Interview

Regard Speaks With Us About His Experience At FIVE, Playing On The Beach At Bohemia, Pioneering His Own Sound & More!

Published

4 years ago

March 23, 2022

Kosovan DJ & Producer Regard built up over 1 million subscribers through his series of deep house mixes, remixes and original tracks in support of LEAF Management since of 2012. In July of 2019, Regard released his first official single ‘Ride It’ on Ministry of Sound and it became an international hit, taking the internet by storm, achieving over ten top 10 single chart placements globally, including #2 in the UK where ‘Ride It’ is now Certified Multi-Platinum. Regard finished the ‘Ride It’ campaign with an amazing debut at Capital’s Jingle Bell Ball, and on his first TV performance in the UK at Top of The Pops. With a number of hits released after, we had the pleasure of catching up with him after he performed at Bohemia by FIVE.

Hey Regard, thanks for taking the time to chat with us. How are you doing today?
Hey EDMHouseNetwork, it’s a pleasure to have this interview. I’m doing good today and am looking back on a great performance at Bohemia at Beach by FIVE.

You just performed at Bohemia at Beach by FIVE. How excited were you to get behind the decks?
I was super excited to perform at Bohemia at Beach by FIVE. It is a venue unlike any other and the crowd has such an amazing energy. The crowd starts partying in the afternoon and keeps going on into the night – non stop! It’s a whole different experience when you’re playing on a beach instead of in a club or at a festival site, and especially in a place like Dubai.. I still remember the view from the decks as the sun went down. I also want to compliment the amazing people who work at FIVE for taking care of me during my stay and during my performance, ensuring I had an amazing time.

This performance may be a little different compared to your usual shows. Do you prepare any differently for shows like this?
I always try to adapt my set to the vibe of the city, the crowd, and the venue I’m playing. To me the most important thing is that the crowd enjoys the music and that they get the best version of me. Before my performance I try to figure out what the city is listening to and prepare accordingly. Dubai is multicultural, and when you’re playing at Bohemia at Beach by FIVE, you need to try to cater to all the different musical tastes while staying true to the Bohemian beach vibe of the venue, and my own musical style of course.

A holiday destination like no other, can you give me a little insight into FIVE and what it’s like to be at their hotel and events?
FIVE is incredible. They’ve got everything I want and need! Aside from performing on FIVE’s beach, I also stayed in the hotel and got to experience their food and hospitality. As I’m writing this, I’m looking back at the amazing food I had while I stayed there – from authentic amalfi coast Italian food at Cinque to delicious Japanese bites at The Penthouse, to Chinese dishes at Maiden Shanghai, FIVE really brings the whole world to Dubai. It was great to have some unwinding time at FIVE besides my touring schedule and I definitely look forward to going back to FIVE and spending more time here. I definitely look forward to going back to FIVE and spending more time there.

Having been releasing music for several years before ‘Ride It’ blew up, how did it feel for that one to become such a huge hit?
We had released many records before ‘Ride It’, but it’s amazing to see that it blew up like it did. Sometimes I still can’t believe how big it’s gotten. I still get goosebumps when I hear it on the radio or when I see other DJs playing my track. We actually wanted to release ‘Ride It’ earlier than when we did, but when we tried to release it independently it didn’t catch on. In the end we signed it to the Ministry Of Sound and re-released it, after which it caught on on TikTok and the rest is history..

This house style with pop and deep influences has been pioneered by you. How important do you feel it is to have your own signature sound?
I feel honored that you credit me for pioneering this style! I really appreciate it. It feels great to have helped create a sound that so many people like, and it makes me happy to see the sound being picked up by other artists all over the world.

Have you been cooking anything special in the studio?
I’ve been working on a lot of new music. I released a new track a couple weeks ago called ‘Hallucination’ ft. Yours&Yours, and I’ve also got 2 tracks to be released before July, that I think they’re gonna surprise everyone!

Thanks for taking the time to speak with us! Do you have anything special coming that you’d like to announce to our readers?
Thank you so much! It was my pleasure, EDMHouseNetwork! As mentioned I’ve got 3 big releases coming up, and some other big surprises for everyone out there! My career has only just started and I promise that there’s much more to come.

Interview

Avi Dahan On EDM Artist Development, Contracts, And Coachella

Published

3 hours ago

May 21, 2026

Preetika Narula

Avi Dahan, founder of Dahan Law Group and Funkshway, discussing EDM artist development, contracts, and Coachella

Avi Dahan On EDM Artist Development, Contracts, And Coachella as he breaks down the business behind lasting artist careers

Avi Dahan entered the music business before his career in law, first through DJing, producing, promoting events, and later through internships at Columbia Records, Live Nation, and WME. That early experience gave him a working view of the label, live, and agency sides of the industry before he went on to become a music attorney and founder of Dahan Law Group. Today, his work spans both Dahan Law Group and Funkshway, connecting legal strategy with artist development through rights, contracts, team structure, visual identity, collaborations, and long-term career planning. Speaking to EDM House Network, Avi Dahan breaks down what emerging EDM artists need before a breakthrough moment, how bookings like Coachella often come from years of smaller decisions, and why contracts, royalties, content rights, and label choices can affect an artist’s career as much as the music itself.

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How did you first get your start in the music industry, and what was the path that led you to run both Dahan Law Group and Funkshway?

I started in music long before I became a lawyer. I was DJing, producing, and promoting events, so my first connection to the industry was very hands-on. I understood what it felt like to create music, build a scene, get people in a room, and try to create moments around records and live experiences.

When I was in college, I interned across different parts of the music business, including Columbia Records, Live Nation, and WME. That gave me exposure to the label side, the live side, and the agency side of the industry. It was a huge education because I got to see how many different pieces have to work together to build an artist’s career. Eventually, I decided to go to law school because I realized that the people who understood the contracts, rights, leverage, and business structure had a major impact on what happened to artists. I did not become a lawyer because I was outside of music looking in. I became a lawyer because I was already in music and wanted to understand the business at the highest level.

Practicing as a music attorney, and eventually starting Dahan Law Group, came before Funkshway. I had been practicing music law for about seven years before I decided to start the label. During that time, I helped artists, producers, managers, and labels structure deals, build their businesses, protect their rights, and make strategic decisions. Funkshway became a natural extension of that experience. I was able to take the knowledge I had gained helping artists and labels build their careers and apply it to creating something special of my own. To me, Dahan Law Group and Funkshway are connected by the same mission: helping artists and music entrepreneurs build real, lasting careers.

Working as both a music attorney and a label founder gives you two very different views of an artist’s career. How has that changed the way you approach artist development and long-term decision-making?

It has made me much more holistic in how I think about artist careers. As a music attorney, I am not only looking at risk. I am helping artists protect their rights, put together the right team, secure foundational deals, understand their leverage, and make strategic decisions from both a legal and business perspective.

As a label founder, I am thinking deeply about artist development: the artist’s sound, identity, vision, audience, visuals, collaborations, and overall positioning. Because of my years DJing and being around dance music, I have developed an instinct for what a dance record should sound and feel like. And because I represent artists, writers, producers, and creative companies as a lawyer, I am able to plug developing DJs and artists into a broader creative community and help create meaningful collaborations.

Once the music is right, we can connect artists to DSP editors, marketing experts, DJs, platforms, and other partners who can help build exposure. Then, as the sound develops, we also help the artist sharpen their vision and visual aesthetic so the brand matches the music and identity. The legal background gives me a strong foundation, but the creative and label side allows me to apply those skills in a more active way. I am not just advising from the outside. I am helping build.

AYYBO and RØZ both recently made their Coachella debuts, with AYYBO connected to Funkshway and RØZ represented by Dahan Law Group. What did those moments show you about the work that happens before an emerging artist reaches a stage like that?

Those moments were really meaningful because they showed how much work happens before the public sees the breakthrough. When an artist gets to a stage like Coachella, people see the set, the crowd, the photos, the videos, and the celebration. What they do not always see are the years of developing the music, refining the brand, building the team, and making strategic decisions before that moment arrives.

With AYYBO, we took a lot of time before his first breakout records making sure the music felt massive and that his sound, visual identity, and overall brand were properly developed. From there, we continued building momentum through strategic collaborations and tasteful looks that elevated his identity, helped him attract the right agent, and allowed him to start building a real live community.

As the sound and identity continued to develop, the show and overall experience developed too. He kept building the brand step by step until it was ready for stages like Coachella. I have seen a similar process with RØZ from the legal and advisory side. The music matters, but so does the foundation around it: the team, the business, the live show, the identity, the relationships, and the ability to keep developing until the opportunity and preparation meet. Coachella is not just a booking. It is often the result of many smaller creative, strategic, and business decisions compounding over time.

When you look at artists you have worked with from their early stages, what are some of the habits, decisions, or business moves that helped them grow into more established names?

The artists who grow usually treat their careers seriously before the outside world validates them. They are consistent, they communicate well, they keep improving, and they take the time to understand who they are. That authenticity matters. The strongest artists are not just trying to sound or look like whoever is popular at the moment. They are building from a real identity.

Creatively, they continue to level up: musically, visually, and operationally. They work with better collaborators, better producers, better designers, better creative directors, and better team members as they grow. They understand that each stage of the career requires a higher level of execution. On the business side, they enter into smart deals, understand their rights and obligations, and honor those obligations. They operate with honesty and integrity. That sounds basic, but it matters. This business is relationship-driven, and the artists who last usually understand that reputation is part of the career.

For emerging EDM artists trying to build sustainable careers, what advice would you give beyond the usual focus on making music, playing shows, and posting online?

My biggest advice is to build infrastructure around the art. Making great music is the foundation, but it is not the whole career. You need a team, a vision, and a professional approach.

That means finding the right manager, label, agent, lawyer, and other partners when the time is right, and making sure everyone is aligned on the vision. It also means treating the art like a job. Show up every day, create, follow through, and be a professional.

Artists should have contracts with the people they work with, understand their rights, and get proper counsel from a music lawyer before signing important agreements like recording deals, management agreements, producer agreements, publishing deals, or major collaboration agreements. They also need to be in the scene. Network with DJs, label A&Rs, agents, promoters, managers, and other artists. Go to shows. Build real relationships. Get backstage when you can and connect with the people who actually move the needle. A career is built through music, but it is also built through community.

What are some of the biggest mistakes you see emerging artists make when they start gaining attention but do not yet have proper contracts, legal support, or a business structure in place?

The biggest mistake is assuming everything can be cleaned up later. Sometimes it can. Sometimes it cannot. Artists often release records without confirmed splits, collaborate without written agreements, use vocals or samples without proper rights, or sign documents they do not really understand because they are excited that someone is interested. Then, when the record starts working, people suddenly remember the deal differently.

I have also seen situations where collaborators make claims to rights they do not really have, but because there is no contract clearly proving otherwise, the artist is stuck dealing with that claim. That can create leverage against the artist even when the claim is weak.

Another major issue is clearance. If a song uses an uncleared sample, vocal, flip, or interpolation, it can lead to infringement claims or takedown notices after the song is already gaining momentum. That can kill a record at the exact moment it is starting to work. The irony is that these problems usually show up when things are going well. The earlier an artist builds the foundation, the easier it is to move quickly when real opportunities come.

When an artist is securing a performance deal for a major festival like Coachella, what are some behind-the-scenes elements people outside the industry may not realize are involved before the booking is finalized?

One thing people may not realize is that the fee an artist receives is not always going directly into the artist’s pocket. Early in an artist’s career, a major festival can be a brand-building opportunity, so the artist may reinvest a large portion of the fee into production, visuals, camera crews, set design, rehearsals, special guests, performers, travel, and other costs.

By the time the artist covers the crew, production team, creative team, travel, lodging, and everything else needed to make the moment feel elevated, there may be very little left, or sometimes nothing left, after expenses. But that investment can be worth it if the performance helps move the artist’s career forward.

There is also a lot of preparation behind the scenes. The artist has to prepare the set, make sure the visuals fit the brand, coordinate with lighting, performers, camera crews, production staff, and the festival team. A major festival performance is not just about showing up and playing records. It is about creating a moment that represents the artist at the highest level.

Which contractual details matter most in high-profile festival agreements, especially around billing, radius clauses, exclusivity, cancellation terms, travel, payment schedules, and content rights?

All of those details matter because each one can affect the artist’s money, flexibility, and career strategy. Billing matters because it affects how the artist is presented publicly. Radius clauses and exclusivity can impact the artist’s ability to play other shows in important markets before or after the festival. Cancellation terms are critical because festivals can be affected by weather, production issues, force majeure events, illness, travel problems, or other circumstances outside the artist’s control.

Payment schedules should be clear: deposit, balance, reimbursements, taxes, and timing. Travel and hospitality also need to be addressed carefully. For high-profile festivals, it is important to make sure there is enough budget to cover production, crew, travel, lodging, and related costs so the artist does not end up losing money on the show.

Content rights are increasingly important too. Festivals often want the right to film, livestream, photograph, post, or otherwise use the artist’s performance. Artists need to understand where that content can be used, for how long, whether sponsors can use it, whether it can be monetized, and whether the artist has any approval rights.

EDM artists often work as DJs, producers, songwriters, remixers, performers, and brand collaborators at the same time. How does that change the way you structure agreements for them compared with more traditional artist deals?

In the dance and DJ world, the structure is often very different from the traditional artist world. DJs are not always signing long-term label deals with one company. Many are releasing with multiple tastemaker dance labels, building relationships across the scene, and prioritizing the growth of their live DJ career.

That can be a great strategy because it allows artists to stay culturally relevant and reach different audiences. But the downside is that if an artist is jumping from label to label, they may not have a consistent team, vision, or long-term development plan. So the key is balance. You want to affiliate with tastemaker labels and platforms that keep you relevant in the scene, but you also need a broader artist development strategy. Someone has to be thinking about the artist’s identity, sound, visuals, live show, fanbase, and long-term business.

From a deal perspective, you also have to be precise because the same artist may be acting as a DJ, producer, remixer, songwriter, performer, and brand partner. Each role has different rights, obligations, and revenue streams, so the agreements need to clearly separate master rights, publishing rights, producer royalties, remix fees, performance fees, name and likeness rights, content rights, approvals, credits, and backend participation.

Collaborations in electronic music can move quickly between producers, vocalists, writers, and featured artists. What should be confirmed before a track is released so ownership, splits, credits, and royalties are handled properly?

Before a track is released, everyone should confirm master ownership, publishing splits, producer royalties, featured artist terms, vocalist rights, credits, royalty payment process, approval rights, and who has the authority to distribute or license the track.

In dance music, there are also a lot of flips, samples, interpolations, loops, acapellas, and other third-party materials being used. Those rights need to be cleared before release. If a DJ flips or samples an existing track, that can require negotiating with the original rights holders over ownership, royalties, publishing, approvals, and other terms. Those negotiations can affect every collaborator on the new track.

Artists also need to understand the label terms before committing everyone’s rights. What is the label taking out of royalties? How are they accounting? What rights do they control? Are there deductions, distribution fees, marketing costs, or recoupable expenses? Those terms impact all of the creatives involved. The best practice is simple: handle the business before the release, not after the record starts gaining traction.

Streaming has changed the way artists earn money, but many artists still struggle to understand how royalties move. From your view as both a label founder and music attorney, where do you see the biggest confusion or risk?

The biggest confusion is that artists hear the word “royalties” and think it means one thing. In reality, there are multiple royalty streams and multiple ways royalties can be calculated. There are master royalties, publishing royalties, performance royalties, mechanical royalties, producer royalties, neighboring rights in some territories, YouTube and UGC income, SoundExchange-type income for certain uses, and direct license income in some cases.

Even on the master side, the calculation can vary dramatically. A royalty may be based on PPD, gross receipts, net receipts, net profits, or a net artist royalty. There is the artist share versus the label share. There may be a distribution fee taken off the top. There may be recoupable costs. There may be different accounting rules depending on the artist’s deal with the record company.

That is where things can become extremely complicated and convoluted. Two deals may both say the artist gets a royalty, but the actual calculation can produce very different results. Understanding the royalty chain and the accounting language is essential if an artist wants to know what they are really earning.

A label deal that works for one artist may be completely wrong for another. How do you evaluate whether an artist should sign a traditional label deal, choose distribution, or stay independent at a specific point in their career?

It depends on the artist’s team, leverage, resources, goals, and what services they actually need. A distribution deal usually means the artist keeps more control and often more economics, but it also means fewer services. The artist and their team may need to spend more money, do more work, and take on more responsibility around marketing, content, strategy, rollout, and operations.

A fuller label deal may require a bigger commitment from the artist, but the right label with the right team can sometimes deliver much stronger results. If the artist needs brand development, global growth, marketing support, creative strategy, playlisting, radio, content, or a team that can really help build the vision, then a deeper label relationship may make sense. The team matters a lot. Who at the label is actually working on the project? Do they understand the artist’s vision? Do they have the relationships, taste, and resources to execute? Are they thinking long term or just chasing one record?

For an artist who wants to build a global brand and develop a real identity, it may be better to build a longer-term relationship with one label that truly understands the artist and is willing to invest resources into that vision. For another artist with a strong internal team, distribution may be enough. The best deal is not always the biggest check or the highest royalty. It is the deal that matches what the artist needs at that specific stage and gives them the best chance to build the career they actually want.

For emerging artists, the main lesson from Avi Dahan is that EDM artist development has to go beyond music releases, shows, and online visibility. The strongest careers usually have structure behind them: contracts that protect the artist, teams that understand the vision, royalty terms that are properly understood, and label or distribution choices that fit the stage of the career. Through his work with Dahan Law Group and Funkshway, Dahan points to a simple but important reality in dance music: the business side matters most when the music starts working, and artists who prepare early are in a stronger position when bigger opportunities arrive.

Interview

Billy Ronca Interview On “Yamekite” And Latin House

Published

6 days ago

May 15, 2026

Preetika Narula

Billy Ronca standing in a dim indoor setting for his interview on Yamekite, Latin house, and flamenco influence.

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.

Interview

Profetik Talks ‘The Waking,’ Roniit, and His Return After Five Years

Published

1 week ago

May 12, 2026

Preetika Narula

Profetik in a nighttime portrait for his interview about ‘The Waking’ featuring Roniit and his return after five years.

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

Website | Instagram | Spotify

Roniit Online

Instagram | Spotify

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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?

This release signals a shift in your direction. What elements of the track would you say define your renewed sound?

Take us inside the studio for ‘The Waking,’ what was the starting point for the track?

The track carries a strong cinematic and atmospheric quality. How did you build that sense of narrative within the production?

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Tell us about your collaboration with Roniit. How did that process unfold?

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This release feels like a re-introduction, what do you want listeners to understand about you now?

How does ‘The Waking’ set the tone for what’s next, and what can listeners expect moving forward?

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**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?**

**Take us inside the studio for ‘The Waking,’ what was the starting point for the track?**

**How does ‘The Waking’ set the tone for what’s next, and what can listeners expect moving forward?**