Interview
Inked Beats: Tony Junior on Music, Tattoos and Reality TV

In this candid and riveting interview, Dutch DJ and producer Tony Junior takes us on his incredible journey from a rock music teenager to becoming one of the biggest names in EDM and the Hardstyle scene.
We dive deep into how Tony’s passion for electronic music was ignited after discovering the raw power and energy of hardstyle. He opens up about making the transition from playing in rock bands to immersing himself in EDM production and performing at the biggest festivals like Tomorrowland, Defqon.1, and more.
I want to start off first, can you tell us a little bit about who you are, where you’re from and what it is that you do.
All right. This is always fun to do. I think it’s always very hard to talk about myself, but my name is Tony. Born and raised in Holland, in Utrecht. I’ve been a drummer. I was always in music. That was my only option in life, I guess. I started playing in bands when I was like 10 years old. I made a switch from being a drummer to making electronic dance music in, let’s say, 2011, 12.
And I’m 34 right now and living life with music.
Do you have an earliest memory that really drew you into music? Or how did you become a drummer? You just picked up some drumsticks and started banging around in the house?
The thing is my father was a famous drummer here in Holland in a Dutch band. It was called Het Goede Doel. And for me, it was super logical that I would play the drums like my dad, because I was like one year old and my mom would hold me and had a small drum kit for me, and I was already playing and fooling around with it. So, the moment I had conscience, I knew I’m going to be a drummer. It’s the only thing I like.
It was like Pokémon and playing the drums. That was my whole youth and after a couple of years in school, I quit high school when I was 12 years old. So, everyone saw like, all right, this kid needs to be doing what he wants to do, not like doing mathematics or history class, whatever. He’s good to go.
How did you go from playing rock music to becoming a DJ? What did that transition look like for you?
That was, to be honest, one of the most important moments in my life because that flipped it all around. I had this pop rock band. I played for almost eight to nine years and that started when I was like 10. So those guys were like 10 years older, but they were my best friends. So, for years and years, we did a lot of shows.
We recorded albums and EPs and when I was around 21 years old, that band split up. We got into a musical fight and we were never able to fix that. So suddenly one night, I lost my best friends and my reason to wake up in the morning because my life was playing the drums with my band and making new songs and just hanging around and being together. And then one day it was just simply, boom, it was gone.
So, then I got super addicted to playing Call of Duty. I played Call of Duty for one year, like almost professional. I played 12 hours a day and suddenly I came to like realization when I went to my first house party in Utrecht here. It was a show with Sunnery James, Ryan Marciano, Leroy Styles and Melvin Reese. And I was like, holy s***, this is what I’m going to do. I’m going to sell the Xboxes and I’m going to make music on my own because I cannot have fights with band members and have issues about money.
It’s going to be around me and I can decide everything. So that moment, like when my band split up and that year doing nothing, changed my life until now.

Sunnery James and Ryan Marciano are kind of Big Room House, mainstream EDM, you would say. Did you decide to take that route first? What made you decide on that specific subgenre of music?
I’m going to feel like almost old with saying this, but in the time, I started, it was a little simpler. EDM wasn’t a term yet. It was just House music.
Everything was house music. And you had like, you had Trance, you had Hardstyle and Hardcore, but like Sunnery James and Ryan Marciano or those guys, but you also had like the Swedish House Mafia. They were just House. My first party was the party where they played a lot of Latin House. And that got me. But within a couple of months, I became a big fan of the Swedish House Mafia and Avicii. Back then it was Progressive House and that was like what we call Big Room-ish now. So, like the old Swedish House Mafia and Avicii stuff.
You had Latin House, you had like the Dutch House, so the old Afrojack stuff. I felt the most connection with Latin House and normal House first. So, I just started producing that because that’s what I heard and had a party with. I was like, I’m going to make this music. That’s what I love. And later, like months of producing and locking myself into the studio, I started to love Big Room House as well. From 2015, I became a Big Room EDM DJ. It’s interesting, the evolution of the genres.
Would you define your music then at the time as Latin house, or would you just say a default?
No, the Latin House, that was a time that I produced a lot of music, but it never was good enough to release. So, when I started making electronic music in 2011 or 2010, 11-ish, I locked myself up in the studio literally for three years, doing nothing, no drinking. I never did drugs and not going out, just making music, music, music. In those three years, I accidentally scored like a number one hit here in Holland. I made like a remix of an old Dutch song from the 30s, and that became a number one hit.
Suddenly I was all over the radio and people and clubs were booking me, and they didn’t even know what I was. Was I a dancing act? Was I a DJ? Was I whatever, a live act? So, the Latin House was something I liked to play during those shows. I produced, but after a couple of years when my music evolved, it got good enough, and I got signed to Spinnin’ Records.
But before that, I had like random releases on random labels, and I was super f******g happy that I got a release. So Latin House, it’s definitely rooted in my electronic music taste. But I didn’t make it a lot that came out so that the public could hear it. That makes sense.
How did you discover hardstyle? Have you always like hardstyle? How did you go to kind of what the music you’re doing now?
Like for me, I never say I’m Hardstyle. I always say the Harder Styles because I’m not Hardstyle. I make it, but I can do like a Hard Techno song as well. But I always flirted during my sets with the Harder Styles and Hardstyle.
If you look back to my old releases, like Immortal or Nobody Beats the F*****g Drum, those are kind of old school Hardstyle songs, but just 20 BPM lower. So, and during my sets, I played the last 20, 30 minutes was Hardstyle because I love to play it. And sometimes I made like a bootleg or, but I never like said in my career, okay, it’s going to 130 BPM to 150 BPM.
And that’s what happened now. So, I always was busy with Hardstyle already. Like when I started, you had like, you had House music and like Latin House, Minimal House, Tech House. You had Techno, you had Dubstep, Jungle, whatever, Trance. And now everything is so blended that Techno is almost early Hardstyle.
So, it’s coming so close, like music wise. So early old Hardcore is almost Techno from now, you know? So, in the Techno scene, all the credible people are playing show Tech songs. So, it’s a super interesting time.
And that’s why I never said I am this, or I am EDM or I am whatever. And what happened a couple of years ago was what we call EDM. I never put myself into like I am EDM or I am Hardstyle or whatever. So, I just like put it up 20 BPM around 150. And a couple of weeks ago, I did an Uptempo song with a friend of mine called Rosbeek. I’m doing some harder Techno songs and I make what I like to play. And that’s the thing. I don’t want to be credible Hardstyle like Headhunterz or Brennan Hart or Wildstylez. I just like the music and when people like it, I’m a happy man. And when people don’t like it, I’m a happy man as well.
When you’re talking about haters, how do you respond to hate online? And how do you respond to those people? How would you respond to those kinds of haters?
If you don’t have haters, you’re not doing a good job. The more people who hate you, there’s also people that love your stuff and I was on television in Holland a lot. That’s like a side thing that started a couple of years ago that I didn’t even want, but they just asked me for like television programs and asked me for The Bachelor and Exhibition Robinson. So, I’m experienced when it comes to getting hate on social media, because when you do something on TV, let’s say you give a rose in The Bachelor to a girl that the whole world doesn’t want you to give it, everyone’s going to hate on you.
And with music, it’s interesting because my music is my baby. I spend time making them, producing them, playing them. So that hurts a little bit more.
The people that hate will listen to your music as well, probably. I don’t really care. And genre-wise, for example, in the Hardstyle industry, they are very protective about their genre. And I get that, because I was on a podcast a couple of months ago, and I spoke with a lot of people, because there were people that thought I would enter the Hardstyle industry and wanted to be credible. And people think of that like, no, f*** off. It’s our industry.
But I get why they are that protective because they feel like it’s their genre. It’s like 10 years ago, they were like maybe outsiders loving to rave with Hardstyle or Hardcore. And they think that people didn’t like those sub-genres or people that went to hard sell festivals.
So, they’re like if you didn’t like us back then, don’t like us now. Don’t touch us. So, they’re protective and I respect that a lot. So, I understand that they maybe can hate on me, because I’m making songs with like Brandon Hart or Coone, or Da Tweekaz. But there’s a lot of people that like Hardstyle as well.
And they’re like, oh, I like the song, whoever the f*** it is. And you see that with a lot of genres, I think people are always scared that it goes too commercial and it isn’t cool anymore to like a kind of genre, I guess. It goes too mainstream. So, I’m super cool and super chill with that. That’s why I never say I am Hardstyle. I am Harder Styles.
F****g love it or hate it. I don’t care.
This interview was originally published on the Drop Bass Not Bombs podcast and an excerpt has been transcribed for this article
House
STBAN Talks FLAMENCA Records, New Music, Toolroom & More

STBAN fuses flamenco and electronic music on his new single ‘LA PALMA’, out now via FLAMENCA Records. Rooted in tradition and driven by rhythm, the track brings timeless passion to the dancefloor.
STBAN channels centuries of flamenco tradition into the electronic age with his new single ‘LA PALMA’, out now on FLAMENCA Records. Steeped in culture, the track carries the raw heat, passion, and rhythm of this timeless art form.
Distributed via iconic imprint Toolroom Records, ‘LA PALMA’ homes in on the traditional hand clapping indicative of flamenco. The most ancient form of human percussion, ‘la palma’ sets the rhythm of the dance and drives the intensity of the performance. The rising passion and swirling emotion of flamenco dancing quite literally follows the dancer’s hand inside the physical space.
Co-produced with Bryan Colleta (Sparrow & Barbossa) and featuring Spanish singer G.Zamora on vocals, ‘LA PALMA’ simmers with Latin heat, sultry electric guitars taking over from acoustic guitars that gently undulate as the track rises. Brass trumpets bristle in from the lower ends like shimmering Mediterranean sunsets, percussion and syncopated hand claps nestling up against muted bass and synth lines. Weaving everything together is G.Zamora’s Balearic tone, STBAN and Coletta using his vocal as a thread to draw the entire production together.
Released alongside the single’s audio is a beautiful video shot on location across the vibrant North African city of Marrakech, a subtle nod to the Arabic roots of the dance form. Celebrating the instinctive human desire to move to music, the video sees Moroccans of all ages and demographics invited onto a simple rug placed on sidewalks, open parks, plazas, rooftops, then given a pair of headphones. With ‘LA PALMA’ in their ears, citizens young and old let the world around them fall away as they immerse themselves in the momentary freedom music allows. It’s a beautiful reminder that the joy of music connects us, no matter where we are in the world.
With a run of singles set to drop over the coming months, sets confirmed at major festivals this summer – including Montreux Jazz Festival and AirBeat One – and a special residency at iconic MAD Club in Lausanne, STBAN added further momentum to the FLAMENCA project by partnering with Toolroom at this year’s IMS in Ibiza. The deal sees Toolroom powering FLAMENCA Records through distribution and label services, bringing industry expertise and infrastructure to the next phase of the brand’s evolution.
With much more to come from STBAN and FLAMENCA, ‘LA PALMA’ serves as an early indication of what fans of house music – and flamenco – can expect. With that in mind, we thought it was about time to sit down with STBAN to find out more…
Tell us about LA PALMA, how did the track come together?
I’d had the track in my mind for some time, and then a couple of years ago I met Bryan Coletta. For me it was a perfect collaboration; we’re both living in Lausanne, in Switzerland, but Bryan was also living in Madrid and had a close connection to flamenco music. It meant he understood the genre and what we wanted, what our vision was. He came to our studios in Lausanne for two days and the energy was really good, it was really nice to work together with him on LA PALMA.
The title refers to the clapping that you get in traditional flamenco – how did you translate that into the song?
Clapping is one of the most important drums in flamenco music, along with the “tacones”, the heels of the feet, and also the cajon, the drum. They are the three essential rhythms of flamenco music, the primitive roots of the percussion, and for LA PALMA we wanted to really concentrate on and celebrate the clapping.
You have your own label, FLAMENCA Records. We’re guessing from the name that you’re heavily influenced by flamenco music – is that the only genre that we’ll hear from the label?
Of course the first thing for us is fusion of flamenco with electronic music but because of the nature of flamenco, which has always been influenced by different cultures and sounds, we’re open to other genres within the family, just always keeping in mind the Spanish or Latin influences. So it could be, for example, Latin House or Tech House, or even Afro or Tribal.
What music do you have coming next?
We have many tracks coming next, already cooked in the studio oven, from some very incredible artists. We have work from Jesus Fernandez, with also Qubiko, we also have some incredible remixes lined up from artists like PAUZA and Cruzy. We’re very happy to work with these kind of high level artists, DJs and producers.
We heard you struck a deal with none other than Toolroom Records at this year’s IMS – how crucial is it for you to have the support of the Toolroom team?
=Yes! I had the chance to meet Mark Knight at IMS and we spoke at length about the FLAMENCA project. He was very open minded about including us in his organisation, even though we’re relatively new. I think he liked the idea of the flamenco style fused with electronic music. We’re also along the same line of house music, the same beats, even if it’s more of a Latin style or Spanish style. For some of the tracks we’ve produced dub edits, or extended club edits, it gives a real depth to what is a pretty new genre.
Also personally, I really appreciate the values of Mark Knight. He really runs the business as a family and I feel this a lot, it really aligns with our values at FLAMENCA Records. So for me, I think it’s not only the music but the values that are putting everything together to work with a very nice energy. We’ve been working with them for one month now and I really appreciate the professionalism of all his team. It’s a great collaboration for us and one that we value.
Stream this single on all platforms here.
Interview
Jay Hardway on Raising Kids, Making Hits & More

Jay Hardway, a Dutch electronic dance music artist, recently joined the 10 Days in Dance podcast to discuss fatherhood, making hits to the dance music scene & more.
Jay Hardway, in this candid conversation on the 10 Days in Dance podcast, opens up about his 12-year journey in electronic music, revealing how fatherhood has transformed both his creative process and career priorities. The Dutch DJ and producer behind hits like “Wizard” discusses his evolution from collaborating with Martin Garrix in their early days to now running his own independent label, Hardware Music.
The Independent Artist Revolution
Hardway has embraced a bold new approach to music releases, abandoning traditional label timelines in favor of rapid-fire creativity. His latest track “Body Move” exemplifies this philosophy – finished just three weeks before its release. “I want to make music one week and release it the next,” he explains, noting how the fast-paced market demands immediate relevance rather than the traditional three-month label waiting periods.
This shift comes with challenges, particularly around music testing. With fewer live performances due to family commitments, Hardway has developed creative solutions for getting feedback – from sending tracks to fellow producers and DJs to the ultimate test: playing new music for his two-and-a-half-year-old daughter, who can be “ruthlessly” honest about what she likes.
Beats and Baby Bottles
Perhaps the most revealing aspect of the interview centers on Hardway’s struggle to balance his music career with being a present father and husband. “I want to be there for my kids,” he states simply, acknowledging that this means fewer touring dates but more time for creative output. The artist describes the constant juggling act of planning studio time around sick children and family needs, admitting that achieving perfect balance remains an ongoing challenge.
Music plays a central role in his family life, with Hardway regularly bringing his children to the studio and testing new tracks on his household – though he jokes that his Spotify year-end recap is dominated by “Let It Go” from Frozen rather than his own productions.
The Artist Coaching Community
Beyond his solo work, Hardway co-hosts “The Artist Coaching Podcast” with Ralph and Joey, creating what he describes as a modern equivalent to the old producer forums that once nurtured talents like Avicii and Swedish House Mafia. The weekly show has evolved into a genuine community for emerging and established artists alike, focusing on creativity and artistry rather than fame and commercial success.
“It’s not about blowing up, it’s about creatively being the best artist you can be,” Hardway explains, emphasizing how the podcast provides a space for artists to connect and collaborate authentically – something he feels has been lost in today’s social media-driven landscape.
Tomorrowland Magic and Future Dreams
Reflecting on his festival experiences, Hardway shares a particularly memorable moment from his first Tomorrowland performance on a small stage by the water. Despite its intimate size, the energy was explosive, reinforcing his belief that at Tomorrowland, “it doesn’t matter which stage you play – it’s always something special.”
Interestingly, Hardway reveals that playing Tomorrowland’s main stage remains one of his biggest career goals, viewing it as a milestone that represents a certain level of artistic achievement in the electronic music world.
Personal Revelations and Industry Insights
The conversation takes a personal turn when Hardway reveals he has Type 1 diabetes, something he’s looking to incorporate more into his public persona as a way to inspire others with the condition. He also discusses his passion for golf as a crucial mental break from music, describing it as pure fun without professional expectations.
Looking toward the future, Hardway predicts a shift in dance music culture away from phone-filming audiences toward genuine dancing and celebration. “People want to dance and want to party,” he observes, suggesting that artists will reclaim their role at the forefront of dance culture rather than being driven by label strategies.
Looking Ahead
With plans to expand his Hardware Music imprint into a full label for emerging talent and hints at drum and bass collaborations under different aliases, Hardway represents the modern electronic artist – independent, family-focused, but still driven by big dreams. As he puts it with characteristic honesty: “Big dreams and shitty planning – I’m a horrible planner, but I have big dreams, so I’m going to make them happen no matter what.”
Check out the full interview:
https://open.spotify.com/episode/4frwxAdwZCXlmM1loDwoOd?si=3279d1de55d14cc4
Interview
Fede Spamer Talks New EP, Production Process, Inspiration & More

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
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