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.

FLAMENCA Records bring their inaugural year to an end with a single that perfectly encapsulates the imprint’s mission. ‘LUZ (Club Mix)’ sees label boss STBAN join forces with Spanish stars Varoc and Furia for a collaboration that translates Vinnie Dollar’s original 2023 single through flamenco, electronica and trap, to stunning effect.

The original recording of LUZ by Vinnie Dollar has already clocked up an incredible 10 million views on YouTube alone. In this 2025 reworking the pace is turned up but the raw, Arabesque tones of Vinnie’s vocal remain just as evocative, providing a powerful backbone for the electronic elements to twist themselves around. The result is a perfect fusion of urban and electronica from Furia and youngster Varoc, with sultry shades of Flamenco House from FLAMENCA boss STBAN.

With so many different genres on display it could have easily turned into a muddled, disparate edit but the flawless production is instead testament to the shared vision of all four artists. As the vocal’s sentiment transcends language barriers, its combination with instrumentation provides an organic sense of movement, a crescendo of sound and emotion that bar by bar takes the track from the town square to the global dance floor.

The single is the final track of 2025 to drop from label boss STBAN. In the space of just six months, the DJ and producer has emphatically steered FLAMENCA Records onto the world stage. Eight singles, a major distribution deal with Toolroom Records, and FLAMENCA Live events at AirBeat One, Montreux Jazz Festival and Tantra Ibiza have combined to build some serious hype under one of Flamenco House music’s most passionate producers.

Furia, who runs label XTR Records, is renowned for his fusion of melodic and Afro-centred beats. Creating a dark, deep and melancholic body of work, his catalogue has amassed over 5 million streams on Spotify alone, earning him regular placements on top playlists around the world.

At the age of just 19 Varoc has already performed on some of the planet’s biggest stages, including Tomorrowland, BPM Costa Rica, Medusa, Weekend Festival and more. The teenager also hosts radio shows on Los 40 Dance and Ibiza Global Radio, one of the only artists to have shows on both. With the track dropping today, we thought it was high time we caught up with the talented teenager to find out more…

Varoc, welcome to EDM House Network! Can you tell us where you are right now and what you’re up to?

Hi, it’s a pleasure to have this interview with you. I’m Varoc, a DJ and producer from Madrid, Spain. I’m 19 years old and passionate about electronic music. I’ve performed over 200 DJ sets and I’m currently working on my new songs and productions.

In addition to Vinnie’s vocals, the track also features co-productions from Furia and STBAN, the head of FlamencaRecords. How do you approach a multi-collaboration like this and still make sure your own sound stands out?

Working with Furia and STBAN was key to this track. They’re both experienced producers and artists with strong creative visions. Their perspective helped us merge our different musical approaches into one cohesive and well-balanced concept.

You’ve been producing since you were 12. What was your first track, and what do you think when you listen back to it now?My first release was “No Limit’s.” When I listen to it now, it reminds me of my beginnings — a time full of curiosity, passion, and the drive to learn.

We have to say it — for 19, you’ve already achieved so much! Has electronic music always been your passion? What first drew you to it?

I’d say electronic music gives meaning to my life. From a very young age, it became my way of expressing creativity and emotion — both through mixing and through music production. It’s my escape, my purpose, and my way to connect with people.

Which producers and DJs do you look up to?

Right now, my main inspirations are Black Coffee, Calvin Harris, David Guetta, Hugel, Diplo, Fred Again, and many others. I also have a special connection with Andrea Oliva — I’ve had the opportunity to perform with him several times, opening his shows, and it’s always been an incredible experience.

You’ve performed at some of the world’s biggest festivals, including Tomorrowland.
How was that experience, and will you be back next year?

I’ve experienced so many unforgettable moments in my career — real dreams come true.
Performing at Tomorrowland 2024 was one of the most meaningful experiences of my life. Traveling to Belgium and sharing the stage with some of the world’s top electronic artists was something I’ll never forget. Another highlight was performing this summer at A Summer Story, playing for more than 5,000 people and feeling a deep connection with the crowd. And just a few months ago, I had the chance to present my new track “Luz” at the Tomorrowland Store in Ibiza, one of the island’s most iconic spots.

You host a weekly radio show on two of Spain’s leading stations, Los 40 Dance and Ibiza Global Radio. How important is radio for introducing your sound to new fans, and how far do your sets reach around the world?

Very few DJs have a show on both Los 40 Dance and Ibiza Global Radio, and that pushes me to constantly search for the best new music. It allows listeners from Ibiza, Spain, and around the world to enjoy my sets each week. It’s also helped me build a strong presence on two of the most influential radio stations in the electronic and Ibiza scenes.

This is your first release on Flamenca Records. Do you feel the “flamenco house” sound is starting to grow outside of Spain?

Yes, definitely. There’s a growing trend of fusion between styles — more and more producers are experimenting with cultural and sonic blends, creating new genres that connect with audiences across different countries.

You’re about to leave your teenage years behind. Where do you see yourself by the end of your twenties?

Honestly, I try to focus on the present — enjoying each moment, each song, each show…
and letting myself be guided by energy and music.

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In a world where electronic music is often pigeonholed into rigid categories, YOUNA DJ is proving that you can be both dark and happy at the same time. The Korea-born, Dubai-based DJ and producer has carved out a unique space in the melodic techno and peak-time techno scene, blending aggressive soundscapes with catchy melodies that make crowds jump with genuine joy.

Fresh off the announcement of her upcoming Coachella performance and riding high on her latest Armada Music release “Serotonin,” YOUNA DJ sat down to discuss her evolving sound, the art of warming up for legends, and why club gigs will always be her favorite.

YOUNA DJ’s “Serotonin”: The Paradox of Happy Darkness

When you first listen to “Serotonin,” YOUNA DJ’s latest track on Armada Music, you might be struck by its relentless, hypnotic intensity. But for the producer herself, it represents her happiest work yet.

“For me, compared to my other tracks, it’s very happy,” YOUNA DJ explains with a laugh. “Usually I put more aggressive sounds rather than something everyone can sing and dance to. This time I really wanted to try to find some catchy melody, happy kind of stuff. When I sketched this melody, I could imagine every people on the dance floor dancing together, jumping with happy energy.”

The track’s title references the brain’s happiness chemical, and while it might sound darker than typical “happy music,” YOUNA DJ embraces this duality. “It’s still melodic techno, still my sound, so it can be darker than just normal happy music, but for me it’s very happy and positive energy.”

This philosophy of being dark and happy simultaneously extends beyond her music into her entire artistic identity. “I love dark, fast, hard music,” she says, “but you can smile while listening to these really hard tracks.”

Working with Armada Music: A Dream Realized for YOUNA DJ

Landing on Armada Music was a milestone moment for YOUNA DJ, and not just because of the label’s prestige. “I’m really happy to work with them, not only about the fact that they’re a huge label, but also they’re super professional in every work,” she shares. “For example, I made this Serotonin t-shirt. I suggested the idea of doing some merch giveaway, and they were really supportive of everything.”

The partnership represents the realization of a long-held dream. “It’s one of my dreams to release tracks from Armada, so I’m obviously super happy for that,” YOUNA DJ says, adding that her first stop at Amsterdam Dance Event will be visiting the Armada offices.

The Art of the Warm-Up

One of YOUNA’s most impressive skills is her ability to open for techno titans like Charlotte de Witte, ARTBAT, I Hate Models, and Amelie Lens. But this wasn’t always intuitive, especially coming from the Asian club scene.

“In Asia, most of the time, there’s no concept of warm-up,” she reveals. “Obviously there are warm-up DJs, but they’re banging all the time. It’s common that they play drum and bass before my time, or hardstyle, and I’m like, ‘Okay, well…'”

Moving to Dubai and doing residency at Seoul Garden taught her the art of building energy throughout the night. “For hard techno warm-ups, I play more of my stuff and it’s totally fine because whatever track I play is less hard than the main artist. But I try to be careful with other melodic techno artists. My style is quite harder, so I try to play proper warm-up music and put just one or two of my tracks in between.”

Her secret to making warm-up sets memorable? Connection. “Even though I play less energy music, I always try to make people enjoyable. I always smile at people, interact with them. Even though it’s the same track, there’s a huge difference between just wearing a hat and looking down versus interacting with people.”

From Yachts to Clubs: The Perfect Setting

Despite playing everywhere from desert festivals to yacht parties, YOUNA has a clear favorite: traditional club venues. “Club is always the perfect place to play for me,” she states definitively.

When asked why, she doesn’t hesitate: “I don’t need to prepare the equipment setup. It’s all there. But when it’s outdoor, I first think about setting up properly. Maybe the light’s going to bother me, maybe the sand is going to bother me.”

She recalls a particularly memorable yacht party where the waters got rough: “In the end it was super shaky. People were holding the speakers!” While it was fun, her perfectionist nature prefers the controlled environment of a club. “There’s more possibility for natural disasters outdoors,” she jokes. “Club is a safe place.”

Peak-Time Techno: Finding Her BPM Sweet Spot

YOUNA describes her sound as melodic techno and peak-time techno, citing influences like Drumcode, Adam Beyer, Space 92, and Eli Brown. Her sets typically start at 128 BPM and max out around 132 BPM, though she’ll push to 138 when warming up for hard techno artists.

“These days I’m making much more energetic stuff,” she explains. “I used to do more melodic, more emotional tracks, but now I’m trying to make it more energetic, more techno.” This evolution keeps her sound fresh while maintaining that signature balance between dark and happy energy that defines her work.

Looking Ahead: Coachella and Beyond

If 2025 has been big for YOUNA, 2026 promises to be even bigger. She’s confirmed for Coachella, a massive achievement for any electronic artist. “I’m really looking forward to it,” she says with excitement.

Before that, she’s staying busy with shows in Turkey for Halloween and the Untold Festival on November 9th. She’s also working on new music, including a remix of Sian’s “Guilt” for Manta Label, complete with a music video. “I felt really big inspiration from the original track. It’s more dark techno, peak time, in the middle of melodic techno and hard techno. I really like this combination.”

Reflecting on her favorite memory of 2025, YOUNA points to an unexpected show: “Honestly, the Beirut show was my best memory because it was so unexpected. The love from the crowd was insane. I felt huge dopamine from that show.”

She’s also been expanding her operations, hiring an assistant and exploring new creative ventures like merchandise and music videos. “Everything is new and exciting. I think there’s going to be much more things coming up next year.”

For an artist who proves you can be both dark and happy, both melodic and hard, both emotional and energetic, the future looks bright indeed.

Listen to the full episode on the 10 Days in Dance podcast, available on all podcast platforms.