Devin Wild’s latest EP “Among The Noise” pushes genre boundaries by blending Hardstyle and Hard Techno into an underground, experimental sound. In this exclusive interview, Devin Wild discusses “Among The Noise” while sharing his production philosophy and his evolution from child prodigy to innovative producer.

Devin Wild on the Creative Vision Behind “Among The Noise”

“Among The Noise” is a fusion of Hardstyle and Hard Techno. What inspired this creative direction? How do you maintain your signature sound while exploring different genres?

“Among The Noise” represents the culmination of my experimental journey. Since I started doing these experimental EPs, the underground techno sound has played a major role. Certain ideas come into their own within this sound. Moreover, this style lends itself to more straightforward and dark flows.

Personally, I think you always retain your own style. You need to make choices that you really feel deep down and stand behind them 100%. Everyone is unique with their own mind. As long as you are the purest form of yourself, your style remains intact.

The EP features previously released tracks including “Chaos (Always Comes)” with Nathalie Blue, “Dance With Madness,” and “Hit Back,” along with the new “Silent (Left The System).” How do these four tracks work together to tell a cohesive story?

Musically speaking, all tracks follow the same vision by focusing on a more underground, yet out-of-the-box sound. There are choices I might not make in more normal tracks. However, “Among The Noise” gives me plenty of room to experiment. All vocals were written with that same idea in mind.

Devin Wild’s Industrial Production Techniques

You’ve described “Silent (Left The System)” as industrial and fierce, yet it’s unmistakably Devin Wild. Can you walk us through the production process and what elements you used to achieve that balance?

With this track, the Hardstyle producer wanted to focus more on dance floor-oriented elements. Industrial can quickly tend toward dark and obscure, which I absolutely appreciate. But here I wanted to keep the musical theme lighter and more open instead.

The sampler-style piano chops work perfectly for this, as do the high-pitched vocals. Additionally, the breakbeat elements tie it all together. In my opinion, these choices create the perfect balance.

The EP is described as playing “like a single trip” with cinematic bookends. In an era of single-track consumption, how important is the complete listening experience, and what do you hope audiences gain from it?

Projects like “Among The Noise” let you work within a certain style and theme. With this project, I wanted to try new things and explore new elements and song structures that I don’t usually do very often.

I approach such a project with certain thoughts and feelings. How I feel at that moment matters. The phases I’m going through influence the music, and with all that in mind, I work on the project.

I link all the components together, including visuals and lyrics. Through this, I hope to take people along in my processes without having to explain everything too literally.

Devin Wild’s Evolution: From Child Prodigy to Hardstyle Innovator

You started producing at just nine years old. Looking at your journey from tracks like “Into The Night” in 2015 to “Among The Noise” today, how has your production philosophy evolved?

My musical development runs parallel to my personal development. When I think back to how I was as a person then compared to now, the shift is easy to explain. As I’ve gotten older, I’ve started to think differently about music production.

I weigh choices differently now and value a certain form of integrity. Furthermore, I often try to challenge myself by trying new things. Your taste naturally changes as well. All of this is a fairly natural process for the Dutch producer.

Devin Wild on Collaboration and His Creative Process

Collaborations have been a major part of your career, from viral hits with Sub Zero Project like “Meltdown” and “DSTNY” to your 2018 mini-album “Maze Of Revelation” featuring Psyko Punkz, KELTEK, D-Sturb, and Warface. How have these collaborations influenced your approach to this more experimental, solo-focused EP?

Devin Wild notes this was the first project where he worked within a specific theme. In terms of musical vision, it doesn’t have much to do with what I’m doing now. Nevertheless, I learned from the processes involved in those individual tracks.

“Chaos (Always Comes)” features vocalist Nathalie Blue. How do you approach the decision of when a track needs vocals versus remaining instrumental? What role do vocals play in your creative vision?

Vocals can often serve as an element of recognizability and give a song a clearer structure. When I start working on a track, I often know what my goal is and what it needs to achieve that goal.

Looking Back at 2025 & What’s Next for Devin Wild

2025 has been a breakthrough year for you. Was there a defining moment that made your music stand out this year?

I can’t name a specific moment. For me personally, continuing to develop and learn new things is most important. Meeting new people and working with them matters greatly. Staying active is key, and looking for ways to improve and innovate drives me forward.

What can we expect from Devin Wild for 2026? What are you most looking forward to for next year?

I will do my utmost to keep seeking fresh perspectives on innovation. New projects are on my to-do list, along with exciting collaborations. Ultimately, I’m committed to pushing the boundaries of what’s possible in electronic music.

Devin Wild’s “Among The Noise” is available now on all major streaming platforms. The EP showcases his bold vision for the future of Hardstyle and Hard Techno fusion. Experience the full journey of “Among The Noise” and discover why Devin Wild continues to push the boundaries of electronic music.

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Coming off a transformative year marked by artistic reinvention and personal growth, LA-based producer and multi-instrumentalist Martron enters 2026 with renewed clarity and momentum. Following the release of his emotionally charged ‘Resurgence’ EP and a run of standout singles that earned support from some of electronic music’s most influential names, Martron has proven that perseverance and vulnerability can be just as powerful as heavy basslines. We caught up with him to reflect on the highs and hurdles of 2025, the music that changed his life, and what lies ahead in the next chapter of his journey.

Hey Martron, thanks for taking the time to speak with us! How was your holiday/new year’s?

Thank you for having me! Both were good thanks for asking, it’s always nice during this season to hit the pause button, reflect on the year and get some rest. One of my favorite things to do during this time of the year is watch the Extended Lord of The Rings Trilogy, for some reason it hits differently compared to when I watch it at any other time.

Looking back on 2025, what were your biggest and proudest achievements?

I think the 2 things I’d point to are the making of my EP “Resurgence” and my personal growth.

Regarding Resurgence, it’s honestly the most proud of a project I’ve ever been. It all came together in a month on a new laptop after the last one broke down and after a lot of progress on previous projects was lost. I recently shared a few days ago that losing that progress coupled with my mental health struggles at the time had me contemplating giving up making music. Obviously I decided against that and to not only see what came from me artistly during that time, but to see the reception the EP got when it dropped was wild. The articles, the messages I’ve gotten about it, the fact that it was on the radio for a while and charted internationally, I was honestly in disbelief when all of this happened. Resurgence means so much to me and shares a message of hope, perseverance, an emphasis on never giving up and remaining true to yourself. To see this message resonate with so many people all over the world is awesome and motivating.

Regarding my personal growth, I started doing a lot of work on my physical, mental and spiritual health last year and I’ve never felt better in all 3 of those areas than I do now. I started doing things like working out more consistently, going to therapy and continuing to grow closer to God, all of which have really helped me acknowledge and tackle issues that in years past I had a more difficult time addressing. It’s done wonders for my confidence and I have a lot of people to thank for helping me get here.

2025 also saw you release a bunch of amazing music, which one stands out as your personal favorite?

I’ve been pretty vocal in saying Always is not only my favorite track I’ve made of 2025 but it’s up there for my favorite track I’ve ever made. Always is the backbone of the Resurgence EP and a monumental track for me personally, I’m pretty confident in saying it changed my life. It became a huge motivator for me and I hope it’s a track that can inspire others to not give up and to fight through what they’re going through. The other part of course is what it was like to make the track and leaning very hard into my classical routes. Producing it, playing piano and flute on it, singing on it, the writing process for Always was so natural and everything felt like it fell in the correct places. One of my favorite parts about making it was piecing together the melody of the vocal chops in the drops, it flows so well together and kind of feels like a call and response between the different octave changes. I can go on about Always for hours, I love it so much.

You’ve also earned support from artists such as ODESZA, NGHTMRE, and SLANDER. How has it been to see your music get endorsed by artists of that magnitude?

Honestly it’s insane to think about. I’m very grateful for and motivated by any support that’s given to my music, but to get that support from artists I grew up listening to is special. A good example is Steve Aoki, his influence and contributions to the dance music scene are massive. So to not only have a couple tracks drop on Dim Mak but to hear him shout me out on one of his “Aoki’s House” episodes was unreal. It still is and I couldn’t be more appreciative of him and Dim Mak for the support and opportunities they’ve given me and my music. Support from artists and labels like that tells me I’m doing something right and I owe it to myself as well as the people who’ve shown me support to continue to grow and get better.

Does that cross-genre support shape your approach to production?

Oh 100% how could it not? I’m someone who wants to remain a student of the game, always looking to learn and soak in knowledge. I love making and listening to all kinds of music, so whenever I get the chance, I always try to learn something from watching others produce or from listening to and discovering music. Then I take what I’ve learned and implement it into my own work. 2 examples of some recent releases I’ve been inspired by are Skrillex’s “hit me where it hurts x” EP and Tems’ “Love Is A Kingdom” EP. My ears have been glued to both of these, both have a lot to say and show off some incredible artistry. They’re both examples of a major thing I’ve learned over the years, which is that you can teach someone all the techniques in the world for how to make music, but the thing I see people tend to gravitate to the most is the personal touch or style of whoever is creating the music. That “it” factor or flavor that can’t be taught or truly replicated. Take 3 artists I love for example: Feed Me, Fred Again.. and Peggy Gou. All 3 of them are amazing not just because they’re good at what they do, it’s also because they’re so unapologetically themselves and that’s clearly shown in whatever they make. Their music is an extension of themselves and that’s something I strive to achieve and keep consistent when it comes to my own music.

Going into 2026, what are your goals and aims for the coming 12 months?

My general goals when it comes to music are to get better everyday, be better than last year in every way, work with more artists, play more shows and take more risks. Of course there are specific artists I’d love to get noticed by and work with, festivals, venues and shows I’d love to play and labels I’d love to have releases on. I’m a very ambitious person so I tend to shoot for the stars no matter how improbable or difficult to achieve those goals are, but there’s so much I want to do. All I can do is work hard and let God steer things from there.

Personally speaking, one of my goals this year is to travel more. I’ve always been an adventurous person and love exploring, but the last time I left the country was August of 2024 when I took a trip to Guatemala. I’d like to visit countries like Japan, Italy, England and Croatia to name a few, but we’ll see what happens.

As you move into the next phase of releases, are you more focused on standalone singles like ‘Feel It’ or building toward a larger, cohesive project such as EPs and albums?

Well I’ve been buried in the studio working on an EP since June of last year. Contrary to Resurgence, I’ve been taking my time with this one, I’ve needed the extra time to get everything right. Especially because as I’ve continued to grow, regain confidence and learn more about myself, my music needs to be held to the same standard and reflect that growth. I’m working on a lot of new music right now that I’m either putting back together from when my laptop broke down or is entirely brand new and that stuff will come out in due time, some of which will be standalone singles in the same way Feel It was. But the EP has been my top priority.

And finally, do you have any special news you’d like to reveal to our readers?

There’s a lot going on behind the scenes right now that I’m really excited about, but some stuff I either can’t discuss yet or want to wait a little longer before discussing publicly. What I can say with 100% confidence is this: Not only is my new EP very close to done, you won’t have to wait long for it.

Follow Martron:
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We sat down with Marlo ahead of his set at 808 Festival 2025 in Bangkok, Thailand, on December 5. During the interview, he spoke about returning to Thailand, a country he has played in for many years, and how the energy of local crowds has remained consistent even as festival formats and venues have grown larger. Marlo also discussed how he approaches performing at large-scale events like 808 Festival, explaining that he pays close attention to crowd response rather than following a fully pre-planned set. He also shared his reasons for launching the V3NOM project, and why separating his harder sound from the Marlo name became necessary as his performances began to include a wider range of styles.

So, when you first played in Thailand which was probably years ago, do you remember how you felt back then cause the scene has definitely changed a lot, but you have the same fan base and new, so I’d like to know what your experience was like.

I don’t remember the first show I ever played in Thailand but one thing that stayed the same since then is the passion of the fans. The people here are really passionate and lovely, and they like to go out and have a good time so you feel that energy regardless of if you’re playing in a small club or a big festival. You know people are always so excited to be there and they just have a lot of fun. I love it. 

So, now that you’re back in Thailand and at 808, can you tell us what excites you about playing in front of this festival crowd in BITEC Bangna?

This is a great venue. I’ve played here before but yeah it’s amazing to be here for 808 in this huge big hall and I can’t wait to see how the crowd reacts. I haven’t had the chance to look at the setup beforehand, so I want to be surprised but I’m really excited as for me it’s very important that the first time the crowd sees me, it’s also the first time I see them as well. 

So, when you prepare a Marlo set for a large crowd like this one at 808 festival, what usually guides the direction of the set? 

In short, the crowd. I don’t completely pre-plan the set. I still very much go with what the crowd’s responding to and also what the DJ’s before me have played. 

When you decided to start Venom, you were obviously influenced by your background from having grown up in Australia but is there anything else that influenced that decision? 

That’s the main thing really. It was getting to a point where I was playing a lot of harder style sets especially in Australia and in Australia, Hardstyle is really popular and of course I like hardstyle with so many of the DJs being my friends and I personally go to hardstyle events as well so I just thought you know I want to separate the hardstyle out of Marlo a little bit and just create a new project where I can play only that. You know if I show up as Marlo playing, you know people kind of expect that sound so I wanted to give something different for the people that prefer the harder style stuff. 

So, now that you’re here in Thailand, and you’re about to go on at 808 festival, is there anything you’d like to say to the fans? 

I can’t wait to see all of you. So let’s rock it like we always do! 

Over the years, Marlo has settled into a way of working that prioritizes instinct over control, especially when it comes to playing live. Rather than locking himself into a fixed plan, he pays attention to how the crowd responds and lets that guide what happens next. That approach is also tied to how he thinks about his music more broadly. Instead of forcing different sounds into one space, he chose to separate them, giving the harder side its own home through V3NOM while keeping Marlo focused on what people expect from that name.

Looking ahead, Marlo seems intent on keeping that balance intact. He wants to stay responsive to the room, to the people in front of him, and to the different scenes he moves through, without letting any one format dictate how he plays or what he releases. That leaves his work open rather than fixed, and keeps the focus on how each moment feels rather than on repeating what has already worked before.