MEDUZA Aim to Bring the Spirit of House Music to the Heart of the Las Vegas Strip

MEDUZA‘s ascent to prominence is not merely a tale of musical prowess, but a testament to their deep-rooted belief in the transformative power of sound.

The trio, hailing from Italy, has always been driven by a shared vision to redefine the contours of electronic and more specifically, its method of consumption.

Since bursting onto the scene in 2020 with hits such as “Piece of Your Heart” and “Lose Control,” MEDUZA have made their mark on the club circuit, including becoming staples in Ibiza with their curated party offering, “Our House.” Now, the trio is turning their attention to Las Vegas, where they’re slated to join the rotation at the illustrious Zouk Nightclub and Ayu Dayclub at Resorts World Las Vegas.

“It was a pretty easy decision,” MEDUZA said of the opportunity in an interview with “They believed in the project and they believed in the fact that we can bring house music to Vegas.”

View the original article to see embedded media.

As a trio, MEDUZA describe their dynamic in synergistic terms. “We’re lucky to be three and not one, because we can work on different aspects of the music, the DJ sets—100% of the project,” they said, elaborating that their dynamic eases the dual stresses of touring and creative output among all members.

MEDUZA’s sound is characterized by its depth and complexity, weaving together soul-stirring layers of melody and rhythm to create tracks that are as introspective as they are invigorating. This signature style is a product of their diverse influences, from the classic house grooves of the 90s to the cutting-edge sounds of contemporary dance music.

It’s an experience worth putting the phone down for, which audiences have continued to do with the popularity of MEDUZA’s “Our House” performances. A recent run of limited dates saw the implementation of a unique no phone policy was implemented in an effort to bring back the spirit of dancing and losing track of time under neon lights.

View the original article to see embedded media.

The idea was born last summer, MEDUZA tell us. “Especially in Ibiza during the summer we go to other DJs’ shows and see the vibe of the room, what kind of music they play. We noticed that during some shows with visuals, there were people in the crowd filming for the entire show,” they said.

“After the drop they were just turning off the phone and not vibing, not feeling anything. There was no connection between the crowd and the DJ and that was really sad because it’s not clubbing,” they continue. “We can understand that when you go to a concert or a big festival, but when you go to a club, the first rule—and I will say rule—is to vibe and be connected with the music. That’s the power of the DJ.”

Following the initial trials of the group’s no-phone policy, the public reception was especially well-received, they said. While their Las Vegas residency won’t be embracing a no-phone policy, MEDUZA are feeling excited to bring the same high energy live experience to crowds this March.

The group is eager to embrace the opportunity to bring traditional house music to Las Vegas but in a way that also acknowledges their increasingly large-scale commercial appeal. A crucial element to their expanding global presence is their forthcoming collaboration with UEFA for the 2024 European Championship, a project that will see a collaboration between MEDUZA, OneRepublic and Kim Petras come to form.

As MEDUZA continue to navigate the next chapter in their artistic journey, they are entering it seemingly more informed about their craft and direction than ever.

“If they know the songs in Vegas that’s a good starting point,” MEDUZA said. “Thank God we have songs people can sing in this show, but at the same time in-between we can play powerful tracks coming from the club side of MEDUZA and I think it’s going to be a great experience.”

MEDUZA’s Resorts World Las Vegas residency starts with an appearance at Ayu Dayclub on March 16th.

Follow MEDUZA:


Covex On Why His Long-Awaited Sophomore Album Gave Him “A New Sense of Purpose”

A new artistic chapter is unfolding in the story of Covex.

The esteemed producer is jumping headlong into 2024 by unveiling bits and pieces of OSCILLATE, his hotly anticipated sophomore album. Out May 16th via the renowned record label Seeking Blue, the project is shaping up to be his best piece of work yet.

After making a splash with “Power,” a scintillating combination of garage production and aching vocals from Yianna, Covex has now teamed up with Fi Sullivan for “Another Night.” Out now, the stunning track combines the whimsy of indie-pop with bubbly sound design with playful production and a powerful topline from Sullivan. Nostalgic and dancefloor-ready, it beautifully sets the stage for his album rollout. caught up with Covex to discuss the creative and collaborative process of “Another Night,” lessons learned from his upcoming project, his plans for 2024, and more. Your collaboration with Fi Sullivan on “Another Night” seems to have been an incredibly efficient and fruitful process. Can you walk us through how the lyrics and melody came together in just one day, and how Sullivan’s vocals added that special touch to the track?

Covex: Fi and I have been friends for around five years and since seeing her live, I knew she had something powerful in her voice and lyrics. We toyed with the idea of making a song together for a long time but it wasn’t until I made the instrumental for “Another Night” I knew she would be a great fit.

Fi came over to my home studio in the summer of 2023, I showed her a few ideas but “Another Night” stuck out the most. We agreed we wanted to make a dance banger but to keep it sweet and light-hearted. It was one of those magical sessions where things flowed very naturally. She would come up with a line, and then I would immediately follow that with another. The process was quick and seamless. Her voice has so much emotion and soul. Without her on this track, it wouldn’t be the same.

View the original article to see embedded media. “Another Night” combines indie-pop and dance music elements in a stunning way, something a combination of sounds you’re no stranger to. How do you navigate the creative space between these genres?

Covex: I rarely go into making music with the intention of combining genres. With this song, in particular, I started by sampling my fingers running across my upright piano strings. I created a dense bed of ambiance and natural sound, then started messing around with a lead sound using one of Ableton’s Max For Live devices, and finally filled it all in with a driving bassline. I think what makes it the combination of those genres is the use of natural and synthetic sounds. “Another Night” sets the stage for what promises to be a standout year for you. Can you give our readers a sneak peek into what they can expect from your forthcoming album?

Covex: My second album OSCILLATE continues the story of my previous EPs, Solis and Luna. The album is a story about the human experience and duality of life.

It’s divided into two discs—the first is a more light-hearted, bright, upbeat side which I’ll continue to call Solis (resembling the sun) and the second is a darker, heavier and more emotional side called Luna (resembling the moon). When creating the EP’s, I knew I wanted them to be part of a larger body of work. It’s a story I’ve wanted to tell for many years and it’s my favorite project I’ve ever made. Could you share the most pivotal lesson you learned while creating “Another Night,” or the entire album in general?

Covex: It’s impossible to know when a song is done but there’s usually a feeling you have on the first day of creating the idea, a very emotional feeling. It’s important to save that moment in the song and not “edit” it away. If you had to describe the album in three words, what would those be?

Covex: Duality, Sun and Moon. Your debut album A Change of Perspective was released back in 2021. How did your approach to producing and conceptualizing this forthcoming album differ from your debut, and what growth do you feel it represents in your musical journey?

Covex: My debut A Change of Perspective and my forthcoming OSCILLATE have many similarities. The music that I’ve made and continue to make, doesn’t necessarily fit into one box. Some days I love to make pretty, ethereal music and others I’m excited to try out a new bass sound design technique.

It’s always been like this. I get easily bored by trying to “fit in” to a certain sound or emotion. In creating OSCILLATE, I wanted to showcase both sides of those sounds and feelings by separating the record into two distinct pieces.

I learned a lot about myself through the three years of creating this, both artistically and personally. I experienced some monstrous highs and the lowest of lows, which all can be felt and heard in this album. This album gave me a new sense of purpose and confidence. I’m insanely proud of this work.



A Daughter's Reconciliation: Yulia Niko's New Album Mends a Broken Soul Through House Music

Yulia Niko‘s debut album is a profound reminder that even in the darkest times, the soul can find its twin flame within.

The Berlin-based DJ and producer today unveiled the new album, Twinsoul, on Armin van Buuren’s venerated Armada label. Grappling with the loss of her late father, each of its aching songs represents a scintilla of Niko’s soul, she says, ultimately intertwining to form a latticework of auditory stories in his memory.

Imagine a kaleidoscope shattered by loss, its pieces refracting fragmented memories of enduring love. Twinsoul is the process of meticulously reassembling them with the glue of vulnerable songwriting and visceral house music, inviting listeners to evolve in lockstep—just like family members.

Yulia Niko.

c/o Armada Music

Niko’s roots in electronic music run deep. After a car accident hospitalized her for two months in critical condition at the age of 15, she discovered a love of crate-digging and found solace in old Ibiza discs, Ministry of Sound CDs and classic house records. Astoundingly, just one year later, she played her first gig.

But it was the tragic death of her father that lit the fuse of true self-discovery. Tethering itself to her experiences in its wake, Twinsoul is a vessel for Niko to chart a course for emotional closure. With airy synths that echo unspoken conversations and bass that throbs like a constant reminder of a presence now absent, the album is a dancefloor therapy session.

We caught up with Niko to discuss the captivating emotional arc of Twinsoul and the poignant stories woven within its music. Take a listen to the new album below and read on to discover more about its origins. Can you walk us through your interpretation of the concept of the soul?

Yulia Niko: Soul? That’s a hard question, but I would maybe describe it as an inner identity. Something that is spiritual and special, is what makes us extraordinary, and probably travels from body to body. This is what I prefer to believe in, and it gives me hope that maybe I can enjoy my artist life.

Of course, when talking about the name of my album Twinsoul and I mention the fact that I am so similar to my father, we are talking about genes—but I would not name the album TwinGenes, right? So yeah, I think it is a nice, unique name with a kind vibe that captures my inspiration for the album. Creating art from a period of grief can be daunting. What steps did you take to stay grounded considering the emotional vertigo of the circumstances?

I should admit, I do have a good psychologist and I have been in therapy for many years, in addition to meditating, and developing myself and my mental health by reading books or articles, and trying different practices. Music is always my escape from reality. Whenever I feel down, moody, tired or whatever it is, I am always making music, listening or searching… life without music would not be possible.

Losing my father was a very hard experience, and people who have lost a parent understand that it truly changes something inside of you. Somehow, everything I’ve stated above has worked really well, but it was extremely hard to heal. Now, I’ve made it, and even better, I’ve let myself enjoy making real music, besides “loopy techno.” I made an emotional album with ten songs, and something my father would actually enjoy listening to.

Yulia Niko.

c/o Armada Music Did producing Twinsoul help you connect with cherished memories of your dad? Or gain closure and comfort?

In general, the fact that we’re talking about him so much because of the album already makes me so happy. He deserves it so much, and I hope his soul can somehow see it. If we do share one soul, part of him is inside of me, so maybe that’s why it makes me feel so right.

Making the album wasn’t something that I used to gain closure or comfort—it is something that my heart called for and I learned to listen to my heart. To produce the album, knowing that I dedicate this work of art to him, makes me so proud and excited, and is probably why I’m so pleased with the end result. Each track in the album is described as having a distinct narrative. Can you share the story behind one specific song that resonates most closely with you?

Yulia Niko: “Success is a path not a destination, the ego is afraid. He wants to control because he is afraid.” These are lyrics from “Exito” featuring Sil Romero. It is an absolutely original song written with Sil, who is one of my closest friends. She is from Chile, but based in Berlin.

Throughout my life, success has been important but it’s not like I have huge expectations for anything in particular. I just try to enjoy my journey and as long as it’s comfortable and not stressful. Wherever I am at the end, I am just grateful. Life is too short to get upset.

The cover picture on my phone screen says “I am enough.” This is such an important message nowadays, when people have unlimited access to social media and so many people get stressed by not being somewhere or not having something.

Sil and I come from countries where it’s not that easy to make it as an artist, so that’s why this song is the best representation of us both, actually. Plus it’s a great message for my father, who was always so pushy, in a good way but also sometimes too much. But he made it so now I feel balanced and know how to do it right.

Yulia Niko.

c/o Armada Music As an artist, how do you find balance between expressing personal vulnerability through your music and maintaining a sense of personal privacy?

Yulia Niko: There are always things from life which influence your art. People always like to have a story, and I don’t want to create fake stories; I have enough of my own real ones. I have some lines which I never would cross in sharing about my life—I mostly try to share only about things that are related to the music I’m making.

I actually would really like to write a book, because I think I have quite an interesting experience traveling the world and meeting so many people, analyzing a lot and finding many similarities between them.

When it comes to my father’s death, I would agree that maybe it is a bit much to share—or I thought so—but it had such a big impact on my life. I did not post on Instagram for people who never knew him, I just did something better by creating this album so people actually have a chance to get to know him, who he was and why he deserves this tribute. Deep house music is known for its soulful and evocative nature. Why do you think that is?

Yulia Niko: Deep house, the name already describes itself. Deep, trippy, hypnotic rhythm with beautiful sounds and vocals which take you on a journey and provide you comfort for an exact moment of your life, and make you feel like in “inner home or house.” I just came up with that! I swear I did not Google it.

This is the exact feeling I felt when I heard deep house when I was 15, and it guided me through so many difficult situations since then, which brought me to the here and now. When I make music, I always have the keywords “uplifting, happy, groovy.” I think this is why people get intrigued by deep house, or really any kind of music made with this intention. It just sounds really good and nice. From the euphoric highs to melancholic lows, there’s a captivating emotional arc across the album. What do you hope listeners feel as they join you on this journey?

Yulia Niko: I hope that listeners will find their own home and escape—hear a song which makes them feel really good, and really special. That they wake up and start the day with this particular tune, because as soon as they hear the first four beats they start to smile.

This album is my first, maybe my last. Maybe not, but it is real—a real piece of art, which means everything to me! And I am honored to share my life with you. Enjoy listening to it. Thank you for listening.

Follow Yulia Niko:


Melodic Dance Music From Berlin to Burning Man and Beyond: An Interview With HOVR

With their sultry vocals and intoxicating energy, HOVR is rising through the dance music ranks on their own terms.

Based in Berlin, HOVR has managed to captivate the hearts and ears of an ever-growing audience with their infectious tunes. From performing at college parties to one of Burning Man’s most prestigious art cars, HOVR’s story is one of love, dedication and unbridled authenticity.

Still riding high off their first release of 2023, Do You Want Some Acid?, HOVR is currently taking a break from touring in the Indonesian tropics, escaping Berlin’s winter and feverishly working on their forthcoming 2024 releases. A number of those records are in their new melodic house and indie dance mix on YouTube.

We caught up with HOVR to discuss their meteoric rise over the past couple of years, their experience as a touring artist, insights for emerging artists and much more. You recently shared your first release of 2024 with “Do You Want Some Acid?” and “My Warrior.” Talk to us about the story behind these songs and your process while making them.

HOVR: The songs on this EP vary greatly in style and meaning, yet I appreciate their diversity on a single record. It reflects my own tastes, which oscillate between the energetic and playful, and the thoughtful and serene.

The acid song is an homage to my favorite synth, the TB-303, although the subtle double-meaning makes it a fun one to cue on a dancefloor. There is enough serious music out there already.

“My Warrior“ features Lemonella, a South Africa-born fellow DJ but also an incredible poet who wrote some incredibly powerful words I accompanied with my instrumental. I interpret her vocals as a statement about how dance and music can be a form of resistance against oppression. I’m happy those two tracks found a loving home at 3000 Grad, a great label, which also produces an amazing yearly festival in Germany. You started playing the piano at five years old. How did your journey with music progress over the years and when did you fall in love with listening to and producing dance music?

HOVR: Music has always served as both my foundation and my link to the world. I never intended to turn it into my career, preferring to keep it as a cherished hobby. I can easily say making music has kept me afloat during my upbringing in the German countryside, which at times sucked. And yeah, my education on the piano began super early, but I took a long break during puberty which is one of my few regrets today. Fortunately, I just switched instruments and focused on guitar so I never really stopped making music. After moving to Berlin 10 years ago to study, my uni friend Max and I organized a few free student parties at our university. Fun fact: We had MCR-T perform one of his first sets at two of those events. Such a joy to see him grow over the years.

Anyway, my first appearances as a DJ were opening sets at my own events. Somebody discovered me there, booked me to play a 9 AM closing slot at his club night (to which I brought ALL my friends) and things took off rather quickly from then on. I produced music for 3 years before releasing my first song. For the last few years now it has been my full-time job and I’ve never been happier, even though it’s definitely not the most stable job choice.

itsnotanothershot You’ve come a long way since your debut single “Ostsee” back in 2020. What’s one of the most memorable moments of growth you had since then?

HOVR: Many artists find it challenging to listen to their music from way back when, myself included. I actually haven’t listened to “Ostsee” in quite a while. Honestly, I don’t love it anymore, mainly because I hear my lack of courage to sing properly and with full volume into the mic. I’m glad that it’s still out there as a sign of progress.

A very memorable moment of growth that comes to mind was winter 2022, more specifically the weeks around when I released “My Voice“ on Stil vor Talent. I saw dozens of videos on Instagram of DJs playing my song all over the world which made me really happy. Some songs got into the hundreds of thousands of clicks on Spotify before, but they were rather oriented towards a listening crowd, than a dancing one. Seeing a dancefloor go crazy to your original production hits differently. As a prolific touring artist, how do you deal with the stress and physical toll of constantly being on the road? What’s your favorite and least favorite thing about touring?

HOVR: I haven’t reached the stage where dealing with jet lag is a regular part of my week. Most of my touring is focused on Europe and some longer tours on other continents, but despite that I can feel the effects regularly. After 70 shows in 2022, I decided to aim for a more modest 50 shows a year, which made last year a lot better for my mental health.

My most and least favorite thing: I love the insights touring gives you into local nightlife cultures. I’ve learned so much about what nightclubs, raves and festivals can mean for various communities and this gave me a lot of purpose. My least favorite thing is that most of the weekends, I’m not at home. Many of my friends work when I have time off and vice versa. Navigating a healthy social life and relationship at home can be difficult. How was your experience performing at Burning Man, and how did that come about? Are you planning to return this year?

HOVR: Burning Man was definitely the biggest moment of my career so far. When I got the lucky invite from a friend and supporter from the US to experience and play at Burning Man, I couldn’t believe it until I held the ticket in my hand. I played on one of the biggest and most musically relevant art cars on the playa, Maxa, at sunrise right after Carlita, whose sets I adore, and opened the set with an original of mine. It was highly emotional, but of course Burning Man was way more than that show.

The entire week was filled with unbelievable experiences, new friendships, a “bad art tour“ I will never forget, making up missions on the spot for people getting their morning coffee, crying my eyes out in the temple, dancing in the mud with my camp, being stuck for an indefinite time in camp because of rain, cheering at a recreation of Mad Max’s thunderdome, experiencing Be Svendsen play on a carpet in front of a tiny audience, spontaneously throwing an Italo Disco dinner party … I could go on forever. But you get the point. It’s insane and I’ll be back for sure.

View the original article to see embedded media. If you could share three insights in order to guide smaller artists who might be looking up to to you, what would those be?

HOVR: 1: Don’t fall for toxic positivity. The amount of times I heard “follow your dreams“ makes me sick. Success in performing arts, and especially music, is hyper-dependent on the effect your work has on others. If the music you’re making just doesn’t really seem to connect even after some time, the right choice may be to pivot to another style, medium, or art form altogether. I’m incredibly glad that I quit my sluggishly advancing career as a singer-songwriter back when I was 19, because it gave me the space I needed to explore electronic music a few years later, which so many more people resonated with. Agility is key.

2: Finish songs. Don’t drown in drafts. Instead, learn your craft: I’m talking harmonies, frequencies, tools, etc. It’s leg work, but worth it. Whether you then decide for a world star career of sampling 90s trash into the hottest trance dancefloor hits out there (looking at you, DJ Daddy Trance) or for crafting your acoustic fingerprint recording original samples, having both an intellectual and intuitive understanding of what’s actually happening in the music you’re making really helps. A great way to learn production is remaking your favorites!

3: Build a network. I have a couple of beloved producer friends in my bubble that I sent music back and forth with. Trust your ears, of course, but also trust others’ ears. And yes, a network is also important in getting booked but I recommend staying away from “I book you, you book me“ kind of deals, as you want to be booked for your music and not anything else, right? Joining a crew, building stages and friendships, co-producing tracks, that’s the type of network building I recommend. What are your plans for 2024? Working on anything exciting you’d like to share with us?

HOVR: I’m excited about releasing a song on This Never Happened in May, which is the label of melodic house genius Lane 8. I’ve listened to and played many of their releases and couldn’t be more excited! Also, I have some nice summer international dates in the pipeline, including a couple of dates in Europe, and more to be announced.



Brownies & Lemonade, Deadbeats Share Their Secret Recipes and Serve Up DnB Bangers

No genre of electronic music is drumming up interest at the moment quite like drum & bass. The genre’s artists are headlining festivals and tracks are becoming global anthems. Respected entities Deadbeats and Brownies & Lemonade have even joined forces to celebrate the genre with a new album.

Brownies & Lemonade has its thumb on the pulse of electronic music trends while Deadbeats is a label known to subvert expectations. The two parties aligned to celebrate the latest drum & bass revolution with a compilation album, Deadbeats + DNBNL Present: D&B, B&L’s first venture into releasing music.

North American fans’ obsession with the genre might seem like a new discovery, but it’s an old artifact that’s always thrived beneath the surface of our culture.

“I don’t think that sound was as nebulous or foreign to the North American culture,” Brownies & Lemonade Creative Director Chad Kenney told ‘When you go back to the ‘90s, house and drum & bass are the foundational bases of electronic music in North America. You can even go back to my childhood. The Powerpuff Girls theme song is a drum & bass heater. You go back to PlayStation 1. All of these things you don’t realize because they’re not in the foreground.”

“The seeds have always been there in North American culture, but for it to permeate and be something where Fred again.. is going to be on the mainstage playing drum & bass or Marshmello is playing drum & bass, it was a matter of time for some of these artists to step up in the last couple of years and say, ‘Hey, I’m going to make a whole set with this stuff.'”

The compilation is a first for Brownies & Lemonade. Deadbeats’ involvement in curating the project was a crucial but herculean task even for an experienced music label. Deadbeats + DNBNL Present: D&B took two and a half years to put together. It’s a heavy workload compared to Deadbeats’ six-month timeline for similar projects.

“It’s a monster of an undertaking to get 15 artists scheduled synced up, make sure you have the open windows,” Deadbeats Label Manager Harrison Bennett said. “From the label side, it’s really about making yourself as flexible as possible and making yourself as available as possible to all of these artists.”

“Deadbeats was always made to mirror what a Zeds Dead set is like because it’s a Zeds Deads label. They’re very genre-agnostic and very fluid across whatever they’re playing. Deadbeats is going to continue being in that realm. We’re going to do a little bit of dubstep, a little bit of bass, maybe some house music. We’re going to be all over the place. We’re very hard to pin down.” You have a new single coming out just after the New Year with HALIENE.

Markus Schulz: Yes, the single with HALIENE’s called, “Death of A Star.” I told her at the beginning of this project that I wanted to do something deeper and more of a “rabbit hole” vibe for this album, and she was all in on it. She loved the idea.

To be honest, this song came out so effortlessly because we had a vision for it, both musically and lyrically, for where it needed to go. I wish all the tracks that I made were this easy. Obviously, there will be some more banging remixes, but the original soul of the song is deeper and darker, for sure. Can you chat about helming the new “In Search of Sunrise 19” mix compilation out now on Black Hole Recordings?

Markus Schulz: Yes, the new In “Search of Sunrise” compilation was just released and there’s quite a few of my remixes and originals. As I was working on my The Rabbit Hole Circus album, there were several tracks that just didn’t fit what I was trying to do, and I held them back to include them on this compilation. When I was mixing it, I went back into those projects and modified them so that they fit the mood perfectly.

That’s the beautiful thing about this compilation and the way that I approach it: I try to take each track and modify it to fit the mood of the set and where the song sits in the set. I’m very excited every year to do such a legendary mix series and looking forward to next year’s 20th anniversary edition, which I’m already planning some special things for. With everything that’s happening in the world today, joining with fellow music lovers in a shared, communal experience is more important than ever in uniting us and spreading hope. What motivates and inspires you—as an artist and a performer—so that you have what’s needed to be onstage as the master-of-ceremonies? What keeps you going?

Markus Schulz: I think the thing that I’ve always taken onstage with me during these dark days is that somebody out there needs this experience. It doesn’t matter if it’s 50 people in the audience or 50,000 people. Somebody out there needs this experience and I am going to give them the best time of their lives. I’ve always been the type of artist who wants to give people an escape, and these days, the need is stronger than ever. Going up onstage, I feel a sense of purpose and responsibility.

Follow Markus Schulz:


How Chris Luno Successfully Built a Touring Career From Youtube DJ Mixes [Interview]

Within the span of just a few years, Chris Luno has carved his path from recording a viral YouTube mix series to becoming an international touring sensation.

Having found his calling by attending a rave in Germany, Chris Luno embraced the scene and started solidifying his presence with DJ residencies in the Netherlands. Back in 2019, Chris embarked on a captivating YouTube mix series, with infectious sets in locations that range from awe-inspiring to cozy. This venture, which has now amassed an impressive 50 million collective views, not only showcased his mixing prowess but also catapulted him onto the global stage, earning him a collaboration with deep house mainstays Tube & Berger.

Chris Luno’s latest recorded mix is a 1-hour sonic journey from the Dolomites, a mountain range in northeastern Italy.

Now a full-time touring artist, Chris Luno’s influence extends well beyond his mixes. His productions, championed by industry giants like Diplo, Gorgon City, and Claptone, have garnered over 10 million streams on Spotify, while his diverse discography, found on labels such as Anjunadeep, This Never Happened, and Purified Records, underscores his versatility.

With his latest single, “See You Again,” released via Sekora, Chris weaves emotive vocals into an organic and deep house arrangement. This track is a testament to his signature style, characterized by emotive melodies and soothing production. As Chris Luno continues to ascend, “See You Again” marks another milestone in his journey from YouTube sensation to global dance music force.

Take a listen to “See You Again” below. Transitioning from the realm of YouTube and the studio to the live energy of touring can be a significant shift. How did you adjust to the demands of touring life?

Chris Luno: Before working on my own project, I already got a taste of how touring as an artist looks like. Right after graduating my studies, I interned for German Deep House act Tube & Berger, where one of my roles was to handle their tour management. So already before my touring started, I knew what I was getting myself into.

When the touring got more I decided to only drink water during my shows, which really helps me stay productive. What also helps me to deal with jet lags and tour stress is taking some me-time before the show, doing cold showers, disco naps, morning saunas and also the occasional meditation. Also, if you’re traveling a lot, these hacks might help you too:

– When boarding the plane, wait outside until everyone else enters. This way you might find an empty row of seats where you could nap.
– Sign up for airline memberships and collect miles, it’s free and worth it.
– Bring your own bottle to the plane and get it refilled. It’s more sustainable and you can stay better hydrated than with tiny plastic cups.
– Download music production tutorials and watch them while traveling.
– Bring slippers on tour. This way every hotel room feels more homely. What have been some of your most memorable moments on the road?

Chris Luno: Playing at the UEFA Champions League final festival in Istanbul was an absolute highlight this year. The experience really felt like a movie and I love how this gig came together: It turned out that there was a talent scout present at a previous performance I had in Istanbul. This scout apparently had a good time and then decided to book me a few weeks later. At this point in your career, you’ve traveled the world and played at various iconic venues. How does your global exposure influence your current music, and do you draw inspiration from specific cultures or places?

Chris Luno: I love to immerse myself in the places that I’m staying. The longer I stay, the more it affects my creative output.

For example after moving to Berlin a few years ago, I sometimes went out just to listen to what music makes people dance. Just by putting myself into the perspective of a dancer, I’ve learned more about kick drums, basslines and arrangements, than by spending hours on music tutorials. I’ve produced quite a few tracks fueled from those lessons on the dancefloor. My recent release “Sterny” is one of them.

Also, when I spent some time in Bali last year, I got captivated by the traditional instruments that can be heard all over the island. The rhythms that are played, for example on a Gamelan, are really out of this world and don’t follow classic scales and structures. I didn’t use any of the actual sounds in my tracks but still learned a ton about grooves from this peculiar instrument. Your productions have already received praise from a number of industry heavyweights. Are there any artists on your bucket list for future collaborations?

Chris Luno: Yes, there’s a long list at the back of my mind! I’d immediately jump on a collab with the following, that I’ve spent hours listening to, according to my Spotify Wrapped 2023 report: Marsh, Monkey Safari, Rezident, Stephan Jolk, DJ Koze, Jody Wisternoff, Nils Hoffman, Adam Port and Hot Since 82.

If one of you is reading this… slide in my DMs. Looking ahead to 2024, what are your plans and aspirations? Any upcoming projects, collaborations, or milestones that you’re excited to share with your fans?

Chris Luno: Looking at next year, I’m looking forward to a nice blend between music writing, gigs and time spent with my wifey, friends and family.

When it comes to touring, I’m going to be in Cape Town, South Africa, early next year. From there, I’ll be playing a large-scale North & South America tour in spring, which is followed by a festival summer in Europe. In Autumn I’d love to be around Asia/Australia.