Interview
High Beam Interview: Remixing Moby’s Stranger Things Track
High Beam discusses being personally selected by Moby to remix ‘When It’s Cold I’d Like To Die’, following his 30 million stream breakthrough ‘Just What I Said’.
Rising producer High Beam has just landed one of the more meaningful co-signs in electronic music, with Moby personally selecting him to remix ‘When It’s Cold I’d Like To Die’, the iconic track that found a whole new audience after featuring in Netflix‘s Stranger Things. Coming off the back of his breakthrough hit ‘Just What I Said (Everything In Its Right Place)’, which surpassed 30 million streams and charted virally across 25 countries, High Beam brings his signature melodic sensibility to one of Moby‘s most beloved records. We caught up with him to talk about the remix process, his influences, and what’s coming next.
To start with congratulations on the remix. You’ve said that Moby has been an inspiration to you so getting to remix one of his songs must be incredibly exciting. How did all this come about?
Thanks! Moby is such an inspiration to me and an artist I’ve admired for years. Honestly, I thought my managers were joking when they told me about the opportunity.
The fact that he personally selected me to reinterpret the track made it incredibly meaningful. Getting the chance to rework a record from someone who’s had such a lasting impact on electronic music was really special.
Moby is of course a hugely experienced and incredibly talented producer. Did he give you any advice going into this and if not what’s the biggest thing you’ve learnt from his music?
We went back and forth on a few production notes, and one of the biggest things I’ve taken from his music is that electronic music doesn’t always have to be built for a club or fit into a specific box. His more subtle production and use of sampling really stands out to me, especially compared to a lot of other electronic artists from his era.
I imagine taking on the challenge of remixing a song as iconic as ‘When It’s Cold I’d Like To Die’ was quite nerve racking. How did you approach the process of honouring the original while also showing off your own style?
It definitely was, and I started several different versions of the remix before landing on the final one. The song is quite sad and weary, and has such a beautiful vocal, so I wanted to keep that front and center while still honouring the overall feel of the track. I built out the harmonic and melodic elements first in a way that felt appropriate to the emotion of the original, and then added the drums and rhythmic elements to give it some lift and make it feel like my own interpretation.
Every artist has their own process when to comes to producing or remixing a song. With ‘When It’s Cold I’d Like To Die’ did you know what you wanted the track to sound like and where did you start with it?
I usually come into a project with an idea of the overall emotion and vibe I’m trying to capture, but try to keep the details open-ended. I don’t like forcing an exact vision too early, and try to experiment with what feels right as the track develops. I often start out with something super simple like a drone, sustained note, or background effect and building a progression around it, and that’s pretty much how this one started as well.
This remix comes off the back of your huge hit ‘Just What I Said (Everything In Its Right Place)’ which was a massive breakthrough for you. How did it feel to get that breakthrough and really launch your name forwards?
When I released the track I didn’t have any expectations that the track would perform nearly as well as it did. I’m super grateful that so many people have connected with it, and that I had the right team around me to help clear the Radiohead sample. It all still feels a bit surreal!
‘Just What I Said (Everything In Its Right Place)’ brought in a lot of fans for you. For the new wave of fans that will be discovering you from this remix, how would you describe your style of music?
I think I draw the most inspiration from the melodic house and indie dance world – I’m definitely a sucker for sad, nostalgic-leaning music. I’ve always liked electronic music with a balance between something that could work on the dancefloor and something you would throw on while driving or hanging out and I think that comes through in my production.
As an artist there’s obviously plenty of people you will have taken inspiration from with Moby being one of them. Who would you say have been some of the most formative artists for you in helping you find your sound?
There are so many great artists out there right now. When I first got into producing, Flume was having his come up and really got me into electronic production and sound design. Some other artists I’ve listened to a ton over the years and have definitely shaped the way I make music in different ways are Jamie xx, Tourist, Lane 8, and Caribou.
You’ve kicked off this year incredibly well with this remix. Have you got any other exciting projects on the horizon?
I’ve been spending a lot of time in the studio working on new music and some collaborations that I’m really excited about, which will start rolling out this year. I’ve also been exploring how the project can evolve into a live experience. Between the Moby remix and “Just What I Said,” there’s been some great early momentum, so I’m looking forward to building on that with this next chapter of releases and shows.
Hypaton interview Talks ‘Slide’, Tomorrowland Debut, Avicii’s ‘Levels’ as he reflects on his musical roots, studio process, and what he’s building for 2026
We spoke with Hypaton following the release of ‘Slide’ with Izzy Bizu, a record that has started to appear in his recent sets while marking his current direction in the studio. His introduction to electronic music came through his cousin Giuseppe Ottaviani, which followed early guitar sessions at home and led him into producing his own material with a focus on melody and structure. That path later gained wider attention while he was still studying dentistry, when his rework of ‘Be My Lover’ by La Bouche was picked up by Juventus FC on Instagram, eventually reaching David Guetta and leading to an official release that has since passed 360 million streams. From there, he learned to DJ in 47 days at Guetta’s request and went on to open a Future Rave show at Hï Ibiza, before playing venues such as Ushuaïa Ibiza, Ministry of Sound, and [UNVRS] Ibiza. That same approach carries into ‘Slide’ with Izzy Bizu, where the track started from a simple groove and piano idea before expanding around the vocal and arrangement. Alongside this, his debut at Tomorrowland places him on a major festival stage for the first time, bringing that same mindset into a live setting where the set develops through how the crowd responds. In conversation, he also pointed to ‘Levels’ by Avicii as a record he returns to during longer sets, while noting how his background in dentistry still influences his workflow through discipline and attention to detail, and how his studio process continues to involve instruments like guitar and piano as he works on new material into 2026.
What inspired you to create music in the first place?
It really started at home. My dad introduced me to music when I was very young, and I began taking guitar lessons. In the evenings we would often play together, and that’s where my connection with music really started.
Later on, my cousin Giuseppe Ottaviani, who is also a DJ, introduced me to electronic music, and that was a big turning point. I remember feeling that mix of energy and emotion, and that’s what made me want to start creating my own tracks.
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You’re a qualified dentist! What factors and mantras from your previous profession did you carry over to your DJ and music career?
Precision, discipline and focus. Those are the main things I carried with me. Dentistry taught me that details matter and that consistency is everything if you want to reach a high level. And of course, the smile. That’s probably the most important one.
What song is a must-have on your USB stick at the moment, one that makes the crowd go wild?
For me, it’s definitely “Levels” by Avicii. When you’re playing long sets, it’s normal to see the energy go up and down at certain moments, but that track is one of those that can instantly bring everything back to life. As soon as it drops, the reaction is always insane. It’s one of those timeless records that just works every single time.
You’ve recently released your single ‘Slide’ with Izzy Bizu. Tell us how the collaboration came about and the production process behind the track.
The track started from a groove that felt very natural and immediate. I didn’t want to overcomplicate it, just something that works from the first listen. The piano hook came in quite early, and that really defined the identity of the track. From there, I built the production around that, keeping a balance between energy and musicality. For the vocal, Izzy was a perfect match. Her voice sits really well on the production. There’s a strong piano hook and quite bright synths in the drop, so her tone brings the right balance and makes everything feel cohesive.
Do you reach for places, things, or people for inspiration when producing, or does it come to you unexpectedly?
It’s a bit of both. Sometimes inspiration just comes naturally, especially when you’re in the right mindset. Other times, it’s about putting yourself in the right environment. Even small things can make a difference, like the space you’re in or the energy around you. Sometimes I even scroll through frames from movies. Looking at certain scenes, with specific colors and landscapes, can really help me unlock ideas. When I feel good and relaxed, that’s when the best music usually happens.
You’ve remixed songs by the likes of RAYE, La Bouche and Bonnie Tyler. What is the next song you would love to remix and why?
I think it would definitely be something that, when brought into today’s sound, can feel fresh again. Not every track is right to remix at every moment. It really depends on the current musical taste and what people are connecting with at that time. For me, it’s always about finding something that already has a strong identity and translating it in a way that feels relevant today.
You’ve just recently built your own studio. Tell us what your dream piece of equipment is and why?
For me, more than a specific piece of equipment, the real “dream” is the environment itself. I think having a space that makes you feel relaxed and inspired is way more important than any single gear. The studio should feel like a place where you enjoy being, where ideas come naturally. At the same time, I have a strong connection with instruments like guitars and piano. I often start in a more analog way, I need to physically feel the notes under my hands. That connection gives me a different kind of emotion when I create. If I had to choose one thing, I’d still say natural light. Having windows in the studio makes a huge difference, it completely changes the way I feel and create.
It’s your Tomorrowland debut this year. What can we expect from your set, and what DJs are you looking forward to seeing?
Tomorrowland is something I’ve always looked up to, so playing there for the first time is a very special moment for me. You can expect a set with a lot of energy, but also a strong musical identity. I always try to create a journey, not just play tracks, so there will be moments of tension, release, and connection with the crowd. I’ll also spend some time going around and listening to as many DJs as possible. I think it’s very important to stay updated and understand what’s happening in the scene.
Believe in yourself, always. Surround yourself with positive energy, and forget about ego completely. Just put it aside and work hard, really hard. More than anything, stay calm. There are always ups and downs, and they happen often, so what really matters is staying relaxed and keeping a positive mindset.
Finally, what can we expect from Hypaton in 2026?
My sound will evolve naturally, but it will always stay connected to my roots, especially the focus on melody. I’m really focused on bringing more emotion into my music, while still keeping the energy needed for the dancefloor. It’s about finding that balance and pushing it forward. I also want to introduce more analog elements into my productions, working more with real instruments and bringing that human feeling into the tracks. At the same time, I just want to keep growing, improving, and taking everything to the next level step by step.
With ‘Slide’ out now alongside Izzy Bizu and his first set at Tomorrowland on the horizon, the direction he is taking becomes clearer when you look at how everything connects back to the same starting point. The focus on melody that came from those early guitar sessions still runs through his work, but now it sits alongside a stronger intention to keep more of that physical, hands-on element in the process, whether that comes through piano ideas or how he builds a track from the ground up. That same thinking carries into how he approaches sets, especially across longer hours, where timing, restraint, and understanding when to bring certain records in plays a role, with tracks like ‘Levels’ by Avicii still holding a place because of how they land with a crowd in real time. What stands out is how consistent that approach has remained across different parts of his career so far, from early influences like Giuseppe Ottaviani through to recent releases and upcoming shows, where each step does not feel separate but connected through the same way of working. As he continues developing new material, adding more live elements, and stepping onto bigger stages, that link between what happens in the studio and what plays out in front of people stays at the center of how he moves forward into 2026.
Interview
Sam Blacky Interview On Mexico City, Ibiza Dreams, and Why Humans Will Always Win
We caught up with Sam Blacky in Tulum fresh off a set and asked her about her festival dream, AI in music, her favorite cities, and her long awaited Ibiza debut.
Sam Blacky interview on her Ibiza debut at Hi, favourite spots in Mexico City and Tulum, AI in music, and her biggest career moments to date.
Sam Blacky was in Tulum, fresh off a set at the iconic Papaya Playa Project that had the crowd locked in from first beat to last. The morning after, still buzzing, she sat down with EDM House Network for one of those conversations that covers everything that matters: dream festivals, the people who shaped her, where she stands on AI, her favorite corners of the world, and the career moments that hit different. Oh, and she drops an Ibiza announcement you will want to hear.
If You Could Have Your Own Festival, Where Would It Be, What Would the Theme Be, and Who Would Headline?
Sam did not hesitate long. Mexico City, even after briefly entertaining Tulum.
“Gun to my head, it would be in Mexico City because I think that is one of my favorite places in the world. I’m sure Tulum would be cool but I think I’m gonna go with Mexico City. Headliners would be myself, BLOND:ISH, Keinemusik, Hugel & Juany Bravo. The theme is… sexy jungle fairies.”
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Who Is the Smartest Person You Know and What Have You Learned From Them?
The answer was not a mentor or a music industry veteran.
“The smartest person I know is my sister. And I have learned patience, humility, and kindness from her. She’s older, seven years, her, my brother and I, we’re all seven years apart.”
How Do You Feel About AI in Music?
Sam uses ChatGPT daily but draws a hard line when it comes to the music itself.
“I personally do not use AI in music. If anything I use sample vocals, but most of the time I use original vocals. I used Chatgpt everyday. I know that we have to learn to work together but I’m slow to that game. I don’t think it’s gonna take over the music industry or take our jobs. The human aspect is unrelenting and there’s nothing that can copy it, especially live performances. I think we’re gonna win.”
Which City Do You Know Best? And Where Are Your Favorite Spots for Food, Drinks, and Music?
Born and raised in San Diego, though she keeps it off limits for going out. Ask her for a city where she actually hits the town and the answer comes fast.
“Mexico City, 100%, also Tulum. Shout out Orchid House, that is my favorite place to stay in Tulum and Mexico. They have the best food. And my favorite club by far in Mexico City is Phonique. I’ve been playing there for years and I’m very close with the owner and his wife. They’re like family to me. Mexico City just has everything dialed. Best music scene, best food, best drinks.”
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What Is the Most Game Changing Moment of Your Career So Far?
There have been many, but this year has been different.
“Honestly this year has stuck out to me the most. Make the Girls Dance, Hugel, Juany Bravo and that whole Make The Girls Dance family, it really is a family. The most unreal moment I’ve ever had was playing Space during Music Week, B2B with Grossomoddo. I’ve been dying to play there for 10 years. That was the craziest moment in my life and I’m so grateful.”
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“And Ibiza this year, I’m finally playing Ibiza. I’ve been going there for fun for 10 years and I said I wasn’t gonna go back until I played. This year I’m playing a bunch of shows at Hi. I can announce: Hugel presents Make the Girls Dance at Hi Ibiza, June 25.”
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Follow Sam Blacky for more updates:
Instagram: @samblacky
Spotify: Sam Blacky
Soundcloud: Sam Blacky
YouTube: SamBlacky
NOME Talks “Other Side” at Space Plus Bangkok for the STMPD RCRDS 10-Year Tour During Songkran
Speaking with NOME in Bangkok during the STMPD RCRDS 10-Year Anniversary Tour placed the conversation within a night tied to both the label’s ten-year milestone and the reopening of Space Plus Bangkok during Songkran. As one of the newer artists connected to STMPD RCRDS, NOME has started to gain attention through recent releases including Other Side, along with performances alongside Martin Garrix, including appearances at Ushuaïa Ibiza. His recent output focuses on melodic records that still work in club sets, something he continues to test in his performances before release, often playing unreleased tracks across multiple shows. In conversation, he spoke about developing Other Side over several months, working with Alessia Labate on the topline, and adjusting the track to sit between an underground club record and a more accessible format. He also reflected on his first time playing during Songkran, the reaction from Bangkok crowds, and how his recent run of shows in Asia is pushing him toward more festival bookings while continuing to introduce new ideas in his sets.
Being here for the STMPD RCRDS 10-Year Anniversary Tour at the reopening of Space Plus Bangkok during Songkran week, how does it feel?
“It feels really special. I’ve been to Bangkok multiple times, but this is my first time during Songkran. I love the energy. It’s special to be outside and see everyone with the water. It’s also my first official STMPD RCRDS show. I did Ushuaïa with Martin Garrix last summer, but this is my first STMPD event, so I’m really happy to be here and I hope to come back soon.”
Your recent release Other Side just came out last Friday. Can you walk us through the creative process behind the track?
“I wanted to create a real underground club track, and I tested it for about six months in my sets. At a certain point, I felt like it needed to be a bit more accessible, so I added a topline for the breaks. I worked with Alessia Labate, who wrote the lyrics. I didn’t change much on the instrumental, and that’s how Other Side came together. I’m happy it’s out on STMPD RCRDS.”
Your sound is more melodic compared to some of the heavier tracks on the label. When you’re playing live, like you did tonight at Space Plus Bangkok, how do you decide what goes into your set?
“I’ve made a lot of music in the past couple of months, so around 70% of my set was my own tracks, including unreleased ones. If you listened closely, you might have heard some IDs. I like combining melodic tracks with harder club records, and I think that balance works well.”
You’ve just finished your set here at Space Plus Bangkok. How did it feel?
“It was amazing. I love the Thai fans. There was a group right in front of the booth going crazy, and that gave me a lot of energy to go all in as well. I loved every second.”
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This night in Bangkok adds a different point in NOME’s schedule, with his first time playing during Songkran placing the set within a setting he had not experienced before. At Space Plus Bangkok, the timing also connects to the STMPD RCRDS 10-Year Anniversary Tour, where his appearance sits within a lineup that reflects how STMPD RCRDS continues to bring newer artists into its shows during a milestone year.
His recent run of releases and performances shows a clear direction, with tracks like Other Side being tested across multiple sets before release and new material continuing to appear in his performances. That approach links directly to what comes next, with a focus on playing more festivals while continuing to introduce new ideas in his sets. In that sense, the night in Bangkok does not sit on its own, but connects to a stage where his work in the studio and time on tour continue to move forward alongside STMPD RCRDS.
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