Fede Spamer is a Producer and DJ steadily carving his own path within the world of Electronic Music.

Based in Buenos Aires, Argentina, Fede Spamer’s journey reflects both passion and commitment, as he continues navigating the genre with intent and an explorative mindset. With a Classical Music background and a sound that blends melodic depth with club energy, his style draws from Tech House, Melodic Techno, and a wide range of emotional influences, aiming to bring a storytelling approach into Electronic Music, both through his studio productions and his work behind the decks.

As he prepares to release his debut EP, we spoke with Fede about his journey into music, the influence of his environment, and where he hopes to take his sound next.

Hi! How are you doing? Thanks for joining us today!

Hi! I’m doing great, thank you for having me.

Let’s start at the beginning – when did you first discover a passion for music, and what role did music play in your life growing up?

Of course. My passion for music began early — I started taking piano lessons as a child, which gave me a strong foundation in Classical Music. That training shaped the way I understand music – not just melody, but also structure, harmony, and emotional expression. While I don’t directly use Classical Music in my tracks, its influence is deeply embedded in how I craft compositions and create emotional journeys through sound.

If there was one thing I looked forward to after school, it was learning new piano pieces, composing, and experimenting with music production software. This early drive to explore and create has been a constant in my musical journey.

I’ve drawn inspiration from many other styles and artists across different genres, but Classical Music remains the main influence that guides my creative process.

When I discovered Electronic Music and immersed myself in DJ culture, it felt like the perfect space to blend that foundation with fresh sounds and ideas. That’s when my project truly came to life – bringing together the discipline of classical training with the energy and freedom of Electronic Music to create something meaningful and impactful.

Being based in Buenos Aires, how has your environment influenced your musical journey and helped shape your identity as an artist?

My first real approach to the Electronic Music scene came through nightclubs, where Tech House dominates. Naturally, when I first started my project, my sets and tracks were heavily Tech House-oriented – it was what surrounded me, and it felt like the right entry point.

At the same time, going out in Argentina means being immersed in genres like cachengue (a local subgenre of cumbia), reggaeton, and Latin trap. These sounds are everywhere, and it’s impossible not to absorb them.

Even though my style has evolved, those influences have definitely left a mark on my sound. They’ve helped shape a more diverse, rhythmic, and culturally rooted identity in my music.

What first drew you to Electronic Music? Was there a particular track, artist, or moment that inspired your interest in the scene?

I think hearing Eric Prydz’s ‘Opus’ was a turning point in my life. The way he builds emotion throughout the track – how he carries a feeling and lets it slowly evolve – gave me goosebumps. I can honestly say it’s one of the tracks that most inspired my musical project. It made me reaffirm that Electronic Music could go far beyond the dancefloor. It could tell a story, create tension, and move people deeply without a single word. From that moment on, I knew I wanted to explore the more emotional and melodic side of Electronic Music – to build something that not only makes people dance but also makes them feel something.

Of course, ‘Opus’ was just one of many moments that drew me in. There have been countless tracks, artists, and live sets over the years that pulled me deeper into the scene, each one shaping my taste, perspective, and inspiration in a different way.
Even before that, I’ve always been curious about what lies beneath a song. When I listened to pop records, I would often search for the instrumentals and play them without the vocals, just to see if the music alone could move me. If it did, I knew there was something powerful there. That instinct – to feel music beyond the lyrics – has always guided me, and it’s something I still carry into my work today.

How would you personally describe your sound to someone hearing it for the first time?

I’d describe my sound as emotional, melodic Electronic Music with a cinematic edge. It’s rooted in storytelling – I always try to take the listener on a journey, whether it’s through subtle builds, evolving harmonies, or unexpected turns in the arrangement. The foundation often comes from my classical background, especially in how I approach melody and structure, but the sound itself is modern and atmospheric.

There’s a strong focus on feeling – sometimes introspective, sometimes uplifting – but always with intention. I want people to connect with it on an emotional level, not just rhythmically. Whether they’re listening on headphones or in a club, the goal is to create an experience that resonates beyond the moment.

From a creative and career perspective, who are the artists you most admire? Are there any whose approach to music and the scene continues to impact your own journey?

I really admire artists like Eric Prydz, Anyma, James Hype, Monolink, Zedd, CamelPhat, and KREAM. Eric Prydz has been a major influence – his ability to build emotional, melodic tracks that go far beyond the dancefloor completely changed how I think about music. Anyma inspires me not only with his use of visuals, but also with how he keeps pushing the sound of Melodic Techno in new and creative directions.

James Hype brings incredible energy to his sets, and his mixing skills show how important it is to connect with the crowd in the moment. Monolink’s fusion of vocals and electronic elements feels very personal and expressive, something I try to bring into my own work. Zedd’s sense for melody and production detail has always stood out to me. CamelPhat’s deep, atmospheric grooves and KREAM’s polished yet emotional sound also continue to shape the way I produce.
These artists remind me that Electronic Music can be powerful, emotional, and innovative – and that’s exactly what I aim to deliver with my own sound.

Can you talk us through your production process – how do you start creating a track, and what steps do you take to build on your initial ideas?

I’d say my production process starts long before I open any software. I’m constantly listening to music while doing almost anything else. I love discovering new artists, exploring fresh sounds, and hearing what’s evolving on the scene. That steady intake of inspiration fuels my creativity when it’s time to sit down and produce.

When I start working on a track, I usually begin with the basics. I choose a key or scale that resonates with me emotionally in that moment, and I often start by crafting the bassline. It helps set the tone and mood. From there, I’ll build the kick and begin experimenting with melodies and rhythmic patterns – sometimes they just come to me in the moment, other times they’re sparked by something I heard earlier that day, or a certain emotion or memory I’m sitting with. Inspiration can come from anywhere, and I try to stay open to it.

My creative process is very instinctive but also quite self-critical. A single track can take me up to a week because I constantly reflect on whether I still connect with what I’m making. If I lose that connection or don’t feel the track is going anywhere emotionally, I don’t force it. I’ll scrap it and start something new. For me, it’s not just about finishing tracks – it’s about creating something that feels real and honest.

Once the core idea is solid, I move on to layering, transitions, and sound design. I like adding small details and textures to make the track more immersive. And finally, I usually top it off with some vocal elements – something cool and atmospheric that gives it an extra emotional hook without overshadowing the music.

When it comes to DJing, what about performing live do you enjoy most?

What I enjoy most about performing live is the adrenaline – the anticipation of how people are going to react to my track choices. There’s something special about watching the crowd respond in real time, seeing them dance, connect, and completely lose themselves in the moment. That energy is what fills me the most.

For me, DJing follows the same intention as producing: it’s about creating a feeling and guiding people through a journey. I want them to experience Electronic Music’s full emotional and sonic range – the textures, tension, and release. There’s so much creativity and depth within the genre, and sharing that with a crowd, in a way that resonates physically and emotionally, is what makes performing so powerful.

Looking ahead, can you share what creative ambitions you have for the next five years of your journey?

I’m about to release my debut EP, so in many ways, this is just the beginning of my journey. Over the next five years, I want to take my project far beyond just the music. My goal is to create a full sensory experience for the listener, not only through sound, but also through visuals, lights, and the overall atmosphere of my live shows. I see myself getting deeply involved in the creative direction of everything: the stage design, the visuals, the emotional arc of the set. I want each performance to feel immersive and intentional – a 360° experience that stays with people long after the last track ends.

On the musical side, I also hope to collaborate with some of the artists who inspired me to take the leap into this world. Working with them would be both a dream and an opportunity to grow. I know those experiences would challenge me creatively and help shape me into the artist I aspire to become. I’m hopeful and excited about bringing this vision to life.

Finally, where do you see your sound evolving next – are there any new sonic directions or concepts you’re excited to explore?

I’m always looking for what’s new, both as a listener and a creator. I get bored easily when I hear too much of the same, and that drives me to keep evolving. The same applies to my music: if I decide to release something, it’s because I genuinely feel it and enjoy it. That emotional connection is non-negotiable.

Looking ahead, I’m excited to explore new sonic territories while still staying true to the emotional and melodic foundation that defines my sound. I’m curious about blending organic and synthetic elements in new ways – experimenting with textures, rhythms, and even genres that I haven’t touched yet. Maybe bringing in more ambient influences or developing the cinematic aspect further with more atmospheric builds and storytelling structures.

I’m also becoming more interested in how sound and visuals interact – how certain melodies, arrangements, or moments in a track can be paired with lighting or visuals to amplify the emotional impact. So, in a way, the evolution I see isn’t just musical – it’s conceptual too. I want to keep pushing boundaries and finding new ways to make people feel something real.

Speaking with Fede, it is clear that his approach to music is rooted in curiosity, emotion, and a desire to keep evolving. As he stays focused on building something meaningful and connecting with a community that resonates with his work, he continues to shape a promising presence on the scene. So, be sure to keep up with Fede Spamer and his evolving journey by following him across social media for updates on upcoming releases and performances.

Follow Fede Spamer:
Soundcloud | Instagram

In this candid interview, Danish DJ and producer MORTEN reflects on his journey from spinning vinyl at youth clubs in Denmark to headlining global festivals. He shares how an early DJ class at a youth center sparked his love for electronic music, and how that passion evolved into a career that now includes high-profile performances, chart-topping tracks, and a growing fashion brand, BBA.

MORTEN talks about memorable moments like cutting his hair live on stage at Ultra and his upcoming orchestral show in Copenhagen, where he’ll perform 25 years of music with a 50-piece symphony. He also dives into recent collaborations like “Culture” with ARTBAT, the energy of the Danish rave scene, and the excitement of playing AMF at Johan Cruyff Arena and solo at Tomorrowland’s main stage.

What was your earliest electronic music memory? How did you get into electronic music in the first place?

That’s a good question. I grew up here in Denmark, and in Denmark, we have this system where children in their youth, between 12 and 15, can go to a youth school after school so they don’t get in trouble, but they have a place to hang out. I went to a youth school where there were different subjects you could learn about.

You could be a camera guy, you could learn how to cook, you could learn how to draw, you could learn how to play pool and darts, and whatever. And then there was this guy called Kim from New York, and he was DJing. So, this is 30 years ago – DJing was not something very normal. We were DJing on vinyl.

So, I joined this DJ class, which was really cool, because once a month we would host a party in the youth club and 500 kids would come. So as a 13-year-old kid, I would DJ on vinyl in front of 500 other kids, and everyone knew each other.

We have to talk about the haircut song! Tell us about what happened at Ultra, what’s the story there?

Well, for a long time, I’ve been wanting to cut my hair. I told my manager many, many years ago if I played Ultra, I’ll cut my hair on stage. But it was kind of like a little bit of a joke.

I wanted to cut my hair for a long time and we were working with this organization to see if we could make something for charity. I had this idea that if I went live and said, “I’m gonna cut my hair if you guys collect this kind of money,” I would do it live and then I would give the money to charity.

So I talked to different organizations, but we couldn’t really find a solution that really worked. And then we just wanted to make some fun out of it and had to grow some balls and do it on stage. That was a pretty wild moment. And the song I played is “Take Me Home” with Bon that’s gonna be released on Tomorrowland Music on June 20th.

You have a very successful fashion brand, BBA, It sells out. What’s it like running your merchandise? Are you designing all of that, by the way?

No, that’s my manager who does that. We partner up on it. I’m part of the process of like, “What do we think about this? What do we do about that?” But he’s the creative director, if that’s how it sounds in 2025.

It’s cool. It’s just fun. It’s a cool way to engage with the fans. I walked the street here in Copenhagen today and I’ve seen two people wear my gear. It’s just fun. It’s just a different way of expressing yourself. And I always liked fashion and street styles.

Let’s talk about a few major gigs. One of them recently – let’s talk about the Johan Cruyff Arena, and it’s on Saturday, 25th of October. You are on the lineup for AMF. How you feeling about that?

I feel like that is crazy. Amsterdam every year it’s like, “Oh, what party you gonna play? What are you gonna do?” And now it’s just like you’re playing that one, you’re good. It’s just so cool that I’m very excited for it. It’s becoming the mecca of electronic music, that arena is.

Let’s bring it to Tomorrowland main stage. You are on the Saturday 26th – MORTEN solo main stage?

I am solo, and it’s a big set time for me. It’s the latest set time I’ve ever played Tomorrowland main stage. I have an amazing relationship with the people of Tomorrowland. All the fans of Tomorrowland have an amazing relationship with Tomorrowland that’s been building over the years.

I’ve been coming to Tomorrowland as a guest for as long as I can remember. I have videos of me being in the crowd 13 years ago, pointing at the stage, saying, “It’s gonna be me one day.” And it’s just one big family. I think that Tomorrowland… it’s funny because I played EDC Las Vegas three weeks ago, and one guy interviewed me and asked me, “What’s the difference between EDC and Tomorrowland?”

And right away, I was like, “You can’t compare. It’s like two different things.” Tomorrowland is like a fairytale. It’s like you walk into the forest and it’s just a fairytale for adults, and you have the best artists on the planet perform, and everyone brings their A-game. I’m very excited about Tomorrowland this year. Very, very excited.

Speaking of EDC, I wanna talk about your track with ARTBAT called “Culture” that came out on Insomniac Records. Can you tell us a little bit about what the inspiration was behind that track, and what it was like playing that at EDC this year?

It was cool. We’ve been playing it in our sets for a little bit. I had this idea – I wrote a vocal and played it for the boys, and they worked a little bit on the track. We played it in our sets, and it’s just been like a weapon for us. It’s been a super fresh, good energy record.

I’ve been surprised about the support that it’s gotten. Calvin Harris DM’d me last week like, “Hey bro, can I have an instrumental?” Like, Calvin Harris wants that one. So, it’s just been a fun record to release. It’s been a fun record, a cool record to play in our sets. I think it has the right amount of energy, and it sounds fresh with this kind of vintage vocal we have.

I wrote the vocal. It was just an idea that… I don’t know, it’s just… I think it’s a cool track. I think it’s dope.

I’ve never been to Denmark. What’s the electronic music scene like in Denmark? What’s the rave scene like?

It’s growing a lot. They have a big – I wouldn’t say underground, but they have a big techno culture here. The young people like to listen to techno music, different music. Copenhagen is a little bit the Scandinavian Berlin or Amsterdam, if you want. People here like to smoke and wear a black hoodie.

And this is one of the only places in the world where you take a bicycle to the club, and you have 50 euros in your bank account, and you bring home a supermodel, and she knows every underground electronic artist in the world. This is the vibe here. It’s very, very cool.

And the music scene here – I was very, very lucky that EDM exploded when I came up, and I became like the electronic artist of the people. I was the first crossover and played the big festival’s main stage. I would close after the Depeche Mode festivals.

I’m actually doing something extremely cool. The reason I’m here is because on Saturday, I’m doing something with the city. It’s like a celebration of the city where I sold 12,000 tickets in nine minutes. But what’s really interesting and what I’m doing is that I’m playing all the music I have released in the last 25 years with a 50-piece symphony orchestra.

So, I’ve been practicing classical music with them for the last four months. And we are performing that on Saturday and everyone I have ever met in this country is gonna be there. So, it’s nerve-wracking and very exciting for me.

What was the inspiration behind working with an orchestra? Have you done that before?

They brought it to me. They had this concept of making… I did this thing with David Guetta called Future Rave, and they wanted to make something special with me in Denmark that was different than just me coming to Denmark and playing a big festival. Because I used to come in and play one or two times a year.

So, they wanted to make this concept called “Future Meets the Past.”

It’s cool for me to attract a different audience than just the usual young people who go to the club at the festival. Because here, my mom brings 30 of her friends and my dad has half of the people he ever met in his life come because they also want to hear my music played as a classical version. So, it’s exciting.

To check out the full interview:

Amid the bass-fueled chaos of Ultra Music Festival, we caught up with two legends who helped shape the sound of dubstep as we know it—Flux Pavilion and Doctor P. From early UK raves to global festival stages, these longtime collaborators have seen it all—and they’re still dropping heat. We sat down to talk legacy, evolution, and what keeps them inspired in 2025.

So, how long have you two been friends?

Doctor P: 22 years I think..? Maybe 23?

Flux Pavilion: Yeah, I think 23 years.

And how did you two meet?

Doctor P: We went to the same school, we are from the same town. We kind of met by chance- and were really the only two people in our town that were making music.

Flux Pavilion: We actually started our first band together when I was 13.

Who were your biggest inspirations to make music when you two first started?

Doctor P: I really liked Fatboy Slim. He was a big influence.

Flux Pavilion: Same. We really grew up listening to the same music, so our taste has been very similar over the years.

Let’s talk about Flux Pavilion and Doctor P as a DJ duo. Have you performed together before?

Flux Pavilion: Yes, this is our third time performing B2B at Ultra actually. But- it is out first time performing as an official DJ pair.

What is it like performing together? Do you plan to continue doing this beyond this tour?

Doctor P: Yeah, that’s the plan. Doctor P and Flux Pavilion has kind of become a thing that we’re going to do.

Flux Pavilion: For the foreseeable future anyway. We’re going to do this album, tour this album, and potentially even do a bigger version of the album.. maybe. And then after that, who knows? We really don’t know, so let’s just pretend this is never happening again. We may never get the opportunity to perform and tour together like this- so let’s act like this is the only time and have fun with it. That’s the mentality that has been fueling me through this.

Have you two thought about coming up with a collaborative name for your duo- like ‘Doctor Flux’?

Doctor P: Yeah, that actually occurred to me right at the very beginning when we first started talking about the album. And then we were like nah, let’s not do that.

Flux Pavilion: I view it as, this isn’t a rebrand. We don’t need to create a new identity for the two of us. We want to continue using our names so the older ravers still recognize us, but the newer ravers continue to learn about us. I want them to know, this is why we’re popular. That’s how we want to be remembered.

Let’s talk about music, what do fans have to look forward to?

Flux Pavilion: We released a new album recently. It’s a 15-track album called ‘Doctor P & Flux Pavilion’, and we’re preparing to go on tour with it.

What is your favorite track on that album?

Doctor P: Definitely ‘Rubber Dub’

Flux Pavilion: Yeah, I agree, definitely ‘Rubber Dub’. I think objectively it’s the best one. I also really love ‘Hot Piss’. But ‘Rubber Dub’ I think is a great combination of our sound and our ideas and I’ve been most excited to play that one.

If I were to hand each of you the aux right now.. what song would you put on?

Doctor P: Lately, I’ve been listening to MP8 and Funkmaster. So I’d probably put one of them on.

Flux Pavilion: There’s an album called ‘2020’ by Richard Dawson, who’s kind of like a singer, songwriter, folk artist from the UK. His songs just remind me of England- so I listen to them a lot when I’m not home.

Catch up with Flux Pavilion & Doctor P

Connect with Flux Pavilion

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Connect with Doctor P

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