Interview
TATE SEDAR Closes Out 2024 With A Bang, Releasing ‘Coming Home (I.M.U)’
As we step into 2025, it’s the perfect time to reflect on the incredible music that closed out 2024—particularly the outstanding single ‘Coming Home (I.M.U)’ by TATE SEDAR.
Released on December 6th, ‘Coming Home (I.M.U)’ marked the sixth and final release of 2024 for the San Francisco-based artist, serving as a perfect ending to a remarkable year. TATE SEDAR treated his fans to an number of unforgettable tracks throughout the year, including ‘San Francisco’, ‘Wish I Could’, ‘Emotions’, ‘Our Goodbye’, and ‘Overload’. These songs remain fan favorites, and ‘Coming Home (I.M.U)’ is undoubtedly poised to join their ranks.
Like what came before, ‘Coming Home (I.M.U)’ delivers mainstage festival energy, blending power with euphoria. The track masterfully blends emotional, homesick female vocals with driving beats that reflect TATE SEDAR‘s roots in electro and progressive house. It’s a journey through identity and nostalgia, underpinned by the sights and sounds of his hometown, San Francisco—a theme beautifully captured in the accompanying artwork.
Stream this single below and on all other platforms here.
The story of TATE‘s signature sound dates back to 2023. With performing taking up the majority of his time, he didn’t have time to spend in the studio. By moving to Los Angeles in 2018, it allowed him to work in nightlife, traverse the commercial & underground worlds of music and educated himself in the infectious genre markets of electronic and pop within LA’s musical DNA. During this time is when TATE began to form his homemade signature sound. Although already in love with bass and future house, he became engrossed with the eclectic sounds of garage music and modern dancepop. And while learning the lay of the land in LA’s house and techno landscape, he eventually was graced with major shows from Insomniac Events and acquaintances with some of his muses: Wolfgang Gartner, Deniz Koyu and Dubvision. A rare session in that summer of ‘23 led TATE to the chord progression that eventually became ‘Coming Home’. However – even with the start of catchy vocal chops and an endearing guitar hook, there was nothing quite there to anchor it.
In what ultimately became a turning point for TATE ater that year, he saw value in inspiration both old and new. He found nuance in both analog instrumentation and emulation in dance music – citing the album ‘Illusion of Depth’ (2020) by Mat Zo as a source – and realized that both the nonelectronic music (R&B, rock and hip-hop) as well as progressive sounds of his personal development could be a collective beacon for his creativity. In searching for a press shots, Angelino Heights – one of the first neighborhoods in LA with Victorian and Edwardian homes like those in SF – instandly came to his mind. He felt that it was the perfect analogy of how he finds his home both in music and his surroundings. To add to this notion, he comments:
“If anybody knows me well, they know I love San Francisco. And if you don’t – listen to my music.” – TATE SEDAR
It was finally with a third vocal take and incorporation of post-EDM elements – bells, piano, strings and mandolins – that the chord progression of ‘Coming Home’ came alive and began to germinate in production. The progression always reminded him of the running hills and drives with houses of old and new architecture within San Francisco as well as some nostalgia – leading to that large 80s-like chord stab before the second build. ‘Emotions’ ft. PSCYHEDELIC) was his first experiment in post-EDM, but ‘Coming Home’ and its vocal tied a new sense of authorship to his post-EDM sound: one that could incorporate the progressive styles of his mentors into its definition and part of himself & his home in its results.
Once again, TATE cements identity in more than just vivid production with another jubilant and radio-welcoming soundscape throughout ‘Coming Home (I.M.U)’. San Francisco has always been his north star, and although he began his journey into post-EDM this year with another track of his birthplace’s namesake, his new single elaborates on his passion of The City by The Bay and an ongoing voyage of his sound. Call it cliché or overrated, but the theme of home is timeless, and TATE’s song – even in its makeup – is nothing but that.
DJ Isaac interview talks about ‘Let Yourself Go’, reflects on 30 years in hard dance, and shares how his early rave roots and Defqon.1 2024 still connect to what he plays today.
DJ Isaac begins the year with Let Yourself Go on Scantraxx, a solo release following collaborations including Spaceman with Showtek and Berlin with D-Block & S-te-Fan. It comes after a period where much of his output involved working with others, making this release a more direct reflection of his own direction at this stage in his career. The track draws from the early rave and techno records he first heard growing up in the north of Holland in the late 80s and early 90s, while still keeping the harder sound he has been associated with for decades. That same mindset was clear at Defqon.1 2024, where he closed the mainstage with TNT and changed the set minutes before going on, choosing to respond to the crowd instead of following what had been prepared. Outside of touring and releases, he also speaks about valuing time with family more as the years go on, even as constant travel and jet lag remain part of the routine after 30 years behind the decks.
Hey! Great to meet you! How has 2026 been so far for you – what’s been good and bad?
Hey, great to meet you too! 2026 has been good so far. I kicked off the year with my new release ‘Let Yourself Go’ on Scantraxx, which I’m really happy about. The last couple of years I did a lot of collaborations, ‘Spaceman’ with Showtek, ‘Berlin’ with D-Block & S-te-Fan, so it was nice to come back with something solo that feels 100% me. Besides that I’ve had some good quality time with the family between gigs, which I’ve learned to appreciate more and more over the years. Bad? Well, 30 years in and the jet lag still kills me. That never gets easier!
When, why and how did you first fall in love with techno, and why the harder stuff in particular?
I grew up in a small town in the north of Holland. In the late ‘80s and early ‘90s the rave scene was exploding across Europe and I was completely hooked from the moment I heard those early acid house and techno tracks on the radio. I got myself a small Casio sampler and an old tape recorder and just started messing around. When I was 15 I worked at a record store that sold house and techno CDs and vinyls, so I could get a nice discount. Because I was already DJing at that point, I quickly noticed the harder stuff just hit different on the dancefloor. More energy, more power. It felt more honest to me, more pure. No pretence, just energy and emotion.
What have been some of the most influential and defining moments so far for you as an artist?
So many, but a few really stand out. Releasing ‘Bad Dreams’ in 1995 and having it blow up was when I realised this could actually become my career. And then more recently, closing the Defqon.1 2024 mainstage together with TNT. That was something else. In a time where hardstyle keeps getting harder, we proved that our sound still does its job. The energy on the field was indescribable. The funny thing is, we had a whole set prepared so we and the production crew knew what to expect from each other. But 5 minutes before we went on, we looked at each other and decided to do something completely different because that’s what felt right in the moment. Looking back, best decision ever. And that’s the golden rule of being a DJ: don’t prepare sets, feel the crowd.
Where does inspiration come from for your productions?
Everywhere really. The dancefloor is a big one. When I’m playing a set and I feel the crowd responding to a certain energy or melody, that goes straight back into what I do in the studio. I also get a lot from old rave music from the ‘80s and ‘90s, that stuff still inspires me. And funnily enough, driving my car is when a lot of ideas come to me. Probably because it’s one of the few moments where you’re not distracted and actually have time to think. Other times I just sit down in the studio with a blank project and see what comes out. Some of my best tracks started with no plan at all.
Tell us about your new release on Scantraxx ‘Let Yourself Go’? What was the aim you had with it, and what you wanted it to say?
With ‘Let Yourself Go’ I wanted to capture that pure rave feeling I’ve been chasing my whole career. After the success of ‘Feel So Good’, ‘Berlin’ and ‘Rise’, the bar was high, but I also didn’t want to repeat myself. What I wanted was to combine those early 2000s trance sounds with the hardstyle and techno sound of today. The title says it all, it’s about that moment on the dancefloor where you stop thinking, stop worrying, and just let the music take over. That’s what this music has always meant to me. It’s my first solo release in a while and I wanted to set the right tone for 2026. Really proud of how it turned out and the response has been amazing.
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What gear did you use, is that important to you in any way, whether in the booth or studio?
In the studio I’ve changed a lot over the years. Started with a Casio sampler and a tape recorder, which sounds crazy now! These days I work completely in the box with Logic and Ableton. For my kicks and bass I spend a lot of time on sound design, layering and tweaking until it sits right. Serum is my go-to for almost every sound. Rules don’t really apply anymore. As long as it sounds good, it sounds good. In the booth I keep it simple. Pioneer CDJs and a DJM mixer. Every major festival and club runs the same setup anyway, so it’s more about knowing your tools inside out. What really matters to me is the sound system. Give me a proper system and I can make any room go off.
Can you remember the first DJ set you played where you got paid? How did it go, how were the nerves?
Ha! I’ll never forget my first paid booking. It was at a club called The Black Sheep in the north of Holland, no joke, that was actually the name. For me, it felt like a dream come true. A packed club, and even a few diehards fully going off to my music.Then suddenly, in the middle of my set… silence. The music just cut out. Turns out the manager had literally pulled the power because he couldn’t stand the sound.
Guess my music was a bit too ahead of its time back then.
But hey… look where we are now.
How do you construct your sets, are you always thinking a few tunes ahead, do you have a tune you want to end on, or do you always just react to whatever is happening in the moment?
I always go in with a rough idea. I know how I want to open, I have a few key moments in mind, and I know how I want to close. But funny enough, 95% of the time I end up doing something completely different than what I planned. What works at one club doesn’t always work at another. Some of the best moments in my sets come from last-second decisions where I play something unexpected and it just clicks. Like that Defqon.1 moment I mentioned earlier. That’s what DJing is all about, reading the room and riding the energy. I always ask myself: what would I want to hear right now if I was standing in that crowd?
What are you working on for the rest of the year?
A lot! Now that ‘Let Yourself Go’ is out I’m already working on the follow-up. Got a couple of collaborations in the pipeline that I’m really excited about, but I can’t say too much yet. I’m also continuing my Hardstyle Sessions podcast, which I love doing. Great way to stay connected with the fans and share new music. On the touring side, the summer festival season is going to be packed as always. Looking forward to playing some of the big ones and exploring new territories too. The goal for 2026 is simple: keep pushing forward, keep making hits, keep the energy on the dancefloor as high as possible.
What one thing would make your life easier as a touring DJ?
Teleportation! No but seriously, the travel is the hardest part. If I could skip the airports, the delayed flights, the endless waiting, that would change everything. The performing itself? That’s the easy part, that’s pure joy. But getting there and back, the different time zones, a new hotel every other night, that wears you down over the years. A close second would be if every venue in the world had the same high-quality sound system. Nothing worse than showing up for a gig, doing a soundcheck, and realising the system doesn’t do your music justice. But look, at the end of the day these are luxury problems. I’m grateful for everything I’ve been able to do. I get to travel the world doing what I love. Wouldn’t trade it for anything.
Audio Paak ‘Dallas Dance’ Interview And Afro House Shift Explained Through Real-Life Inspiration And Production Process
Marking a clear shift in direction, Audio Paak’s ‘Dallas Dance’ sees the Ghana-born, UK-based artist move deeper into Afro House territory – drawing on his roots in Afrobeats while refining a more groove-led, culturally grounded sound. For Audio Paak, ‘Dallas Dance’ comes from a moment that feels personal and specific, and that carries through both the way it was made and how he explains it now. The track did not come from a fixed concept or a planned direction. It started from a real scene he witnessed and followed that feeling through the production, which gives the release a clear sense of identity without feeling forced.
The Moment Behind ‘Dallas Dance’
The starting point for ‘Dallas Dance’ came while Audio Paak was passing through DFW Airport, where a small detail ended up shaping the entire track. Reflecting on that moment, he said, “It was at the DFW airport when I noticed a woman in a simple white dress, wearing headphones and carrying a backpack, dancing to the music only she could hear.” What stayed with him was how natural it felt. It was not exaggerated or staged, just someone completely absorbed in their own music, and that feeling became the reference point for the record.
When he later sat down to make the track, there was no structured idea guiding the session. He explained, “I didn’t have a specific idea; I just wanted to make something that felt as fun and alive as she looked dancing.” That intention carries through clearly, with the rhythm and pacing tied closely to movement rather than overworked detail. The environment around him also played a part in shaping the record. Looking out from his apartment in Dallas, he could see the highway lights stretching across the city, and he noted, “The apartment view definitely influenced it. I could see the Dallas highway from the window, the lights were mesmerizing, and it created this perfect club-like atmosphere to make music.” That detail connects the title, the original moment, and the late-night feel present throughout the track.
How The Production Came Together
From a production standpoint, ‘Dallas Dance’ stayed close to its original version, which is not always the case with tracks made while travelling. After sharing it with Blvck Navy, the only real adjustment came through a simple suggestion. As he put it, “To be honest, I sent it to my friend Blvck Navy, and he suggested adding more drums. So that’s really the only change from the first draft.” That shows the core of the track was already clear early on, with the added drums helping to reinforce the groove without shifting the direction.
The setup behind the record was also relatively minimal. Since he was on holiday, he worked with a compact setup instead of a full studio environment, relying on what he had available. He explained, “I was working with limited tools since I was on holiday, and I only had my mini-PC and portable gear with me. But FL Studio had everything I needed in terms of tools and presets.” Within that process, certain elements stood out, particularly on the low end. He noted, “I’d say Analog Bass 1 TE from the GMS Basses program was my favourite. It really locked in the groove, together with the claps and snares.” At the same time, the chords required more attention, as he explained, “I needed the chords to carry that spiritual energy while still feeling club ready, with the drums complementing them to achieve that balance.”
Where ‘Dallas Dance’ Fits Now
Beyond the production itself, ‘Dallas Dance’ gives a clearer idea of where Audio Paak is heading next. He described the release as part of the early stages of a wider move into Afro House, saying, “I’m just at the beginning of my Afro House journey, but the response has shown me this could really be what I’m meant to do.” That perspective places the track within a longer trajectory rather than treating it as a standalone release, especially as he continues to refine that direction.
The response to the track has also played a role in shaping that confidence. He shared, “Getting messages from respected artists congratulating me has meant a lot,” which adds another layer to how the release has been received. Looking ahead, he is already building on this with more music in progress. He said, “I’m wrapping up two more singles, and then I’ll be putting together an EP to release on my birthday.” That makes ‘Dallas Dance’ feel like the starting point of a larger run of releases.
There is also a sense of how he measures a finished record through his own circle. When asked how he decides when a track is done, he answered, “For me, it’s when I send it to Blvck Navy and he goes, ‘YOH, did you make that?’ that’s when I know it’s ready!” It is a simple answer, but it reflects a process guided by instinct and reaction, keeping the original idea intact without overworking it.
Claude VonStroke interview about ‘Wrong Number’, his forthcoming album, stepping away from Dirtybird, and why making music entirely on his own terms feels like the right move.
Claude VonStroke has never been particularly interested in doing things the easy way, and ‘Wrong Number’, his forthcoming album, makes that clearer than ever. More than two decades into his career, the Dirtybird founder is stepping away from the label, stripping things back, and making exactly the kind of music he wants to make: patient, detailed, and completely unbothered by what’s trending. We sat down with him to talk about the album, the family members who voiced it, and why turning down big paydays right now feels like the right call.
When you started writing Wrong Number after the Dirtybird chapter ended, what direction did you want the album to take compared with the music you had been releasing in recent years?
I was able to drop expectations because I took year off from all house music. This album is not so much weirder or so drastically different, but just for example there was a massive banger on the album and I actually took it off because it didn’t feel right. In the past that would have probably been single AA1.
While working on Wrong Number, which producers or labels from the early minimal and house scenes did you find yourself returning to?
I kept going back to labels like Playhouse, Poker Flat, Planet E—stuff that felt like it had space and identity. Records that weren’t trying too hard. There’s a confidence in that era the records don’t always go left when they are supposed to go left. Sometimes they go right or up or down, and that mindset definitely crept into this album. A the same time I’m not a guy who makes grasshoppers on tinfoil – my records are easy to dance to.
“Static In The Deep End” is the first single from Wrong Number, so what about that track made you feel it was the right introduction to the album?
It sets the tone without over-explaining anything. It’s restrained, a little hypnotic, a little uneasy. It doesn’t try to win you over immediately, which is kind of the point of the whole project. I led with a deep cut on purpose just to let the fans know where Im headed. I dont need 1000 bro-tastic commercial tech house fans showing up and being disappointed on my tour dates because I didn’t play 15 drum roll breakdowns and a bunch of bongos at 132bpm. I’m trying to tip my hand early.
Nearly all the vocals on Wrong Number come from inside your own family, especially your son Jasper, so what made you decide to keep the vocal side of the album completely within the VonStroke household?
The whole project is more personal, so it made sense that the voices were too. Both Jasper and Ella are incredible musicians and singer songwriters. They know more about music theory than I ever will. For example Ella and I created an entire choral section with just our two voices and she directed all of it herself. Jasper came in and just riffed magical R&B vibes all of the place. They are just so talented I am a proud Dad.
Jasper appears across several tracks on Wrong Number while studying pop vocals at USC, so how did the two of you actually work together when recording those parts?
It was pretty loose. I made most of the record then he came in and just riffed on top of it. Then I would spend tons of hours chopping and effecting things. At one point Jasper and Ella made the track Two Line Groove with me which is them singing in the round. It was tough to record becuase I couldn’t get them in at the same time but I think this is one of the coolest records on the album. They go back and forth until it resolves in a giant harmony moment.
Since the music on Wrong Number was written with club spaces in mind, what made you decide this tour should focus on smaller venues like Vent in Tokyo or Panorama Bar in Berlin?
Because that’s where this music actually works. These tracks are built on detail and patience—you need a room where people are really listening with a nice sound system that isnt all muffled and massive. Smaller spaces, better systems – It’s less about spectacle and more about immersion. That environment lets the music breathe the way it’s supposed to. I’m also adding some free open air events I think that is also a space where this music can work.
After spending years building Dirtybird and helping launch artists like Fisher and Eats Everything, how has completing Wrong Number changed the way you think about your place in dance music today?
I used to actually worry about things like this which in my opinion is a waste of time. Now, if you are lucky enough to book me, you will get something that isnt generic that has been crafted and honed and is fucking dope. That’s all I can offer. Before, there was a responsibility to a sound and a whole ecosystem. Now I can follow ideas that don’t make sense commercially or strategically. I’m making a ton of terrible business decisions and it’s awesome.
When people listen through Wrong Number from beginning to end, what do you hope they understand about where you are creatively today?
I’m not trying to be the loudest voice in the room. If the record feels a little unexpected, a little more human, then it’s doing its job. I mixed and mastered this record myself for the very first time I didn’t ship it off to get finalized in some expensive mastering suite – so you are getting this straight from my home studio warts and all. This is what I do now.
Stream the first single ‘Static In The Deep End’ from this album below.
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