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Ferry Corsten on 25 Years of Gouryella at ADE 2025

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Fresh off the stage at Transmission’s 25 Years of Gouryella celebration during Amsterdam Dance Event 2025, trance legend Ferry Corsten sat down with us to discuss the milestone anniversary of his beloved alias. The Ferry Corsten Gouryella project has captivated trance fans for a quarter century with its ethereal sound and spiritual depth.

The special Ferry Corsten Gouryella showcase featured an entirely new visual production, complete with profound lyrics and the iconic tree of life imagery. Corsten opened up about the spiritual depth behind Gouryella, his creative process, and how the universe guides him when it’s time to create new music for this transcendent project.

The New Show Experience

You just got off stage. How do you feel?

Feeling really good. I did two shows here as Ferry Corsten, and then the 25 year anniversary of my other moniker Gouryella. It’s two different sets.

Especially for the Ferry Corsten Gouryella milestone event, we did a whole new show, whole new visuals and a whole new structure of the set, and a lot more other stuff. To actually see that new show for the first time in an environment like this was amazing. Really, really cool.

Creating the Visual Concept

I loved the lyrics on the screen and the tree of life. Who comes up with the concept behind the visuals?

I worked together with David Moor. He’s also the person behind the application Showkontrol. A lot of people in this industry definitely know what that is—an application that allows you to sync everything on the screen that you put out from your decks and way more. But he’s also pretty strong in visuals.

I already had the actual topic with Ferry Corsten Gouryella of the bigger things in life. What is the universe, and how is frequency related to our existence? Pretty deep stuff. But that’s also perfect fuel for an amazing concept.

If you put that in words on a screen, it’s already visual. When people hear it and read it at the same time, it triggers a mechanism where they start thinking about stuff. I’m sure people will walk away tonight and be back home thinking of certain phrases on the screen. They’ll think “I read that today, that actually made sense” or “I can totally agree with that.” I want them to question more.

So together, feeding the ideas behind what Ferry Corsten Gouryella means into David’s brain, we go back and forth and come up with ideas for the visuals which he then creates.

Photographer Credit: Rutger Geerling

The Meaning Behind Gouryella

I’ve asked you before what Gouryella means, but what does it mean to you now in this moment? What do you want people to take away when they leave today?

Obviously the straight translation for Gouryella is basically heaven in one of the Native Australian tribes’ languages. But what does Ferry Corsten Gouryella mean now?

Seeing what the music with that meaning has done to so many people over the last 25 years—I know people who, it sounds really weird, but for them Ferry Corsten Gouryella is almost like a revelation type of experience. When they hear a new Gouryella single, they really live for it. It’s not just a bit of music, it’s a life changer.

Which is crazy, because for me, I’m in the studio making my music, doing my thing. But then when that track leaves the studio, it starts its own life. I could see it really in the end with all the lights and stuff. The whole package was complete tonight.

Planning the 25-Year Anniversary

Your family was here as well. How long have you been planning this? Has this been a long time coming?

Well, it started in 2001. The first three singles of Ferry Corsten Gouryella I did with Tiësto, and then number four I did myself. Then we had a break of 10 or 11 years, but the name and the project was still alive.

A lot of people kept asking me “when are you doing Gouryella?” Then in 2015 I came back with a track that really blew up massively and brought the whole project back again. That’s when I decided to put it into a show.

It’s been a show for about 10 years now, and it’s been evolving every time. When there was a new single, I had to add a new visual, so the show changed slightly over time but relatively still in a similar way. But now with the 25 years anniversary at ADE, I felt like we just need to completely give this whole thing a new overhaul and come out with a new show.

Photographer Credit: Rutger Geerling

Staying Creative and Motivated

How do you stay motivated to continue being creative?

Sometimes it’s best not to think about it and just be. Sounds weird, right? But to be creative, you’ve got to accept that you cannot put your clock to it. You are when you are. If it doesn’t work out, then just don’t get worked up about it.

I know people that feel instantly they have a writer’s block and think this is the end of it. No, it’s not. Give it some time. Always make sure you’re not useless in the studio. If you don’t write a melody today, you can always work on sound effects or create new presets or sound design. Do something else. You’re still productive.

But maybe tomorrow your mindset is different. You wake up in a different sort of vibe and today you’re feeling it—bang, there’s the next track. For me, it’s always been goofing around in the studio that brings what it needs to bring. If you take it too serious, it’s hard. You don’t need an idea to go into the studio. Just go in the studio, play around, and then something sticks and you work on that.

From Fun to Transcendence

That’s a really interesting juxtaposition, because you said that your music literally changes people’s lives. It’s so deep, so spiritual. But then you say you just go in the studio and goof around. How does that translate? How do you get from “I’m just having fun” to music that’s making people weep?

There’s two things, because Ferry Corsten Gouryella is its own entity. I really put that in its own sort of league. It’s not like I go in the studio and “oh, I have the next trance track, here’s the new Gouryella.” No.

I know that for that act, that sound has a certain emotion. You can’t really put your finger on it, but when I hear 15 trance tracks and I hear a Gouryella track, it’s different. That’s in its own environment if you will.

Going into the studio for Gouryella is very often in a bit of a trippy way. Gouryella is all about the universe. It’s very ethereal. But I’ve also become a firm believer that when the universe feels that I’m ready for a new Gouryella, it will hand it to me.

So look, I go to the studio and I find a new track. Maybe it’s a great idea for a house track or a trance track, but it’s not Gouryella. And then I’m in the studio and boom—oh, we’re on to something. That’s why over the years there could be a year or two or three years in between two Gouryella tracks, because there was never a track that was the right one for that.

Photographer Credit: Rutger Geerling

Evolution of the Sound

How has the Gouryella sound evolved over the last 25 years?

A bit more polished, bit more rich in texture and stuff. When you learn to produce in a better way, that happens. But some Ferry Corsten Gouryella tracks have been really ethereal. Some of the earlier stuff had a bit of a rave thing to it as well. I am now at the point where I feel like it needs to stay ethereal, but I need a bit of pepper and salt for the next punch.

A Solo Journey

You started the project with Tiësto. Now you produce yourself. Would you do it with somebody else again?

Just me. When I did the first three with Tiësto and asked if we should do number four, he was like “You know what, I’m actually changing my sound.” That’s when he went all housey. I was like cool, maybe I’ll ask Armin.

So I asked Armin once “would you want to be part of the next Gouryella?” And he’s like “Yeah, but you know what? That’s such a thing for the people out there that’s you and Tiësto. So I don’t really want to do that because it’s just your thing.” Then I was like, you know what, I’ll just do Ferry Corsten Gouryella by myself and I can completely blast my vision onto it. And that’s it.

Looking to the Future

Last question: where do you see Gouryella in the next 25 years?

I don’t know. Only time will tell and the universe will guide me again.

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

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

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

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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!!

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