vivid picture of a country where music is omnipresent. From matatus (local buses) to tuk-tuks, barbershops to street vendors, sound fills every corner.
“We have this thing in Kenya where everything has music. If it’s a shop, it’s a salon, it’s a barber shop, it’s a bus, it’s a matatu, it’s a tuk tuk. There’s so much noise outside, but most of it we listen to our local music,” she describes enthusiastically. “I tell people Kenya is so loud.”
The dance music scene is growing, but local Kenyan music dominates the soundscape, creating a unique cultural ecosystem where traditional and contemporary sounds coexist.
Looking Toward 2026: New Music and Independence
As 2025 closes, Sofiya reflects on two years of intense learning. Building her career alongside her husband meant navigating challenges together, making mistakes, and growing stronger.
“We’ve been learning and making mistakes and getting into holes and needing to come out of them,” she shares. “But at the same time, I’m so grateful for all the things that we’ve gone through because if we didn’t go through those things, we wouldn’t have learned the things that we’ve had to learn.”
Her primary focus for 2026? Releasing original music under her own name and stepping fully into her identity as a solo artist.
“I’m hoping to release a lot of my music. And I’ll start my journey as an artist without having to rely on someone else or another artist,” she reveals. “I am waiting also for some performances all around the world and just a big something. Just growth, just another step.”
After enjoying Kenya’s cherished holiday season with family and a New Year’s Eve performance in Zimbabwe, Sofiya will return with new music she’s been developing throughout the year. “We have amazing music in store. I’ve done a lot of songs and I can’t wait for my fans to hear them next year.”
The Legacy of Authenticity
The Sofiya Nzau Mwaki story represents something bigger than one artist’s success. It’s proof that the next generation of global music stars will sound more diverse, more authentic, and more representative of our world’s rich cultural tapestry.
Her reluctance to sing in Kikuyu transformed into her greatest strength. Her husband’s ultimatum, which felt limiting at the time, became the key that unlocked international doors. And her voice—singing words many listeners don’t understand but deeply feel—now bridges continents through the universal language of music.
“We don’t have to try to be people that we are not. And that’s the beauty of it,” Sofiya emphasizes.
As dance music continues evolving and seeking fresh perspectives, Sofiya Nzau stands as living proof that authenticity resonates louder than conformity ever could.
Spotify – https://open.spotify.com/episode/7zw6V9vRmoIsmqjqPv9Jhl?si=6f57384b28e04631
Connect with Sofiya Nzau
Find Sofiya Nzau’s music on all major streaming platforms. Follow her journey on Instagram and TikTok @SofiyaNzau to stay updated on new releases and performances.
DJ Morgan, producer and founder of HardNRG.com – one of the first major online platforms to promote hard house across the United States, showcasing exclusive sets from leading artists around the globe. His own productions and DJ mixes blew up his international profile, seeing him tour extensively and earn a reputation as a highly influential figure in the early US hard dance movement. We had the pleasure of catching up with DJ Morgan.
How did you first get into electronic music, and what drew you to harder styles like Hard House, Hard Techno, Hard Trance, and HardNRG?
I first got into the scene through underground warehouse parties in San Francisco in the early ‘90s. At the time, I was listening to Industrial & Hardcore (Ministry, Skinny Puppy, Front 242, Black Flag, Godflesh, etc) and loved the electronic influences. When I went to my first rave, it all came together: a scene developing before my eyes, opening me up to entirely new ways of thinking about music. My favorite sets often included the harder-edged sounds of oldskool hardcore, which went on to influence UK Hard House & Nu-NRG.
What was the underground dance scene like in the US during the 1990s?
A great reference for what the scene was like at that time is the documentary “Between the Beats” (IMDB). It was a very dynamic time where anything goes; it was all about exploration, experimentation, and optimism about what was possible. It was liberating because everyone was welcome, in came the positive vibes and out went the punk rock and industrial angst.
How did the US scene compare to Europe at that time?
Early on, it was quite small and renegade in our local scene. It had yet to transition into the huge outdoor festivals or well-established clubs in Europe. That did happen, but it took a little longer, which was fine by me, as those early underground warehouse-style parties were always my favorite. A focus on the music and people, away from the stage and performances.
How difficult was it to break into the harder-edged sounds in the US?
Towards the end of the 90s, we started to see the large-scale productions emerge, primarily for house and trance. If you went into your average record store, you might find only twenty or so records out of a thousand dedicated to the harder-edged styles. Fortunately, the internet was booming, and options existed like Juno Records & Banging Tunes to ship vinyl internationally. This was before the transition to CDJs in the early 2000s. Once you had access to the music, it was about diving back into the underground scene, and small renegade parties where people and promoters were up for trying something a bit harder.
You founded HardNRG.com in 1999 – what was the goal behind it, and what impact did it have on the scene?
The goal was simple: get mixes of harder-edged genres to people for free and help spread the music. This was before SoundCloud (2007) or Spotify (2008), and most people had to go to their local underground record store and buy a mixtape or CD. HardNRG.com provided a resource for people interested in finding out about the music behind the noise. I like to think it helped, in some small way, grow the audience and spread the music across America, opening up the way for more widespread adoption.
Did HardNRG.com receive support from European artists, and which artists did it showcase during those early years?
Yes! I was amazed at the positive response it got. Both from the artists themselves and the labels they were on, many people saw the value in seeking exposure for the music and, at the time, committed to free distribution of mix sets. We received sets from Andy Farly, Anne Savage, BK, Captain Tinrib, Dynamic Intervention, Ed Real, Karim, Lisa Lashes, Lisa Pin-Up, Nick Sentience, and Superfast Oz, to name but a few.
Beyond the website, did you have a role in promoting the music live or through events?
We started a club night and threw several underground parties, while helping others in the local scene put on events and connect with artists. We had a crew of DJs playing the music at the time, many of whom went on to play events across North America and internationally. I personally had a great run of it, playing regularly across the US and Canada while travelling as far out as the UK, Finland, Japan, and Australia.
What were your pinnacle moments in the scene back then?
For me personally, it was getting recognition from many of the artists and DJs I looked up to and admired. For a time, San Francisco was a hotspot for this style of music, and events featured artists such as Captain Tinrib, Dynamic Intervention, Chris C, Madam Zu, Superfast Oz, Paul Glazby, and Nick Sentience. Getting to spend time with each of these legendary producers and DJs was the highlight for me.
How did Lotek Records come about, and what was its role in the North American hard dance scene?
Through those connections, I decided to team up with Kemical Kidd, a long-time friend and co-founder of HardNRG.com, to run a record label. We worked with UK-based Alpha Magic to manufacture and distribute our releases both in Europe and America. At that time, we were the first American label focused on releasing this style of music.
Which artists and DJs were featured on Lotek Records?
We had releases by Dynamic Intervention, Chris C, Madam Zu, Rubec, Pranksterz, and Defective Audio. I also put out a couple of my own releases on the label, along with a co-collaboration with Kid Bippy.
Tell us about Nexus 6: which artists collaborated with you on your original productions?
This was the last mix I did before switching from DJing to a full-time career in video game development. Nexus 6 focused on Hard Trance (as opposed to Hard House or HardNRG, which were my usual genres) and allowed me to continue to evolve my sound. Original tracks included “Severe Trauma” and “X” produced with Mik Cree of Dynamic Intervention for DIP Records, as well as “No Law” and “Unknown Technique” produced with Dom Sweeten of OD404/Defective Audio for Kaktai Records.
You moved into a career in video games—what studios or projects did you work on?
Yes, that’s right. My other passion had been gaming, even before I got into music, and I always planned to focus my professional career in the tech industry. When I first started DJing, I was in college studying computer science and information systems. I went on to work at Intel for a few years, but decided to get a Master’s in business and try my hand in the video game industry.
I worked at Activision, Sega, Electronic Arts, and Blizzard. Some of my favorite franchises I worked on included Command & Conquer (EA) and Warcraft (Blizzard).
Did your experience in video games influence your approach to music production or DJing?
Absolutely! My first job was at Activision, where I signed on as an assistant producer responsible for audio and music. This meant working with the designers to develop the sound effects, the engineers to integrate them, and the audio director to schedule and budget all of the music. My background in DJing allowed me to speak their language immediately and hit the ground running.
The first project I was lead producer on at Sega was a music rhythm game called “Samba de Amigo,” where I was responsible for track selection and licensing deals. Lucky for me, I had experience running the record label to handle it all!
What is your philosophy when creating mix sets across Techno, Hard Techno, Hard Trance, and Psy-Trance?
My philosophy has always been to play what I like, rather than chasing what is popular. When getting back into DJing, my goal was to create a set in each of these genres using the latest tracks. This began by listening to hundreds of releases from the last few years to understand the trends and collecting tracks that felt unique, interesting, and full of energy. This way, I’m mixing music I love and am excited to share with everyone.
How do you approach programming and sequencing tracks to create energy and flow on the dancefloor?
A lot of practice. Trying out different mixes, learning how the tracks interact with one another, and imagining the effect it would have on the dancefloor. Plenty of exploration and experimentation, allowing the music to guide you and inspire you. I keep notes of which tracks work well together and smoothly transition from one to the next. You then have a handful of options available for each set, and can adapt based on what resonates with the audience.
Why did you choose to base yourself in Thailand, specifically Phuket?
My wife and I always wanted to live abroad; our passion is traveling. After leaving gaming, we have been “slow” travelling the world non-stop for over three years. Some highlights include Japan, Malaysia, Thailand, Singapore, Italy, Greece, and Malta.
Thailand, in particular, has really resonated with us, everything from the culture, the people, the food, the weather, and the focus on health and happiness. We did not expect it to be at the top of the list when we started, but throughout these past few years, we have kept coming back and enjoying it more each time. Phuket, in particular, offers a mix of everything we’re looking for: beach lifestyle, focus on fitness, thriving nightlife, and music scene.
Any gigs lined up already?
I’ll be playing a gig in Bangkok in November for @HardHouseFamily, a collective of producers and artists from around the world who have a long history in the hard house community. It will be a fantastic opportunity to see whether the music I play and my mixing approach appeal to the audience. After Bangkok, we’re heading to Pattaya and then Phuket.
FLAMENCA Records bring their inaugural year to an end with a single that perfectly encapsulates the imprint’s mission. ‘LUZ (Club Mix)’ sees label boss STBAN join forces with Spanish stars Varoc and Furia for a collaboration that translates Vinnie Dollar’s original 2023 single through flamenco, electronica and trap, to stunning effect.
The original recording of LUZ by Vinnie Dollar has already clocked up an incredible 10 million views on YouTube alone. In this 2025 reworking the pace is turned up but the raw, Arabesque tones of Vinnie’s vocal remain just as evocative, providing a powerful backbone for the electronic elements to twist themselves around. The result is a perfect fusion of urban and electronica from Furia and youngster Varoc, with sultry shades of Flamenco House from FLAMENCA boss STBAN.
With so many different genres on display it could have easily turned into a muddled, disparate edit but the flawless production is instead testament to the shared vision of all four artists. As the vocal’s sentiment transcends language barriers, its combination with instrumentation provides an organic sense of movement, a crescendo of sound and emotion that bar by bar takes the track from the town square to the global dance floor.
The single is the final track of 2025 to drop from label boss STBAN. In the space of just six months, the DJ and producer has emphatically steered FLAMENCA Records onto the world stage. Eight singles, a major distribution deal with Toolroom Records, and FLAMENCA Live events at AirBeat One, Montreux Jazz Festival and Tantra Ibiza have combined to build some serious hype under one of Flamenco House music’s most passionate producers.
Furia, who runs label XTR Records, is renowned for his fusion of melodic and Afro-centred beats. Creating a dark, deep and melancholic body of work, his catalogue has amassed over 5 million streams on Spotify alone, earning him regular placements on top playlists around the world.
At the age of just 19 Varoc has already performed on some of the planet’s biggest stages, including Tomorrowland, BPM Costa Rica, Medusa, Weekend Festival and more. The teenager also hosts radio shows on Los 40 Dance and Ibiza Global Radio, one of the only artists to have shows on both. With the track dropping today, we thought it was high time we caught up with the talented teenager to find out more…
Varoc, welcome to EDM House Network! Can you tell us where you are right now and what you’re up to?
Hi, it’s a pleasure to have this interview with you. I’m Varoc, a DJ and producer from Madrid, Spain. I’m 19 years old and passionate about electronic music. I’ve performed over 200 DJ sets and I’m currently working on my new songs and productions.
In addition to Vinnie’s vocals, the track also features co-productions from Furia and STBAN, the head of FlamencaRecords. How do you approach a multi-collaboration like this and still make sure your own sound stands out?
Working with Furia and STBAN was key to this track. They’re both experienced producers and artists with strong creative visions. Their perspective helped us merge our different musical approaches into one cohesive and well-balanced concept.
You’ve been producing since you were 12. What was your first track, and what do you think when you listen back to it now?My first release was “No Limit’s.” When I listen to it now, it reminds me of my beginnings — a time full of curiosity, passion, and the drive to learn.
We have to say it — for 19, you’ve already achieved so much! Has electronic music always been your passion? What first drew you to it?
I’d say electronic music gives meaning to my life. From a very young age, it became my way of expressing creativity and emotion — both through mixing and through music production. It’s my escape, my purpose, and my way to connect with people.
Which producers and DJs do you look up to?
Right now, my main inspirations are Black Coffee, Calvin Harris, David Guetta, Hugel, Diplo, Fred Again, and many others. I also have a special connection with Andrea Oliva — I’ve had the opportunity to perform with him several times, opening his shows, and it’s always been an incredible experience.
You’ve performed at some of the world’s biggest festivals, including Tomorrowland.
How was that experience, and will you be back next year?
I’ve experienced so many unforgettable moments in my career — real dreams come true.
Performing at Tomorrowland 2024 was one of the most meaningful experiences of my life. Traveling to Belgium and sharing the stage with some of the world’s top electronic artists was something I’ll never forget. Another highlight was performing this summer at A Summer Story, playing for more than 5,000 people and feeling a deep connection with the crowd. And just a few months ago, I had the chance to present my new track “Luz” at the Tomorrowland Store in Ibiza, one of the island’s most iconic spots.
You host a weekly radio show on two of Spain’s leading stations, Los 40 Dance and Ibiza Global Radio. How important is radio for introducing your sound to new fans, and how far do your sets reach around the world?
Very few DJs have a show on both Los 40 Dance and Ibiza Global Radio, and that pushes me to constantly search for the best new music. It allows listeners from Ibiza, Spain, and around the world to enjoy my sets each week. It’s also helped me build a strong presence on two of the most influential radio stations in the electronic and Ibiza scenes.
This is your first release on Flamenca Records. Do you feel the “flamenco house” sound is starting to grow outside of Spain?
Yes, definitely. There’s a growing trend of fusion between styles — more and more producers are experimenting with cultural and sonic blends, creating new genres that connect with audiences across different countries.
You’re about to leave your teenage years behind. Where do you see yourself by the end of your twenties?
Honestly, I try to focus on the present — enjoying each moment, each song, each show…
and letting myself be guided by energy and music.
CONNECT // FLAMENCA:
CONNECT // STBAN:
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