Interview
Reefer and Remixes: Wuki talks Sabrina Carpenter, Los Angeles vs. Denver and more at North Coast Music Festival 2026
Ask anybody for an EDM remix of an all-time classic and there’s a good chance they pull out a Wuki tune, EDM House Network catches up with him.
Co-signed by Skrillex, Diplo, Valentino Khan, and more, Wuki has become one of the forerunners of viral dance music remixes, blending genres in the trap, house music, and electro scenes. Now, EDMHouseNetwork sat down with the electronic music icon after his headline show at North Coast Music Festival, to talk his love for weed, his early inspirations and more. Check out the full interview below:
Q: How does North Coast – just kind of the atmosphere – compare to some of the other festivals that you played at, and how does that kind of change your set list and plan as you go through?
A: Man, that’s a good question. So I never really know if I should go like houseier or bassier, bass year in Chicago. I feel like they like everything. So, really, at the end of the day, I just do me. I don’t really like think about it too much. I don’t even plan my sets these days. I just go up and I just like I have a bunch of shit to go to and I like I play. I don’t know, but um, I mean the vibe in North Coast is awesome. Like, it’s uh like it seems like it just keeps growing every year, and like people just I could tell people love it, and like yeah, it’s just it’s probably one of the dopest festivals in America.
Q: You’ve put your own touch on a lot of iconic records. “Ain’t it fun,” “Sunshine,” and now “Eye of the Tiger.” How is the creative process different from touching an iconic record like that and creating your own original track? And what’s kind of enriching about each?
A: I mean, I try to always like stay true to the song when I remix, and like keep the song intact. Like a lot of remixers, they’ll like take the like you could take a sample and just totally flip it so it doesn’t even sound like the song, right? Basically what I try to do is make a dance floor ready version of the song, and so I like to keep parts of it intact and like try and use the parts that are like most iconic and like use them in a way that is ready for the dance floor. That’s my goal when I remix. So yeah, I mean, and when it when it hits right, and I hit one that works really well, it’s hard to describe it. It’s just a really great feeling when I get the approval from the original artist, I get all the labels on board. I get all the writers on board. Fucking Smokey Robinson shouting me out for sunshine, like that’s crazy, you know. So yeah, it’s super cool, super rewarding, and I love that I just get to be like created this own path for myself, basically.
Q: Going from Denver to Los Angeles, what’s kind of different about those two EDM scenes? And do you think the change in scenery has kind of changed your sound or style at all, based on the environment in each city?
A: Not really. I do, I just do my thing now. I mean, I think, I think obviously Denver is more bassy, more heady, more. You know, I mean, I don’t even want to say that because like House is really big in Denver too. Like Dom Dolla did Red Rocks, Chris Lake did Red Rocks, I think. And so, I mean, obviously, dubstep’s probably bigger there. Like, I’m sure Subtronics could do seven nights at Red Rocks if you wanted to. But I don’t know. I think I kind of just stick to my own thing anyway. I’m not too influenced. I mean, these days I just really like being in the sunshine and enjoying the sun. So I tend to make like brighter music when I’m in the West Coast stuff like that.
Q: I know you started off with your electronic rock band in the early 2010s. How do you kind of take that sound and blend that into the artist that you are now?
A: I don’t know. I mean, I guess I always liked like energetic music. Like even when I was like before I was in the band, I was in like rock, like heavy rock bands, like like metal and stuff like that. So I always like stuff that like pump me up, and I think that has kind of been the common thread with everything. I don’t make, I do make some chill music, but for the most part, it’s all pretty energetic.
Q: Which record of yours would you say you kind of stepped outside of your comfort zone with most, and what about it particularly was challenging for you?
A: Man, that’s a good question. Oh, I got it. I just did a remix for Majid Jordan. I don’t know if you know who they are. They just had like a new album right now, and I I know Jordan. I know the one guy, and so he sent me the stems, and it’s definitely way different than something I usually do. But I love them so much that I wanted to make it work, so I ended up making this kind of like deep tech thing that is like usually not something I make, but so that came out pretty cool though. I think.
Q: I know R&B is kind of one of your early passions, some of the inspiration. Majid Jordan specifically. Have you taken any of those elements from non EDM artists and blended it into your music and if so, how?
A: I mean, I think I’m a pop music junkie. Like, I love pop music, so I’m always looking for like earworms and like, like, kind of like things that will…
Q: Any particular artists?
A: I love Katy Perry. I know she gets a lot of hate now, but I love Katy Perry, and I love, I really like Sabrina Carpenter too. I think she’s great. And so I don’t know. I think I’m always, the way I kind of produce music is I’m trying to make a hook. Like I’m always trying to find like a good hook to use. And to me, like it’s not all about the sound design and stuff. Like it just has to hit and like fill that role really well, but it’s got to have a good hook, no matter what.
Q: Also, from Denver to LA, I gotta ask, who’s got the better weed?
A: Oh man, dude, it’s all so good now. Honestly, I’m at the point where I need I need meds again. Yeah, all the weed is too good. So I don’t know. It’s I think Denver though, because, this is the real reason why Denver weed is better, is because it’s drier. So you get more bang for your buck, and you get it like you get it, and it like all like breaks up, and then like I like that, and then you like pack a bowl and it like rips really hard.
Q: Pick four DJs: dream blunt rotation.
A: Tiesto, Carl Cox, Sara Landry, and Subtronics.
Q: Any records that people should be watching out for coming out?
A: It’s actually going to be me a collab with Notorious BIG, which is fucking nuts. I did a remix of “Big Papa,” and it got really big online, so they’re we’re putting that out. Officially cleared. Should be in like the next two months. And then I also have a remix for Starship’s “Nothing’s Gonna Stop Us Now.” That’s coming out like literally next month.
Be sure to stay up to date here on EDM House Network as we continue to bring you the latest news on new releases and artist interviews from festivals around the world.
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MEETCH interview about his new single ‘Reflections’ with Lacey, his Ørjan Nilsen collaborations and what’s next for the robot-headed producer
After lighting up dance floors the world over with August’s Ørjan Nilsen collaboration ‘Body On Me’, US producer MEETCH keeps the home fires raging as he drops his next release ‘Reflections’ – this time taking full control on production duties.
‘Reflections’ is a timely reminder of why MEETCH is increasingly considered one of the hottest names on the Stateside circuit. His playful energy and trademark robot branding has hit all the right notes on some of the country’s most legendary dance floors, including Pacha, Webster Hall and Avalon Hollywood.
In the studio, his production levels are equally sublime. On ‘Reflections’ flawless synth runs break into industrial saw fx, melting in and out of one another. It’s a gradual, controlled, masterful build-up of energy levels that mirror each other back and forth as the track progresses, Italian vocalist Lacey’s topline sewing a seamless line throughout the entire composition.
MEETCH is clearly an artist firing on all cylinders sonically, displaying a huge run of inspiration that shows no sign of stopping. With more collaborations scheduled with the likes of Hel:sløwed, a second outing with Nilsen and a hotly anticipated Robotic Rumble x Pulse Theory pop-up event at ADE on October 23rd with upcoming track collaborator TLUXX, 2026 is shaping up to be a pivotal year for the American talent. We managed to track the robot-headed producer down for a catch up on where he’s been, what he’s been up to, and what we can expect from him as 2026 rolls into 2027…
Hey MEETCH – it’s been a while! Where’ve you been?
Hello! Been cracking down on content and new music. Playing shows here and there, but mainly creating new things for peoples eyes. My actual location is Los Angeles, still here grinding hard every day.
You’re back in the studio making fresh music for us – what inspired this latest run of creativity?
I wanted to try and blend the music that started my journey with styles that are making noise on the big stages. I’m working on getting more creative with vocals and voices that mean something. Give people something they can remember and blast every day. Not just for the sound but for the meaning too.
Your latest solo track, Reflections, is out now. What’s it all about?
Reflections makes me think of the moments and memories I’ve had with everyone over the years. But also makes me think of all of the versions of myself as an artist and a performer. I’ve developed the robot brand starting in 2012 and it’s been an evolution ever since. This song can have many meanings for people, but for me it is the path I’ve taken and the constant do-overs and changes to my brand and image over the years.
You worked with Italian vocalist Lacey – how did the connection come about and what did he deliver to the overall feel and production of the single?
I’m always searching for someone new to work with and I came across the topline for this and fell in love immediately. I knew that this was the vocal for this song. I felt the meaning and felt the mood immediately without even knowing how the instrumental would pair. But now, I am going as big as I can with this track. Going to really work on blasting it out and getting all ears on it.
Lacey’s not the only artist you’ve been working with – you recently dropped a collab with the legend that is Ørjan Nilsen and rumour has it you’ve got another single coming up with him and also with Hel:sløwed? Can you share any news about those tracks with us?
Working with Ørjan Nilsen is amazing. I played a show in Webster Hall NYC with him in like 2013. I was just some random opener on a side stage at that point. So it’s been amazing to come full circle and be able to work with him now like this. The track with Hel:sløwed has been in progress for a long time. We had to go back and fourth on vocals for a few months but finally landed on a track that combines both the Trance and Tech-House styles we do. It’s very exciting and also we have my friend Salvo on the vocals! So it’s been great to finally have an genre-bending track coming out soon.
What do you love most about working with other producers?
I think this is a great way to open up your sound with new fans and people. It also kind of answers those questions for people, “Oh I wonder what these sounds combined could sound like.” So it’s a cool way to not only meet new people, but have new experiences with fellow artiest. And then in the hopes of eventually performing the songs together.
If you could get in the studio with any other producer, who would it be and why?
I think Dillion Francis is probably the top person I’d want to make music with. His humor really lines up with things I enjoy or find funny. Most people want to right away jump in the studio with Tiesto or Zedd or something, which would be incredible, but I think I have the most possible chance to do something with Dillion. That would be probably my next best goal for a big collaboration. I love making content and recording videos, so I think with my robot brand we could make something pretty ultimate.
How’s the bass and electro scene looking in LA? Are there any movements or parties bubbling under that you’d recommend we get the drop on?
I don’t go to many bass shows, though we did just go to Dillstradamous which was INCREDIBLE, but the parties in LA have been really geared towards afterhours. I been performing a lot and going to HOLYSH#T. It’s mainly House Music at the afters but sometimes they switch is up and do other genres. But my buddy owns it and it has truly built up and it’s pretty huge now. Always a great time going to the HOLSH#T after hours!
You obviously like to work with other artists from other genres – is there a particular genre of music that you think you couldn’t get behind, and if there is, why?
I think I am open to all genres. I really want to do a Trap collab. Trap was the first genre I started making along with Dubstep, so I am definitely down for a collab in those genres. It would really have to make sense though. Overall, I’m open to make lots of genres.
Tell us one thing we don’t know about MEETCH…
I take showers with my robot helmet on and shampoo the top to make it smell nice before shows.
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Promo Push head of promotions Russell Biles explains how the UK company promotes dance music releases across DJ, radio, press and Spotify campaigns
Promoting releases from the likes of MK, Chris Lake, Claptone, Above & Beyond, Tiësto, Diplo, Flashmob, DJ Hype, Axwell, Jamie Jones & Vintage Culture – Promo Push was founded in 2011 & is one of the industry leaders in dance music promotion, based in the UK.
Speaking to Russell Biles, head of promotions at Promo Push - we asked some questions about the company & how they promote a release in today’s dance market.
Since the launch of Promo Push in 2011, how have the range of services you offer evolved?
We launched with a firm focus on DJ & Club promotion, delivering genre specific & bespoke campaigns – across the electronic music landscape. The next natural progression, was us moving into dance radio promotion & we’ve built an extensive network with international heads of music, playlist managers & mix show hosts. Online Press campaigns then followed & we work with a range of music journalists & editors at dance music publications – closely aligning online coverage & building further awareness around a release. In 2019, we also moved into Spotify promotion – with us pitching to a range of leading 3rd-party playlist curators.
Musically, what dance music genres does your DJ promotion cover?
Whether it’s a House, Tech House, Deep House or Nu-Disco leaning track, a melodic Techno or Trance record – or Mainstage release, we deliver tastemaker DJ & 1001 Tracklists mix show promotion. With a deep understanding of the industry, each of our DJ / Club campaigns are tailored & finely tuned. Working with both major & independent labels, along with management agencies & directly with artists – from underground clubs to festival main-stages, we get our client’s release to the right DJs at the right time.
Across your radio promotion, what territories do you focus on?
Our radio promotion is international & reaches in to each key global territory. We target dance music stations & specialist DJ shows worldwide, including across BBC Radio 1, SiriusXM, Radio 538, Kiss FM, One World Radio, Ibiza Bpm Radio, SLAM FM! & stations throughout Europe, USA, Australia & beyond. In addition to FM stations, we also push to an array of specialist digital & online dance stations and use the monitoring tool WARM (World Airplay Radio Monitor) for tracking plays & radio support.
Do your campaigns follow a specific timeline?
Each Promo Push campaign runs over four weeks & we report to clients weekly, with feedback & scores from DJs / Radio and who’s listened, reviewed and intends to support. Our Press & Spotify campaigns also run over a four timeframe, with weekly reporting too & detailing each Press feature / Spotify placement we’ve secured – with direct links to each. We provide a full & comprehensive summary with the final reporting, ideal for our client’s Press pack and their future release planning.
In terms of your Press service, can you tell us more about how this works?
We offer standalone Press campaigns, or including DJ & Radio promotion – as part of our Prime Tier. From leading online dance publications, to influential niche blogs — our Press network covers a wide spectrum of sites that dance music fans read. Press release curation is included in our service & our weekly reporting is in PDF, providing coverage links – readership estimates & a full overview of online release traction.
With Promo Push delivering over 4,000 campaigns to date & working with the likes of Anjunabeats, Axtone, SIZE, Ministry of Sound, Positiva, Spinnin’ Records & Defected Records – they continue to promote releases from some of dance music’s most established labels & artists, along with the best up & coming talent.
Connect:
www.promopush.com
[email protected]
+44 (0) 20 3633 1721
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Interview
A.N.I. Interview: Classical Roots, Keytar Moments, and Why She Refuses to Stay in One Lane
After a summer through Hive Festival, Tomorrowland and Verknipt Croatia, A.N.I. sits down to talk classical roots and the hard techno craft.
Berlin-born DJ and producer A.N.I. has built one of the more distinctive identities in hard techno and hard trance right now, blending classical piano training, an Audio Engineering degree, and a refusal to stay within any single genre into something that feels genuinely hard to pin down. After a summer that took her through Hive Festival, Tomorrowland, Verknipt Croatia, and her own Sorry Neighbours event at Bootshaus Cologne, she sat down with us to talk about where her classical background meets the dancefloor, the story behind Transition Tuesday, and why the most unexpected track in her bag recently involved Jennifer Lopez and a live Psytrance edit.
Hey A.N.I., great to meet you! How has your summer been? Any highlights?
Hey, great to meet you too! Honestly, this summer could not have been better. There were way too many highlights to pick just one. Hive Festival, Tomorrowland, our own Sorry Neighbours event at Bootshaus Cologne, UNREAL at WCD, Verknipt Croatia and so many more.
I could probably sit here and list shows for the rest of the interview. It has been one crazy experience after another, and I am incredibly grateful for every single one of them. Definitely a summer I will never forget.
Your sets are all about speed, energy and precision, but you also have a classical piano background. Where do those two worlds collide most naturally for you?
I think the connection is mostly in precision, timing and musical structure. Growing up playing classical piano taught me to pay close attention to rhythm, dynamics and how different elements work together. That naturally carries over into the way I DJ today.
Even though the sound and energy are completely different, a lot of the fundamentals are actually quite similar. Especially with fast, high-energy sets, timing and precision become extremely important.
Knowing how to build tension, create contrast and structure a set over time is probably where my classical background influences me the most.
So for me, those two worlds don’t necessarily collide in the sound itself, but more in the way I understand, approach and perform music.
If your current sound was a physical place, what would it look and feel like?
I’d probably compare it to a rollercoaster. It’s fast, intense and constantly moving, with moments where the tension builds before everything suddenly hits again. There are ups and downs, unexpected turns and moments where you barely have time to catch your breath.
It might feel a little chaotic while you’re on it, but underneath, everything is actually quite controlled and intentional. I think that combination of speed, tension and release describes mysound pretty well.
You’ve built a lot of attention around your “Transition Tuesday” videos. What started as a technical exercise has become part of your identity. Did you ever expect people to become so interested in the craft behind your DJing?
Not really, to be honest. I started Transition Tuesday mainly because I wanted to share something that is a big part of what I actually do as a DJ: mixing, experimenting with transitions and constantly trying to improve technically.
In the beginning, I did not explain the transitions at all. But people kept asking in the comments what exactly I was doing and how the transitions worked. At some point I decided to add an explanation to one of the videos, and the response was really interesting. From then on, people wanted to understand more and more about what was actually happening behind the decks.That was really exciting for me because I realized that people were not only interested in the final result, but also in the process and the technical details behind it. Usually, you just hear a transition on the dancefloor without necessarily thinking about what goes into it.
I never expected that this technical side of my DJing would become something people associate so strongly with me. Seeing that there is such a genuine interest in the craft behind it has made Transition Tuesday even more special to me.
You studied Audio Engineering, so you probably hear music slightly differently from the average DJ. What’s one production or mixing detail that instantly makes you think, “Yep, this is a good track”?
For me, it is difficult to point to just one specific detail because a good track is always about how everything works together. But I definitely notice the balance of a mix very quickly. Especially with fast and energetic music, there can be a lot happening at the same time. When every element has its own space and the track still feels powerful, clear and not overcrowded, that immediately catches my attention.
I think studying Audio Engineering made me more sensitive to those details. Sometimes I catch myself analyzing why something sounds so good instead of simply listening to it. But in the end, the most important thing is still the feeling. A track can be technically perfect, but it still needs to make me feel something.
Hard techno and hard trance can be incredibly intense. How do you create moments of tension and release without losing that relentless A.N.I. energy?
For me, it is difficult to point to just one specific detail because a good track is always about how everything works together. But I definitely notice the balance and clarity of a mix very quickly. Especially with fast and energetic music, there can be a lot happening at the same time. I pay attention to things like the frequency balance, how clean and controlled the low end is, how the kick and bass work together and whether every element has enough space in the mix. I also notice dynamics and transients quite quickly, because they have a huge impact on how powerful and energetic a track feels without everything becoming too compressed or overwhelming. A well balanced stereo image can also make a big difference in creating space while keeping the important elements focused.
I think studying Audio Engineering made me much more sensitive to those details. Sometimes I catch myself analyzing why something sounds so good instead of simply listening to it. But in the end, technical perfection alone does not make a good track. It still needs to create a feeling and make me want to play it.
You’ve played everything from intimate club environments to huge festivals. What changes in your approach when you’re standing in front of 500 people compared with 50,000?
The core of what I do does not really change. Whether there are 500 or 50,000 people in front of me, I still want the set to represent my sound and create the same kind of energy. But the way you connect with the crowd definitely feels different.
In a smaller club, the connection is much more direct and intimate. You can really see individual reactions and feel very quickly how people respond to certain tracks or transitions. That gives you the freedom to react more spontaneously and sometimes take the set in a direction you did not necessarily plan.
With a huge festival crowd, the energy feels completely different. You are looking at one massive crowd rather than individual people, so I tend to think more about the overall flow and bigger moments. Certain tracks, breaks or transitions can have a completely different impact when thousands of people react to them at the same time. But for me, the goal is always the same: reading the crowd, creating a connection and taking people on a journey while still staying true to my own sound.
You’ve opened sets with a keytar and have spoken about bringing more live elements into your music. If you could build your dream A.N.I. live show with absolutely no limitations, what would be happening on stage?
If there were absolutely no limitations, I would love to create a show where DJing and live performance really become one. The keytar has already given me a first taste of how exciting it is to bring live elements into my sets, but I think there is so much more that can be explored.
With my background in classical piano and Audio Engineering, I am really interested in finding ways to have more control over what is happening musically on stage. There are so many possibilities when you start thinking beyond a traditional DJ setup, whether that means instruments, individual elements of tracks or completely different ways of performing and interacting with the music.
I do not want to reveal too much yet, mainly because I am still figuring out for myself what the perfect A.N.I. live show would actually look like. I want it to develop naturally rather than forcing a concept just for the sake of doing something different.
But the goal would definitely be to keep the energy people know from my DJ sets while creating something that feels more live, more dynamic and more unique to that specific moment. The keytar is definitely not where that idea ends.
There’s a lot of pressure on artists today to constantly chase the next trend. How do you know when something genuinely belongs in your sound versus when you’re simply reacting to what’s happening around you?
I think it is almost impossible not to be influenced by what is happening around you, and I do not necessarily think that is a bad thing. For me, the difference is whether I genuinely connect with something or whether I am only playing it because it is trending.
I have never wanted to define my sound by one specific genre. Mixing different genres and having that freedom is a big part of my identity as an artist.Of course, there are tracks that suddenly everyone is playing, and usually there is a reason for that.
They are good tracks. I do not avoid them just because they are popular, but I always try to give them an A.N.I. touch. Maybe I change the direction unexpectedly, combine them with something completely different or lead into a drop people would not expect.
For me, it is not about avoiding trends. It is about making them fit into my own world.
Your music pulls from hard techno, hard trance, acid, gabber, hardstyle and other rhythmic sounds. Is there a genre you haven’t explored yet that you secretly want to throw into the A.N.I. blender?
Honestly, I am open to almost everything. That is kind of the whole point of A.N.I. I do not want to set boundaries around what can or cannot be part of my sound. The one exception so far has probably been drum and bass. I never really connected with it enough to see it as part of my sets. But the more drum and bass fake drops I hear and experiment with, the more I am starting to like it. So who knows, maybe even that will find its way into the A.N.I. blender at some point.
What’s the most unexpected track or musical influence that has found its way into your DJ bag recently?
I would say there is at least one unexpected track in almost every one of my sets. Recently, I opened with the original version of Danza Kuduro and mixed it live with a Hard Techno track. I am pretty sure nobody saw that coming.
A couple of weeks ago, I also played Let’s Get Loud by Jennifer Lopez and created a Psytrance edit of it live. And sometimes I suddenly throw in a 200 BPM track towards the end that technically has no business being there.
I really enjoy those moments because they break expectations. For me, if I can find a way to make something work in the set, then it belongs there.
Berlin is obviously a huge part of your story. What’s something about growing up around Berlin’s electronic music culture that you think people outside the city don’t really understand?
I think what people outside Berlin sometimes do not realize is how normal electronic music feels when you grow up around it. It is not just something connected to big events or a certain trend. It is simply part of the culture and has been for a very long time.
You are surrounded by so many different sounds, scenes and approaches to electronic music that you naturally learn there is not just one way of doing things. I think that definitely influenced my own approach as an artist and probably also why I never felt the need to stay within one specific genre.
For me, that freedom and openness is probably one of the biggest things I took from growing up around Berlin.
Your rise has happened alongside a huge explosion in harder, faster techno. Do you think the scene is becoming more diverse musically, or are we simply replacing one dominant sound with another?
I think it is a bit of both. Harder and faster sounds have definitely become dominant in recent years, and naturally that means you hear certain styles and trends more often. At the same time, I feel like the scene has become much more open to mixing different influences. You hear Hard Techno combined with Trance, Hardstyle, Acid, Gabber, Psytrance and so many other sounds now. For me, that is actually the exciting part. Trends will always come and go, but I hope what stays is this openness to crossing genres.
I personally find it much more interesting when you cannot predict exactly what is coming next.
What’s been the biggest “I can’t believe this is actually happening” moment of your career so far?
Definitely the moment I was standing on a table with my keytar in front of thousands of people at Hive Festival. I was absolutely dying inside from nervousness. Before the set, I probably asked myself about 50 times, am I actually doing this? And then there I was, keytar in hand, looking at this massive crowd and thinking, well… four years ago you were standing in your bedroom practicing like crazy, and now apparently we are doing this.
It was this weird mix of pure panic and realizing how insane the whole journey had been. Definitely one of those moments where my brain needed a second to catch up with my life.
Imagine you could go back to the very first A.N.I. set and whisper one sentence into your own ear before you started playing. What would you say?
“Girl, you practiced 18 hours a day for a whole month just to learn how to DJ, so stop shitting your pants, look up and enjoy all those people in front of you dancing like crazy.”
What’s up next for A.N.I. that you’re excited about and can share with us?
One thing I am really excited about is my Sorry Neighbours project. It is something I have been working on that gives me another space to explore the more unexpected and playful side of A.N.I. and take some of my ideas a little further.
I do not want to give away too much just yet, but you will definitely be hearing a lot more about Sorry Neighbours soon. And the name probably already gives you a little idea of what to expect.
Finally, if 2027 A.N.I. could send you one message from the future about where this project is heading, what would you hope it says?
I would hope she says, “You still have no idea where this is going, and that is exactly why it is working. You kept experimenting, ignored the rules, trusted your crazy ideas and somehow they got even crazier. Also, get ready, because 2027 is going to be wild“
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