Interview
KSHMR Talks About His Name, Pivotal Moment In Career & More
He’s an American musician, songwriter, producer, and DJ born of Kashmiri-Indian descent. He’s the man behind ‘Like a G6’ and one half of The Cataracs. He’s incredibly talented and one of the nicest artists I have ever met. Introducing Niles Hollowell-Dhar, more commonly known as KSHMR.
Let’s start at the very beginning – how did you come up with the name KSHMR?
Random word generator- just kidding. My family is from Kashmir, which is a region in India. And that’s about it- I know it’s not that crazy or original, but hey, it’s important to me.
Are there any exciting projects coming up that you can tell us about?
There’s always shows and festivals coming up, and I’m excited for all of them. I have some new singles coming out soon too that I can’t talk too much about yet. I also am going to be working on developing new sound packs, that will require a lot of work and a lot of collaborating with different people, but I’m excited to put those together and share them with the world too.
Check out some of KSHMR’s newest releases:
What was the most pivotal moment in your career?
Well in the beginning, it was this song called ‘Like a G6’. It was kind of like a fluke honestly- I was making a lot of tracks at the time that were similar- that had that sort of distorted sound. And somehow, that one happened to end up being a really big hit, and that changed my life forever. That song really took me from being the guy just trying to get his foot in the door to the guy who’s got the #1 hit in the country. After that my group broke up, and then that’s when I started to become KSHMR.
What artist or group would you love to collaborate with?
Such a good question. I would say, for sure, Brandon Flowers. I love The Killers- they’re one of my favorite bands. The Beatles are actually my favorite band, but unfortunately, I don’t think I’m going to be able to get Paul McCartney to collaborate with me on anything.
Have you had a most embarrassing moment on stage that you feel comfortable sharing?
Oh yeah, I’ve had multiple. Back when I was in The Cataracs, I had just broken up with my girlfriend at the time. I was playing at a show that I knew she would still be in attendance at. Of course, the DJ before me opened a bottle of champagne on stage and sprayed it all over… and the first thing I did when I ran out on stage was slip and fall in front of everybody. Like I medically injured myself- it was that painful- but I continued the show. It just felt so embarrassing doing that in front of everybody, and knowing she was in the audience made it even worse.
The next one I have to share with you- I was in Germany. It was the last song of my set, I was outside performing at a festival, and it was raining. The last song I was playing had a huge build up to the last drop, so I jumped up on the table to get the crowd super hyped up. I then realized that I accidentally stepped on my USB was I was getting onto the table- like crushed it so hard that the wires were sticking out. Somehow, the song went into an emergency loop, so it literally was just going to loop forever if I didn’t do something. And since my USB was crushed there was literally nothing I could do, so I just let it loop for another minute or two, then turned the music down and said “Thank You” and ran off stage.
Photo credit: Jeff Kravitz
Billy Ronca Interview On “Yamekite” And Latin House as he discusses flamenco influence, Puerto Rico, and working with STBAN
Brazilian-born, Europe-raised Billy Ronca is an urban singer and songwriter with a career spanning both continents. After moving to Puerto Rico in 2016 to join Baby Rasta y Gringo’s WolfFlow Music, he solidified his place in the Latin urban scene. As both an artist and behind-the-scenes writer, Billy Ronca has collaborated with stars like Noriel, Ñengo Flow, and Jon Z. From the streets of Spain to the clubs of Switzerland, Billy’s multilingual flow is taking over the Latin urban scene, proving he’s the real deal on and off the mic. Last week he dropped his latest single, a collaboration with FLAMENCA Records’ head honcho STBAN, the sizzling summer heater ‘Yamekite’. Billy’s sun-drenched vocals and fluid rap are a perfect foil for STBAN’s steadily building production. Between them, the pair have created a gorgeous slice of hot Latin electronica perfectly timed for the opening of the European summer season. As the track begins to do its business across dance floors worldwide, we spoke with Billy Ronca to find out more about his life and his work so far.
Hi Billy, welcome to EDM House Network. Where are you in the world right now and what are you doing?
Hi, how are you guys? Thanks for having me here. Right now I’m in Switzerland. I’ve been traveling a lot lately since I’ve spent the last ten years mainly living in Puerto Rico, but at the moment I’m working on many projects from Europe. Spain, for example, has a lot of opportunities right now, especially with summer tours, and I’m currently developing several collaborations with Spanish artists and other exciting projects. For now, I’m in Switzerland organizing different aspects of my career and preparing for everything that’s coming this year.
You’ve just released a new track called “Yamekite” on FLAMENCA Records with STBAN. What does “Yamekite” mean?
“Yamekite” plays with an expression that, if separated in Spanish, would sound like “ya me quité,” which basically means leaving a situation behind or walking away from negative energy. It’s like saying, “I’m done with this” or “I don’t want to deal with this anymore.” We felt that concept perfectly matched the attitude and energy of the track.
The track fuses flamenco house and Latin house with a reggaeton vibe. How do you feel this fusion of sounds worked out on the track?
I love how the fusion came together. Since I grew up for a big part of my life in Europe, I’ve always had a strong connection with electronic music, especially house music and European sounds in general. At the same time, my roots and my career have always kept me very close to Latin and urban music. Being able to combine those two worlds naturally is something I really enjoy, and I think with “Yamekite” we found a very fresh balance between electronic energy and Latin rhythm.
You’re from Brazil but grew up in Europe. How has the European music scene influenced your production and songwriting?
The European influence has been a huge part of my artistic development. Growing up here, I was surrounded mainly by an electronic music scene, and that strongly shaped the way I produce music today. I also started writing at a very young age, even in French when I first began my career, and that helped me a lot because every language expresses emotions differently. Mixing Spanish, French, Portuguese, and English has allowed me to develop a much more versatile writing style, playing with different sounds, melodies, and ways of delivering ideas.
Were you into reggaeton before moving to Puerto Rico?
Yes, absolutely. Since I was a kid, I’ve always been very connected to reggaeton and urban music in general. It’s a genre that inspired me from a very early age and has always been part of my life.
You mention in your bio that moving to Puerto Rico inspired you to fully integrate into the urban music industry. What impact did that have on your creativity and songwriting?
More than inspiring me from the beginning — because I was already actively working in the industry — moving to Puerto Rico helped me focus more and truly understand the seriousness of the business. It was a very important stage for building a stronger and more solid career. It also helped me creatively because songwriting comes from life experiences, and living in the birthplace of reggaeton gave me constant inspiration. Being surrounded by that culture, those artists, and that energy really helped me grow as a writer and as a creator.
You’re very closely associated with Baby Rasta y Gringo and their label WolfFlow Music. Has working with them changed you as an artist?
Of course. I’ve learned a lot from working with them. People have to remember that they are legends of urban music and they’ve been in the game since long before digital platforms even existed. They helped define an entire era of the genre. What’s even more impressive is that besides being pioneers since the 90s, they’re still completely relevant today. They continue touring all year and collaborating with the biggest artists of the moment because they have the respect of the entire industry. Being able to learn from people with that kind of legacy has been incredibly valuable for me, especially seeing how they continue evolving and staying relevant after more than three decades in the business.
It seems like you’re an artist who constantly evolves and takes inspiration from your surroundings. Do you plan to stay in Puerto Rico, or do you think other places might inspire you creatively in the future?
I’m someone who loves change and enjoys experiencing new things. Even though Puerto Rico is still officially my home and those ten years there were extremely important for me, I’m currently spending a lot of time in Europe. I’m seriously considering having a residence here as well or maybe staying for a longer period to explore the European market, which I really love and believe has huge potential. Discovering new cultures, music scenes, and different ways of working always inspires me, so I’ll probably continue moving around and evolving depending on what inspires me in each stage of my life and career.
What’s next for you after “Yamekite”?
There are a lot of new projects coming. I have several singles planned for this year, and right now the main focus is continuing to release music consistently and keep growing within the industry. And who knows… maybe an album next year. But for now, the priority is to keep building step by step and take the career to the next level.
With Yamekite, Billy Ronca and STBAN place Latin house and flamenco influence into a track that connects naturally with Billy’s wider background across Brazil, Europe, and Puerto Rico. The release also arrives at a point where he is spending more time in Europe while still carrying the influence of the Latin urban scene, giving his next chapter a wider international direction.
Looking ahead, Billy Ronca is focused on releasing music consistently, with several singles planned for this year and a possible album next year. After years of working across languages, scenes, and markets, Yamekite points toward a broader run where his urban songwriting background and connection to electronic music can continue meeting in a more intentional way.
Profetik Talks ‘The Waking’ as his five-year return opens a darker, cinematic chapter with Roniit
Profetik recently marked his return with ‘The Waking’ featuring Roniit, a release that introduces a darker, more cinematic direction after several years away from releasing music. During that time, he continued refining his sound and rebuilding his creative identity, moving toward a style that balances Melodic Techno with undertones of Melodic House. In this interview, Profetik talks about the process behind ‘The Waking’, the collaboration with Roniit, and the mindset behind this new chapter.
What’s the reception been like for ‘The Waking’ so far?
The response has been overwhelming, honestly. This is a different sound from what I was making five years ago, and it is something much darker, more cinematic, built for bigger stages. So, there was real uncertainty going into this. You never know how people are going to react when you come back sounding like a different artist. But the reception from listeners has been incredible and I love seeing their messages and responses. People are connecting with it in a way that tells me the evolution was the right call.
After stepping back for five years, what made you feel ready to return and why was ‘The Waking’ the right track to mark that moment?
I went five years without releasing a single track. Not because I stopped making music. I never stopped. I just wasn’t ready. The sound wasn’t there yet. And I’d rather disappear than put out something I don’t believe in. So, I kept writing, experimenting, evolving the sound without any pressure to put it out. At some point I realized the music had grown past where I left off and it deserved to be heard. Protoculture heard an early version, and his reaction was a turning point. When someone whose ear you trust that much tells you it’s ready, you listen. ‘The Waking’ felt right as the first release because it captures that transition. It is dark and atmospheric but there is an emotional depth to it that reflects where I am now as a producer. It felt like the most honest reintroduction I could make.
This release signals a shift in your direction. What elements of the track would you say define your renewed sound?
The biggest shift is in how I approach building a world inside a track. The foundation starts with a driving bassline. Not rolling, not bouncy. Driving. Something that locks you in and doesn’t let go. On top of that, the melodic elements come from unexpected places. I’m not just layering synths.
In ‘The Waking,’ the sitar carries a lot of the melodic weight, and it brings out this atmospheric quality that a standard synth lead never could. Then Roniit‘s vocals added another dimension entirely. Her voice is raw and ethereal at the same time, and it gave the track this haunting power that I couldn’t have created with production alone. And then underneath all of it, there are these atmospheric layers that pull you into the scene. That’s what I’m after now. I want the listener to feel like they’ve been transported somewhere. Not just hearing a track but being inside it.
Take us inside the studio for ‘The Waking,’ what was the starting point for the track?
The starting point was an image. Exiles wandering through the desert. Not a glamorous scene. It is a picture of struggle and resilience, people pushing forward through something vast and unforgiving. I built the track around that feeling. The sitar, the atmospheric layers, the driving bassline. Everything was in service of putting the listener in that landscape. When Roniit came in with her vocal, she brought this element of empowerment that I hadn’t planned for but immediately recognized as the missing piece. Her interpretation spoke to the resilience side of the story in a way that elevated the whole track. It turned it from something heavy and dark into something powerful and defiant.
The track carries a strong cinematic and atmospheric quality. How did you build that sense of narrative within the production?
I try to pull as much influence as I can from outside the genre I work in. Hans Zimmer and Howard Shore have occupied a lot of my headspace recently. What inspires me about their work is not the orchestral arrangements. It is the sound design. These shimmering, ethereal atmospheric elements that weave in and out of a scene and make you feel something before you even understand why. That is what I want to bring into electronic music. Take those kinds of textures and lay them over the foundations we already have. The driving rhythms, the bass, the structure. It helps that I live in Las Vegas now, surrounded by desert. You step outside and the landscape does half the work for you. There is something about that vastness and stillness that feeds directly into how I think about building atmosphere in a track.
What inspired the sonic direction of the track, and which influences shaped the final arrangement?
The biggest challenge with this track was balancing the atmosphere with the energy. I wanted it to feel cinematic and immersive, but at the end of the day, this was built for the dancefloor. It is not a sync project for a film. It needs to move a room. So, finding that balance was everything. One of the keys was layering the sitar underneath the big lead synth. If you listen closely, you can hear the sitar still weaving through even when the synth fully opens up. It gives the track this atmospheric depth without sacrificing any of the impact. That balance between cinematic world-building and dancefloor function has been the guiding principle across all of the new music, not just ‘The Waking.’
Tell us about your collaboration with Roniit. How did that process unfold?
I have to give credit to my girlfriend on this one. She heard the first instrumental version of ‘The Waking’ and immediately said I should reach out to Roniit. She’s been a fan of her voice for a while and thought it would be a perfect match for the track. So, I found Roniit online, reached out, sent her the instrumental, and honestly she just nailed it. There wasn’t a lot of back and forth. She understood the mood and the energy of the track right away and delivered something that elevated it beyond what I had imagined. Sometimes the best collaborations happen when someone just gets it instinctively.
From a production standpoint, what element took the most time to refine?
The whole track, honestly. I made the first version on headphones and something about it never felt right. So, I put it on ice for months. When I finally built out my studio properly, I pulled the project back up and remade the entire thing from scratch. The difference was immediate. The drums had more punch, the bass was stronger and more present, and all of those atmospheric details I was going for finally had room to breathe. It taught me a lot about trusting my instincts. If something doesn’t feel right, shelving it is not giving up. Sometimes you just need the right environment (and equipment) to bring it to life.
This release feels like a re-introduction, what do you want listeners to understand about you now?
I want people to understand that every track I make is built with intention. There is always something deeper running through the music. Themes, imagery, stories that I draw from personally and embed into the sound design, the vocal direction, the titles. I’m not going to spell it all out. That’s part of the experience. But for the listeners who dig a little deeper and start connecting the dots, there is a whole world underneath the surface. Beyond that, I just want people to know that this is not a side project or a phase. This is the work I was always supposed to be making. It just took time to get here.
How does ‘The Waking’ set the tone for what’s next, and what can listeners expect moving forward?
‘The Waking’ was the opening statement. What comes next is a full body of work. I’m launching my own label, Seraph Records, and the first release drops May 29th. It’s called ‘Ophanim,’ and it features a driving acid bass with relentless peak-time power. It was built to take the roof off a festival stage. That contrast is intentional. I want people to understand the range of what Profetik is now. From here, listeners can expect new music every single month through the end of the year. Some of it is dark and heavy. Some of it is vocal-driven and emotional. Some of it lives in a more melodic house space. Nine releases in total for 2026. Every one of them is built with the same cinematic intention, but no two of them sound alike. This is just the beginning.
With ‘The Waking’ now out, Profetik is using this release as the first point in a longer return. His next release, ‘Ophanim’, arrives on May 29 through his own label, Seraph Records, with monthly releases planned through the end of 2026. For listeners coming into this new chapter, ‘The Waking’ shows where his sound is heading: darker, more cinematic, and built with a clear focus on story, production detail, and club use.
Listen and Buy ‘The Waking’ Here.
Profetik Online
Roniit Online
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.
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