Interview
Interview: DJ Morgan on HardNRG.com, Lotek Records & US Hard Dance History
DJ Morgan, producer and founder of HardNRG.com – one of the first major online platforms to promote hard house across the United States, showcasing exclusive sets from leading artists around the globe. His own productions and DJ mixes blew up his international profile, seeing him tour extensively and earn a reputation as a highly influential figure in the early US hard dance movement. We had the pleasure of catching up with DJ Morgan.
How did you first get into electronic music, and what drew you to harder styles like Hard House, Hard Techno, Hard Trance, and HardNRG?
I first got into the scene through underground warehouse parties in San Francisco in the early ‘90s. At the time, I was listening to Industrial & Hardcore (Ministry, Skinny Puppy, Front 242, Black Flag, Godflesh, etc) and loved the electronic influences. When I went to my first rave, it all came together: a scene developing before my eyes, opening me up to entirely new ways of thinking about music. My favorite sets often included the harder-edged sounds of oldskool hardcore, which went on to influence UK Hard House & Nu-NRG.
What was the underground dance scene like in the US during the 1990s?
A great reference for what the scene was like at that time is the documentary “Between the Beats” (IMDB). It was a very dynamic time where anything goes; it was all about exploration, experimentation, and optimism about what was possible. It was liberating because everyone was welcome, in came the positive vibes and out went the punk rock and industrial angst.
How did the US scene compare to Europe at that time?
Early on, it was quite small and renegade in our local scene. It had yet to transition into the huge outdoor festivals or well-established clubs in Europe. That did happen, but it took a little longer, which was fine by me, as those early underground warehouse-style parties were always my favorite. A focus on the music and people, away from the stage and performances.
How difficult was it to break into the harder-edged sounds in the US?
Towards the end of the 90s, we started to see the large-scale productions emerge, primarily for house and trance. If you went into your average record store, you might find only twenty or so records out of a thousand dedicated to the harder-edged styles. Fortunately, the internet was booming, and options existed like Juno Records & Banging Tunes to ship vinyl internationally. This was before the transition to CDJs in the early 2000s. Once you had access to the music, it was about diving back into the underground scene, and small renegade parties where people and promoters were up for trying something a bit harder.
You founded HardNRG.com in 1999 – what was the goal behind it, and what impact did it have on the scene?
The goal was simple: get mixes of harder-edged genres to people for free and help spread the music. This was before SoundCloud (2007) or Spotify (2008), and most people had to go to their local underground record store and buy a mixtape or CD. HardNRG.com provided a resource for people interested in finding out about the music behind the noise. I like to think it helped, in some small way, grow the audience and spread the music across America, opening up the way for more widespread adoption.
Did HardNRG.com receive support from European artists, and which artists did it showcase during those early years?
Yes! I was amazed at the positive response it got. Both from the artists themselves and the labels they were on, many people saw the value in seeking exposure for the music and, at the time, committed to free distribution of mix sets. We received sets from Andy Farly, Anne Savage, BK, Captain Tinrib, Dynamic Intervention, Ed Real, Karim, Lisa Lashes, Lisa Pin-Up, Nick Sentience, and Superfast Oz, to name but a few.
Beyond the website, did you have a role in promoting the music live or through events?
We started a club night and threw several underground parties, while helping others in the local scene put on events and connect with artists. We had a crew of DJs playing the music at the time, many of whom went on to play events across North America and internationally. I personally had a great run of it, playing regularly across the US and Canada while travelling as far out as the UK, Finland, Japan, and Australia.
What were your pinnacle moments in the scene back then?
For me personally, it was getting recognition from many of the artists and DJs I looked up to and admired. For a time, San Francisco was a hotspot for this style of music, and events featured artists such as Captain Tinrib, Dynamic Intervention, Chris C, Madam Zu, Superfast Oz, Paul Glazby, and Nick Sentience. Getting to spend time with each of these legendary producers and DJs was the highlight for me.
How did Lotek Records come about, and what was its role in the North American hard dance scene?
Through those connections, I decided to team up with Kemical Kidd, a long-time friend and co-founder of HardNRG.com, to run a record label. We worked with UK-based Alpha Magic to manufacture and distribute our releases both in Europe and America. At that time, we were the first American label focused on releasing this style of music.
Which artists and DJs were featured on Lotek Records?
We had releases by Dynamic Intervention, Chris C, Madam Zu, Rubec, Pranksterz, and Defective Audio. I also put out a couple of my own releases on the label, along with a co-collaboration with Kid Bippy.
Tell us about Nexus 6: which artists collaborated with you on your original productions?
This was the last mix I did before switching from DJing to a full-time career in video game development. Nexus 6 focused on Hard Trance (as opposed to Hard House or HardNRG, which were my usual genres) and allowed me to continue to evolve my sound. Original tracks included “Severe Trauma” and “X” produced with Mik Cree of Dynamic Intervention for DIP Records, as well as “No Law” and “Unknown Technique” produced with Dom Sweeten of OD404/Defective Audio for Kaktai Records.
You moved into a career in video games—what studios or projects did you work on?
Yes, that’s right. My other passion had been gaming, even before I got into music, and I always planned to focus my professional career in the tech industry. When I first started DJing, I was in college studying computer science and information systems. I went on to work at Intel for a few years, but decided to get a Master’s in business and try my hand in the video game industry.
I worked at Activision, Sega, Electronic Arts, and Blizzard. Some of my favorite franchises I worked on included Command & Conquer (EA) and Warcraft (Blizzard).
Did your experience in video games influence your approach to music production or DJing?
Absolutely! My first job was at Activision, where I signed on as an assistant producer responsible for audio and music. This meant working with the designers to develop the sound effects, the engineers to integrate them, and the audio director to schedule and budget all of the music. My background in DJing allowed me to speak their language immediately and hit the ground running.
The first project I was lead producer on at Sega was a music rhythm game called “Samba de Amigo,” where I was responsible for track selection and licensing deals. Lucky for me, I had experience running the record label to handle it all!
What is your philosophy when creating mix sets across Techno, Hard Techno, Hard Trance, and Psy-Trance?
My philosophy has always been to play what I like, rather than chasing what is popular. When getting back into DJing, my goal was to create a set in each of these genres using the latest tracks. This began by listening to hundreds of releases from the last few years to understand the trends and collecting tracks that felt unique, interesting, and full of energy. This way, I’m mixing music I love and am excited to share with everyone.
How do you approach programming and sequencing tracks to create energy and flow on the dancefloor?
A lot of practice. Trying out different mixes, learning how the tracks interact with one another, and imagining the effect it would have on the dancefloor. Plenty of exploration and experimentation, allowing the music to guide you and inspire you. I keep notes of which tracks work well together and smoothly transition from one to the next. You then have a handful of options available for each set, and can adapt based on what resonates with the audience.
Why did you choose to base yourself in Thailand, specifically Phuket?
My wife and I always wanted to live abroad; our passion is traveling. After leaving gaming, we have been “slow” travelling the world non-stop for over three years. Some highlights include Japan, Malaysia, Thailand, Singapore, Italy, Greece, and Malta.
Thailand, in particular, has really resonated with us, everything from the culture, the people, the food, the weather, and the focus on health and happiness. We did not expect it to be at the top of the list when we started, but throughout these past few years, we have kept coming back and enjoying it more each time. Phuket, in particular, offers a mix of everything we’re looking for: beach lifestyle, focus on fitness, thriving nightlife, and music scene.
Any gigs lined up already?
I’ll be playing a gig in Bangkok in November for @HardHouseFamily, a collective of producers and artists from around the world who have a long history in the hard house community. It will be a fantastic opportunity to see whether the music I play and my mixing approach appeal to the audience. After Bangkok, we’re heading to Pattaya and then Phuket.
Avi Sic interview about her new collaboration ‘No Tears’ with Costel van Dein, her Farris Wheel debut, and her rise in Bass House.
Avi Sic continues to make her mark on the Bass House scene with sharp, high-impact productions and undeniable dance floor energy. Her latest collaboration, ‘No Tears’ with Costel van Dein, highlights her signature blend of electrifying synths, hard basslines, and precision production. We caught up with Avi Sic to talk about the release, her evolving sound, and what’s next.
Hi Avi! How are you?
I’m great, thanks for having me!
When you started working on ‘No Tears’, what feeling or idea guided the sound before the structure came together?
We wanted the track to feel strong and forward-moving, with emotion that wasn’t heavy or overthought. Something fun that would hit on a dance floor but still carry intention. Once that feeling was right, the structure came together naturally.
The title suggests both vulnerability and strength; how does that duality show up in the music?
The title ‘No Tears’ plays with contrast. It’s actually just a small line from the lyrics, and we originally had a different name for the track, but this felt more confident, almost like a “girls don’t cry” attitude. The spoken-word vocal is confident and powerful, but still fun and catchy. The big bassline and sharp drums keep it driving, while the emotion lives more in the tone. It’s expressive and unapologetic.
How did your collaboration with Costel Van Dein come about, and what made him the right fit for this track?
We worked together on a release a few years ago called ‘Feel Alive’, so there was already a real foundation and trust there. When it came to ‘No Tears’, it felt natural to build on that relationship. We speak a similar musical language, especially when it comes to groove and energy, which made the collaboration feel effortless.
Was there a moment when the track really ‘clicked’ for both of you?
Costel set the foundation for this one. When he sent over the initial idea and groove, it clicked right away for me. From there, it became more about refining and shaping it together rather than forcing anything. The core feeling was already there, which made the rest of the process feel natural.
Can you walk us through the early version of ‘No Tears’? How different was it from the final release?
Mostly tightening the arrangement, refining the vocal moments, and shaping it for the dance floor. The final version isn’t a complete reinvention, it’s a more focused and intentional version of what was there from the start. I road-test all my tracks and this one hit from the start.
Are there any specific synths, plugins, or production techniques that played a key role in shaping the track’s atmosphere?
We kept things pretty focused. A lot of the low end came from sound design in Serum and Omnisphere, with movement and groove shaped using ShaperBox. Nothing overly complicated, just tools that let the track breathe while keeping it dynamic.
How did you approach balancing emotional depth with club-ready energy?
We kept the emotion in the tone rather than the arrangement. The groove and energy stay consistent and club-focused, while the feeling comes through the vocal. That balance lets the track connect emotionally without losing its momentum on the dance floor. It’s a powerful but fun record.
What did you want listeners to feel, or maybe not feel, when they hear this track for the first time?
I wanted it to feel energized and feel-good, with a bit of attitude. Something that makes you want to get on the dance floor or turn it up in your car. It’s not meant to feel heavy or overthought, just confident, fun, and instantly playable.
How do you know when a track like this is finished rather than just endlessly tweakable?
You can only add so much before you have to start stripping things away. When the track feels clear, focused, and does what it’s supposed to do without extra layers getting in the way, that’s when I know it’s finished.
What excites you most right now about where your sound and collaborations are heading?
What excites me most is how aligned everything feels right now. Working with collaborators who really understand my sound has made the process more fluid and honest. This track being signed to Farris Wheel and by Gene Farris himself within minutes of sending it over was a huge moment for me. It’s a legendary Chicago house label, and being part of that lineage means something personal after years of being rooted in this city and its club culture. Moments like that reinforce that I’m moving in the right direction and make me excited to keep pushing my sound forward through future collaborations.
With ‘No Tears’ reinforcing her momentum and artistic direction, Avi Sic proves she’s an artist firmly on the rise. Focused, confident, and creatively driven, she continues to shape a bold lane within modern Bass House and this release is another strong step forward.
Avi Sic Online
Interview
Devin Wild on “Among The Noise”: Fusing Hardstyle and Hard Techno with Industrial Experimentation
Devin Wild’s latest EP “Among The Noise” pushes genre boundaries by blending Hardstyle and Hard Techno into an underground, experimental sound. In this exclusive interview, Devin Wild discusses “Among The Noise” while sharing his production philosophy and his evolution from child prodigy to innovative producer.
Devin Wild on the Creative Vision Behind “Among The Noise”
“Among The Noise” is a fusion of Hardstyle and Hard Techno. What inspired this creative direction? How do you maintain your signature sound while exploring different genres?
“Among The Noise” represents the culmination of my experimental journey. Since I started doing these experimental EPs, the underground techno sound has played a major role. Certain ideas come into their own within this sound. Moreover, this style lends itself to more straightforward and dark flows.
Personally, I think you always retain your own style. You need to make choices that you really feel deep down and stand behind them 100%. Everyone is unique with their own mind. As long as you are the purest form of yourself, your style remains intact.
The EP features previously released tracks including “Chaos (Always Comes)” with Nathalie Blue, “Dance With Madness,” and “Hit Back,” along with the new “Silent (Left The System).” How do these four tracks work together to tell a cohesive story?
Musically speaking, all tracks follow the same vision by focusing on a more underground, yet out-of-the-box sound. There are choices I might not make in more normal tracks. However, “Among The Noise” gives me plenty of room to experiment. All vocals were written with that same idea in mind.
Devin Wild’s Industrial Production Techniques
You’ve described “Silent (Left The System)” as industrial and fierce, yet it’s unmistakably Devin Wild. Can you walk us through the production process and what elements you used to achieve that balance?
With this track, the Hardstyle producer wanted to focus more on dance floor-oriented elements. Industrial can quickly tend toward dark and obscure, which I absolutely appreciate. But here I wanted to keep the musical theme lighter and more open instead.
The sampler-style piano chops work perfectly for this, as do the high-pitched vocals. Additionally, the breakbeat elements tie it all together. In my opinion, these choices create the perfect balance.
The EP is described as playing “like a single trip” with cinematic bookends. In an era of single-track consumption, how important is the complete listening experience, and what do you hope audiences gain from it?
Projects like “Among The Noise” let you work within a certain style and theme. With this project, I wanted to try new things and explore new elements and song structures that I don’t usually do very often.
I approach such a project with certain thoughts and feelings. How I feel at that moment matters. The phases I’m going through influence the music, and with all that in mind, I work on the project.
I link all the components together, including visuals and lyrics. Through this, I hope to take people along in my processes without having to explain everything too literally.
Devin Wild’s Evolution: From Child Prodigy to Hardstyle Innovator
You started producing at just nine years old. Looking at your journey from tracks like “Into The Night” in 2015 to “Among The Noise” today, how has your production philosophy evolved?
My musical development runs parallel to my personal development. When I think back to how I was as a person then compared to now, the shift is easy to explain. As I’ve gotten older, I’ve started to think differently about music production.
I weigh choices differently now and value a certain form of integrity. Furthermore, I often try to challenge myself by trying new things. Your taste naturally changes as well. All of this is a fairly natural process for the Dutch producer.
Devin Wild on Collaboration and His Creative Process
Collaborations have been a major part of your career, from viral hits with Sub Zero Project like “Meltdown” and “DSTNY” to your 2018 mini-album “Maze Of Revelation” featuring Psyko Punkz, KELTEK, D-Sturb, and Warface. How have these collaborations influenced your approach to this more experimental, solo-focused EP?
Devin Wild notes this was the first project where he worked within a specific theme. In terms of musical vision, it doesn’t have much to do with what I’m doing now. Nevertheless, I learned from the processes involved in those individual tracks.
“Chaos (Always Comes)” features vocalist Nathalie Blue. How do you approach the decision of when a track needs vocals versus remaining instrumental? What role do vocals play in your creative vision?
Vocals can often serve as an element of recognizability and give a song a clearer structure. When I start working on a track, I often know what my goal is and what it needs to achieve that goal.
Looking Back at 2025 & What’s Next for Devin Wild
2025 has been a breakthrough year for you. Was there a defining moment that made your music stand out this year?
I can’t name a specific moment. For me personally, continuing to develop and learn new things is most important. Meeting new people and working with them matters greatly. Staying active is key, and looking for ways to improve and innovate drives me forward.
What can we expect from Devin Wild for 2026? What are you most looking forward to for next year?
I will do my utmost to keep seeking fresh perspectives on innovation. New projects are on my to-do list, along with exciting collaborations. Ultimately, I’m committed to pushing the boundaries of what’s possible in electronic music.
Devin Wild’s “Among The Noise” is available now on all major streaming platforms. The EP showcases his bold vision for the future of Hardstyle and Hard Techno fusion. Experience the full journey of “Among The Noise” and discover why Devin Wild continues to push the boundaries of electronic music.
Devin Wild Social Media Links https://www.instagram.com/devinwildnl https://www.facebook.com/devinwildnl https://x.com/devinwildmusic https://soundcloud.com/devinwildmusic https://www.youtube.com/devinwildnl
SCANTRAXX Social Media Links https://www.instagram.com/scantraxx https://www.facebook.com/scantraxx https://x.com/scantraxx https://soundcloud.com/scantraxx https://www.youtube.com/scantraxx https://www.scantraxx.com
Coming off a transformative year marked by artistic reinvention and personal growth, LA-based producer and multi-instrumentalist Martron enters 2026 with renewed clarity and momentum. Following the release of his emotionally charged ‘Resurgence’ EP and a run of standout singles that earned support from some of electronic music’s most influential names, Martron has proven that perseverance and vulnerability can be just as powerful as heavy basslines. We caught up with him to reflect on the highs and hurdles of 2025, the music that changed his life, and what lies ahead in the next chapter of his journey.
Hey Martron, thanks for taking the time to speak with us! How was your holiday/new year’s?
Thank you for having me! Both were good thanks for asking, it’s always nice during this season to hit the pause button, reflect on the year and get some rest. One of my favorite things to do during this time of the year is watch the Extended Lord of The Rings Trilogy, for some reason it hits differently compared to when I watch it at any other time.
Looking back on 2025, what were your biggest and proudest achievements?
I think the 2 things I’d point to are the making of my EP “Resurgence” and my personal growth.
Regarding Resurgence, it’s honestly the most proud of a project I’ve ever been. It all came together in a month on a new laptop after the last one broke down and after a lot of progress on previous projects was lost. I recently shared a few days ago that losing that progress coupled with my mental health struggles at the time had me contemplating giving up making music. Obviously I decided against that and to not only see what came from me artistly during that time, but to see the reception the EP got when it dropped was wild. The articles, the messages I’ve gotten about it, the fact that it was on the radio for a while and charted internationally, I was honestly in disbelief when all of this happened. Resurgence means so much to me and shares a message of hope, perseverance, an emphasis on never giving up and remaining true to yourself. To see this message resonate with so many people all over the world is awesome and motivating.
Regarding my personal growth, I started doing a lot of work on my physical, mental and spiritual health last year and I’ve never felt better in all 3 of those areas than I do now. I started doing things like working out more consistently, going to therapy and continuing to grow closer to God, all of which have really helped me acknowledge and tackle issues that in years past I had a more difficult time addressing. It’s done wonders for my confidence and I have a lot of people to thank for helping me get here.
2025 also saw you release a bunch of amazing music, which one stands out as your personal favorite?
I’ve been pretty vocal in saying Always is not only my favorite track I’ve made of 2025 but it’s up there for my favorite track I’ve ever made. Always is the backbone of the Resurgence EP and a monumental track for me personally, I’m pretty confident in saying it changed my life. It became a huge motivator for me and I hope it’s a track that can inspire others to not give up and to fight through what they’re going through. The other part of course is what it was like to make the track and leaning very hard into my classical routes. Producing it, playing piano and flute on it, singing on it, the writing process for Always was so natural and everything felt like it fell in the correct places. One of my favorite parts about making it was piecing together the melody of the vocal chops in the drops, it flows so well together and kind of feels like a call and response between the different octave changes. I can go on about Always for hours, I love it so much.
You’ve also earned support from artists such as ODESZA, NGHTMRE, and SLANDER. How has it been to see your music get endorsed by artists of that magnitude?
Honestly it’s insane to think about. I’m very grateful for and motivated by any support that’s given to my music, but to get that support from artists I grew up listening to is special. A good example is Steve Aoki, his influence and contributions to the dance music scene are massive. So to not only have a couple tracks drop on Dim Mak but to hear him shout me out on one of his “Aoki’s House” episodes was unreal. It still is and I couldn’t be more appreciative of him and Dim Mak for the support and opportunities they’ve given me and my music. Support from artists and labels like that tells me I’m doing something right and I owe it to myself as well as the people who’ve shown me support to continue to grow and get better.
Does that cross-genre support shape your approach to production?
Oh 100% how could it not? I’m someone who wants to remain a student of the game, always looking to learn and soak in knowledge. I love making and listening to all kinds of music, so whenever I get the chance, I always try to learn something from watching others produce or from listening to and discovering music. Then I take what I’ve learned and implement it into my own work. 2 examples of some recent releases I’ve been inspired by are Skrillex’s “hit me where it hurts x” EP and Tems’ “Love Is A Kingdom” EP. My ears have been glued to both of these, both have a lot to say and show off some incredible artistry. They’re both examples of a major thing I’ve learned over the years, which is that you can teach someone all the techniques in the world for how to make music, but the thing I see people tend to gravitate to the most is the personal touch or style of whoever is creating the music. That “it” factor or flavor that can’t be taught or truly replicated. Take 3 artists I love for example: Feed Me, Fred Again.. and Peggy Gou. All 3 of them are amazing not just because they’re good at what they do, it’s also because they’re so unapologetically themselves and that’s clearly shown in whatever they make. Their music is an extension of themselves and that’s something I strive to achieve and keep consistent when it comes to my own music.
Going into 2026, what are your goals and aims for the coming 12 months?
My general goals when it comes to music are to get better everyday, be better than last year in every way, work with more artists, play more shows and take more risks. Of course there are specific artists I’d love to get noticed by and work with, festivals, venues and shows I’d love to play and labels I’d love to have releases on. I’m a very ambitious person so I tend to shoot for the stars no matter how improbable or difficult to achieve those goals are, but there’s so much I want to do. All I can do is work hard and let God steer things from there.
Personally speaking, one of my goals this year is to travel more. I’ve always been an adventurous person and love exploring, but the last time I left the country was August of 2024 when I took a trip to Guatemala. I’d like to visit countries like Japan, Italy, England and Croatia to name a few, but we’ll see what happens.
As you move into the next phase of releases, are you more focused on standalone singles like ‘Feel It’ or building toward a larger, cohesive project such as EPs and albums?
Well I’ve been buried in the studio working on an EP since June of last year. Contrary to Resurgence, I’ve been taking my time with this one, I’ve needed the extra time to get everything right. Especially because as I’ve continued to grow, regain confidence and learn more about myself, my music needs to be held to the same standard and reflect that growth. I’m working on a lot of new music right now that I’m either putting back together from when my laptop broke down or is entirely brand new and that stuff will come out in due time, some of which will be standalone singles in the same way Feel It was. But the EP has been my top priority.
And finally, do you have any special news you’d like to reveal to our readers?
There’s a lot going on behind the scenes right now that I’m really excited about, but some stuff I either can’t discuss yet or want to wait a little longer before discussing publicly. What I can say with 100% confidence is this: Not only is my new EP very close to done, you won’t have to wait long for it.
Follow Martron:
Instagram | X | Spotify | SoundCloud
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