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  • Angara – Melodic Techno Mix | ONE Podcast (#105)

    Angara – Melodic Techno Mix | ONE Podcast (#105)
    Feb 18 2026
    © 2025 True Underground. All rights reserved. Angara – Forgiveness, Contrast and the Architecture of Narrative House French duo Angara unpack forgiveness, contrast and cinematic house music on ONE Podcast 105, tracing the path from Rwanda to their forthcoming debut album on Embassy One. Angara exist in the space between propulsion and reflection. The French duo, Quentin and Loris, have steadily shaped a form of narrative house that privileges emotional continuity as much as club function. Their music is built for movement, but it lingers long after the dancefloor clears. “We’re not trying to fit into a box,” they explain. “What drives us is creating electronic music that tells a story. Something that works on a dancefloor, but also in moments of introspection.” Growing up in the south of France, surrounded by a strong minimal techno culture, repetition became foundational to their emotional language. A single returning note, a restrained melodic phrase, a groove that unfolds patiently. They learned early that complexity is not a requirement for depth. Sometimes emotion lives inside what repeats. The project itself emerged through distance. Having met as teenagers and later gone their separate ways, Angara only formed once experience and perspective had accumulated. Their reunion was not nostalgic. It was necessary. “We didn’t reconnect to relive the past. We reconnected because we needed to create together, now.” Contrast defines their output. Fragile melodies sit against driving rhythms. Release follows restraint. That tension mirrors both their personalities and their lived experiences. Tracks often begin with memory rather than mechanics. A production only survives if it carries emotional recognition. Technical precision alone is insufficient. Their breakthrough Rwanda EP marked a decisive evolution. More club-focused while retaining their melodic DNA, it connected globally and expanded their audience significantly. Yet success introduced pressure. Listener messages, personal stories attached to their tracks, reinforced why they create in the first place: connection over metrics. Touring across Europe added a physical dimension. In the studio, emotion is internal. On stage, it becomes visible. Drops translate into bodies moving. Tension registers across a crowd. Live performance did not alter their studio philosophy, but it clarified purpose. Forgive You: Translating Acceptance into Rhythm Their latest release, Forgive You, signals refinement rather than reinvention. More rhythm-driven and structurally direct, the track centres on self-forgiveness. Accepting past decisions made from fear, convention or obligation. Recognising them as part of becoming. “Forgive You is about forgiving yourself. Taken paths out of fear, convention, obligation. It takes time to accept. To tell yourself it was what it was, that it’s okay.” The production mirrors that discipline. A square, almost rigid pulse anchors the track, representing the daily work of reconciliation. Offbeat elements interrupt the pattern, echoing moments of doubt. The emotional centre arrives through a sampled vocal from Ingrid Lukas’ We Are Touching Heaven, adding fragility and clarity to the narrative. Forgive You follows Out At Sea, a meditation on memory and first love. Together they form connected emotional states: attachment and acceptance. Both lead toward a larger body of work, with Angara confirming a broader narrative underway ahead of their 2026 debut album on Embassy One. As the project expands, their priority remains singular: honesty. Opportunities increase. External expectations intensify. The red line is identity. If Angara could be reduced to one human experience, it would be becoming who you are through what you live. Their music is not trend-driven architecture. It is memory, discipline and contrast translated into sound. Angara | ONE Podcast (ONE-105) | True Underground Tracklist Angara – Forgive You Eli & Fur – Make Believe Maxi Meraki & Helsloot – Our Future Angara & Bound to Divide – Odyssey Jan Blomqvist & Rodriguez Jr. – Destination Lost (Arodes Remix) WhoMadeWho – Saturday (Maxi Meraki Remix) X Fever Ray – What Else Is There (Andhim Extended Remix) GHEIST – Searching Places (Extended Club Version) Uvita, Osfur, The Scripture – Permission To Move (Original Mix) 120&ME – Woods (Original Mix) Check out out the latest ONE Podcast editions here { "@context": "https://schema.org", "@graph": [ { "@type": "PodcastSeries", "@id": "https://www.trueunderground.one/one-podcast", "name": "ONE Podcast", "url": "https://www.trueunderground.one", "publisher": { "@type": "Organization", "name": "True Underground", "url": "https://www.trueunderground.one" }, "inLanguage": "en" }, { "@type": "PodcastEpisode", "@id": "https://www.trueunderground.one/one-podcast-105-angara-interview", "name": "ONE-105 | Angara", "episodeNumber": 105, "datePublished": "2026-02-18", "duration": "PT59M10S", "...
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    59 Min.
  • 4000 Hz – Nu-Trance Mix | Teletech | ONE Podcast (#104)

    4000 Hz – Nu-Trance Mix | Teletech | ONE Podcast (#104)
    Feb 4 2026
    © 2025 True Underground. All rights reserved. 4000 Hz: The Parisian Producer Redefining Nu-Trance 4000 Hz (Sacha) is a Paris-born electronic music artist at the forefront of the nu-trance and techno movement. Known for a hardware-first workflow and a background in rave culture, his sound bridges the gap between modern French techno and UK club energy. Key Takeaways: The Rise of 4000 Hz Artistic Identity: A hybrid of Parisian rave culture and hardware-driven spontaneity.Signature Sound: “Nu-trance”—a blend of modern techno weight and old-school trance euphoria.Major Milestone: Making his high-profile UK debut at Parklife Festival Manchester 2026.Label Pedigree: Key releases on Teletech, KTK, INNERGATE, and MOTZ.Global Footprint: Expanding from Paris (Rex Club) to South America and Germany. What are the Parisian origins of 4000 Hz? Parisian electronic music is defined by friction. For Sacha, the city’s mix of intimate clubs and industrial warehouses provided a diverse training ground. “The Parisian scene stands out for its eclecticism. Moving from straight techno nights to hybrid formats taught me early on not to lock myself into a single aesthetic.” The 4000 Hz Hardware-First Production Philosophy Unlike many digital-native producers, 4000 Hz utilizes hardware to maintain a physical connection to sound design. Spontaneity: Limitations of machines encourage “happy accidents.”Tactile Design: Creating an instinctive relationship with rhythm.Authenticity: Staying raw and focused on the collective experience over digital perfection. What is the “Nu-Trance” Movement? The nu-trance movement is a reaction against clinical techno. It embraces emotion, speed, and melody without irony. Element 4000 Hz Approach Foundation The heavy, industrial weight of modern techno. Atmosphere The bounce and uplifting euphoria of 90s trance. Vibe Faster, playful, and high-energy. “Nu-trance stands out by embracing emotion and melody. It reconnects techno with euphoria while still moving forward.” Breakthrough Releases: From Teletech to INNERGATE The trajectory of 4000 Hz is marked by strategic releases that helped define his brand in different territories: ‘Hot Sensation’ (Teletech): His international calling card. The track’s melodic edge provided an entry point for harder, global audiences. ‘GUN FINGERS’: An early signal of his stylistic direction. Label Partnerships: KTK (consistency), INNERGATE (mood), and MOTZ (reach) have solidified his underground credibility. Expanding the Global Map: UK, Germany, and South America The UK Market & Parklife Manchester The UK crowd is known for immediate energy. For 4000 Hz, Parklife Manchester represents a pivotal moment for his brand. Teletech Connection: Leveraging UK-based label roots to build instant credibility.Strategic Adaptation: Balancing high-intensity peaks with sophisticated tension. The German Benchmark Playing at venues like Gotec and in Berlin served as a litmus test for his technical precision, ensuring his sound holds up in the historical heart of techno culture. 2026 Vision: Sustainable Growth and Creative Discipline Despite the rapid momentum, 4000 Hz prioritizes creative discipline. His 2026 strategy focuses on: Quality over Quantity: Avoiding the “overextension” trap of the modern touring circuit.Authenticity: Ensuring every set reflects his eclectic influences.Controlled Evolution: A deliberate approach to production and performance. “Keeping quality and authenticity at the core is the only sustainable path. I want people to feel genuine passion for the craft.” Check out all ONE editions here The post 4000 Hz – Nu-Trance Mix | Teletech | ONE Podcast (#104) appeared first on True Underground.
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    1 Std. und 1 Min.
  • DJ Cringey – Techno Mix | Teletech | ONE Podcast (#103)

    DJ Cringey – Techno Mix | Teletech | ONE Podcast (#103)
    Jan 27 2026
    © 2025 True Underground. All rights reserved. Born in Christchurch and raised near Mannheim, DJ Cringey’s relationship with music was never passive. It was curated, designed, sequenced. While other kids handed out sweets at birthday parties, she burned mixtapes, complete with intros, sketches, and hand-painted covers. Even then, the instinct was clear. Control the journey. Shape the mood. Tell a story. “I learned very early on that I love curating music and building tension,” she says. “Most of my mixtapes had an intro, then they really moved through genres. Ending with something completely wild.” Growing up near Mannheim placed DJ Cringey close to one of Europe’s most influential club ecosystems. Time Warp culture, serious dancefloors, and access to global selectors formed her education. She wasn’t there to be seen. She was there to listen. Three nights a week, sober, absorbing everything from house and gabber to drum and bass and techno. The city also offered something else. An experimental fringe where sound, design, and humor collided. “That openness and sense of playful experimentation is also where the idea for my artist name DJ Cringey comes from,” she explains. Berlin didn’t change her instincts. It sharpened them. Deep immersion in experimental parties around 2017 and 2018 expanded her sense of what electronic music could be. Spaces where seriousness and absurdity coexisted. Where sound functioned as ritual rather than performance. Where the floor mattered more than the persona. Her early DJ sets reflected that freedom. House parties where genres collapsed into each other. Donk into techno. Hip-hop into rock. A mixing style that felt deliberately wrong, but worked. The nickname DJ Cringey stuck long before she ever touched professional equipment. “That chaos can be beautiful if it’s done right,” she says. “But context matters.” As her career professionalised, so did her approach. Today, the rule-breaking is more deliberate. Less shock, more control. “My style is actually less cringe and more straightforward now,” she says. “Fewer drops, and if there are drops, they’re more epic and intentional.” The philosophy remains intact. Respect the room. Read the floor. Randomness only works when it makes sense. “You can’t be arrogant and just play crazy things for yourself,” she says. “At the end of the day, part of the job is making people feel good and connected.” Parallel to music, DJ Cringey built a serious career in graphic design, working with electronic artists like Alignment and major German rap names including BHZ, Yung Hurn, and Ski Aggu. When she moved to Berlin in 2019, those two worlds finally collided. A challenge at a party to “prove it” behind the decks became her first booking. Borrowed gear. No safety net. Immediate clarity. From there, momentum came fast. Festivals. A signing with Hyperdreams. In 2025, a move onto Teletech’s roster. Her sets, whether in clubs or on massive stages, maintain a clear through-line. Narrative first. Energy second. Ego last. “Storytelling is extremely important to me,” she says. “I usually start slow, build towards a peak, and at the end there’s often something cute, funny, or unexpected.” Her debut mixtape Cringey Core, released last year, captured another side entirely. Produced during an emotionally intense period, the nine tracks functioned as self-interrogation as much as club material. Collaborations with Fanny, DJ Kirby, Sky Leon, and Polizei anchored a sound that was raw rather than polished, honest rather than performative. Her latest release under Hard Candy with Odymel, featuring her own vocals on ‘Fitness’, hinted at where things are heading next. In 2026, that direction becomes explicit. Don’t Date Rappers is a long-gestating project designed to bridge electronic music and rap, using real collaboration rather than surface-level crossover. “Instead of using Splice vocals, I want to work with people who can really write, sing, and rap,” she says. “Electronic producers and rappers who are masters of their craft.” It is less about genre fusion and more about infrastructure. Connecting worlds that exist side by side but rarely speak. Curated with the same instinct that once shaped childhood mixtapes. On massive stages, that underground spine remains intact. Adaptation is practical, not ideological. The goal is still to lead people somewhere unfamiliar without forcing it. “I love it when I can sneak in tracks people don’t expect and guide them there emotionally,” she says. “When people say it felt like a journey, then I know it worked.” Once shy, hiding behind pitched vocals, DJ Cringey now stands firmly inside her own voice. Fearless, genre-fluid, and deliberately unconcerned with rules for their own sake. The same kid who painted mixtape covers is still present. Only now the canvas is global, the system louder, and the story sharper. View this post on ...
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    57 Min.
  • Sirus Hood: Tech House & Soulful Groove Studio Mix | ONE Podcast (#102)

    Sirus Hood: Tech House & Soulful Groove Studio Mix | ONE Podcast (#102)
    Dec 30 2025
    © 2025 True Underground. All rights reserved. Sirus Hood’s relationship with house music began before he knew what to call it. Long before genres, platforms, or scenes, there were cassette tapes. Chicago house recordings passed hand to hand, some captured live in clubs in Algiers, complete with DJs speaking over the mix. No internet. No mentors. Just repetition and imagination. “I was listening to Chicago house without knowing what it was,” he recalls. “No internet, no mentors. Just tapes.” Those voices and rhythms planted a vision early. “I used to imagine myself in his place.” Raised between Algiers and Paris, contrast became instinctive rather than disruptive. Different cultures, different energies, coexisting without hierarchy. That duality never demanded resolution. “It taught me contrast very early,” he says. “Different cultures, different energies. I never felt the need to choose one side, I learned to move between them.” The ability to navigate between worlds would later define both Sirus Hood’s sound and his career. Paris provided the historical map. Through Daft Punk, Sirus traced the lineage backward, uncovering the Chicago foundations that shaped everything he was hearing. That curiosity eventually led him to the architects themselves. “If you’re from Paris, you grow up knowing everything about Daft Punk and how Chicago house shaped their sound,” he explains. “Through them, I discovered the house legends I would meet years later, like Paul Johnson, DJ Deeon, and DJ Sneak.” What began as distant influence became direct dialogue. At 18, he bought his first vinyl turntables and taught himself how to DJ by ignoring the rulebook entirely. “I never learned the ‘right’ way,” he says. “I trusted my ears first, and I still do.” That decision preserved something essential. Freedom over formality. Instinct over instruction. It is a thread that runs through everything he has done since. While peers chased visibility, Sirus moved deliberately against the current. Social media held little interest. “I was more interested in records than profiles,” he says. “Social media came later, the music was already there.” The focus stayed on digging, producing, and playing, allowing recognition to arrive as a consequence rather than a goal. His sound reflects that refusal to sanitise. Raw, analog, sometimes deliberately rough around the edges. Perfection rarely survives his filter. “If it feels too clean, I usually skip it,” he admits. Sets are built in real time, guided by emotion rather than structure. “I like to stop overthinking and get into a flow state. I follow the emotion I want to feel in the next few minutes.” Risk matters. So does tension. “Something that feels alive, not perfected.” That philosophy crystallised with Mood Child, the label he co-founded with Manda Moor. The intention was never to define a genre or chase a trend. “We wanted to build a space where emotion comes first,” Sirus explains. “Not a genre, not a formula.” Mood Child became a framework for identity rather than sound, allowing artists to express a state of mind without compression. The label’s album projects, from Groovy Moods to Trippy Moods, are constructed as journeys rather than collections. Once the emotional direction is set, the process unfolds organically. “Once the direction is clear, the universe seems to deliver what’s needed,” he says. “Tracks appear, connections form, and the story builds almost by itself.” Sequencing becomes intuitive, each track finding its moment within the wider arc. During the pandemic, that same instinct produced Mood Edits. Temporary, urgent, and intentionally fleeting. “Mood Edits were about urgency,” Sirus says. “No strategy, no permanence.” The concept echoed his childhood experiences of chasing rare tapes, reinstating value through disappearance. The response was larger than expected. “Not at all,” he says when asked if he anticipated the impact. “I think people felt the honesty behind it. In a digital-heavy scene, rarity still has weight.” International moments arrived early and decisively. Brazil and Ibiza, around a decade ago, delivered clarity. “That’s when I realized the music could connect instantly,” he reflects. “Far beyond language or context.” Since then, Sirus has carried his sound across continents, adapting without diluting. “I don’t change who I am, I change how I tell the story.” Environment becomes collaborator. “If I play in nature, I play with nature.” Looking ahead, a Chicago-inspired album sits on the horizon, shaped by reflection rather than nostalgia. Work on a documentary around Chicago house reframed his perspective. “It reminded me that this culture is alive, evolving, and meant to exist in the present,” he says. That understanding feeds directly into the project, grounding it in continuity rather than revival. In the booth and the studio, the ...
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    1 Std. und 30 Min.
  • VICTORIA WHYNOT | ONE-101

    VICTORIA WHYNOT | ONE-101
    Dec 8 2025
    © 2025 True Underground. All rights reserved. VICTORIA WHYNOT emerged from Villa Carlos Paz in Córdoba, Argentina, carrying more than just a name. “Why not?” is not just a stage moniker; it is a lens through which she approaches the world, a challenge to fear, hesitation, and convention. From her first forays into music at thirteen, influenced by house legends Frankie Knuckles, Larry Levan, Kevin Saunderson, and Derrick May, VICTORIA WHYNOT has forged a signature sound that fuses House, Detroit, and Indie Dance, moving crowds with groove, emotion, and energy that feels both intimate and epic. Whynot’s career is marked by milestones that resonate far beyond personal achievement. Performing at Creamfields, ADE, Pacha Ibiza, Paradise, and Lollapalooza, she has shared stages with Carl Cox, The Chemical Brothers, Fatboy Slim, Jamie Jones, and The Martinez Brothers. Yet, as she explains, her journey has always been about more than prestige or recognition. It is about connection, freedom, and the raw, human energy that flows through a dancefloor. Her mantra, confronting fear with curiosity, has guided critical decisions. “Every turning point in my career came from asking that question honestly,” she says. “It’s both a philosophy and a rebellion against hesitation.” This approach informs her artistry, where being unapologetic is less about ego and more about authenticity. “Being unapologetic means accepting the full weight of my contradictions and translating them into sound, rhythm, and movement,” she reflects. The influence of Detroit techno pioneers shapes her music profoundly. “Perfection in electronic music doesn’t come from control but from tension, from emotions that almost collapse,” Whynot observes. Her live sets, described as narratives rather than performances, breathe with tension and release, shadow and light, guiding audiences through an arc that transcends genres. Getting stuck in Los Angeles while traveling at the outset of her professional career during the pandemic offered lessons that could not have been learned at home. Immersed in anonymity, she discovered the discipline of protecting her creative space and confronting the solitude that sharpens both perspective and sound. This discipline remains central to her approach, particularly as she balances touring, producing, and the demands of international circuits. “I retreat into silence. I have a rule: no sound after playing when I am touring. I let the world’s rhythm fade so I can hear my own again,” she explains. Milestones continue to define her path. In 2025, she became the first Argentine DJ to speak at IMS Ibiza, an achievement that she describes as both surreal and symbolic. Her collaboration with Dantiez Saunderson on KMS Records emerged organically, a testament to the power of chance encounters and shared musical heritage. Victoria is candid about the challenges of navigating the electronic music industry as a Latin American woman. “There’s an invisible labour in being seen,” she states. Geography, accent, and assumptions compound the work required, but resilience becomes a rhythm, a dance with resistance that defines both her journey and her sound. Her perspective on the global scene is optimistic. She observes a return to freedom and vulnerability, a generation of artists prioritising intuition over trend, and music that feels distinctly human. This, she says, is what inspires her most. Looking ahead, she is focused on giving back, opening doors for fellow Argentine artists, and reinforcing the message that sound has no borders. Her advice to emerging DJs and producers encapsulates her ethos: “Don’t wait for permission to start. Curiosity will take you further than confidence ever could. Ask questions, take risks, and let your mistakes be your teachers. Every great story begins with a simple why not.” Website | Instagram | Spotify Tracklist: 1. Dantiez, VICTORIA WHYNOT – Get On Up 2. VICTORIA WHYNOT – Ravetool 3. Dantiez, TMPR, VICTORIA WHYNOT – [ID-ID] 4. Dantiez, SYREETA – [ID-ID] 5. Dantiez, SYREETA – [ID-ID] (VICTORIA WHYNOT Remix) 6. VICTORIA WHYNOT – [ID-ID] 7. Nacho Padilla, VICTORIA WHYNOT – Left Right 8. Nacho Padilla, VICTORIA WHYNOT – Groovy 9. VICTORIA WHYNOT, Michele Conte – [ID-ID] 10. VICTORIA WHYNOT, Michele Conte – [ID-ID] 11. Closed I, VICTORIA WHYNOT – Trama (PAMPA Remix) 12. Pampa, VICTORIA WHYNOT – Interior Harmony 13. Pampa, VICTORIA WHYNOT – Emotional Regulation 14. Pampa, VICTORIA WHYNOT – Blown 15. VICTORIA WHYNOT – [ID-ID] 16. Pampa, VICTORIA WHYNOT – Affair The post VICTORIA WHYNOT | ONE-101 appeared first on True Underground.
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    55 Min.
  • Yousef | ONE-100

    Yousef | ONE-100
    Nov 27 2025
    © 2025 True Underground. All rights reserved. Yousef’s trajectory pivots on one early catalyst. Winning Muzik Magazine’s Bedroom Bedlam competition put him in front of the right booths at the right moment. Yousef’s mix was raw but razor-sharp: three decks, two copies of tunes, mixing, chopping, loaded with Magic Sessions, Moodymann, DJ Rasoul, Basement Jaxx, and Daft Punk. Ministry of Sound booked him as the prize. Pacha Ibiza followed. Agents offered deals on the spot. A full-time career began immediately. Liverpool shaped him. Early acid house. Late-rave grit. Weekly pilgrimages to Cream. “I can’t overstate how special Cream was… sweat dripping off the ceiling… it was the best clubbing experience I’ve ever had.” He studied the room long before he played it. Cream’s Annexe gave him the residency he had already imagined: six-hour underground house sessions in a room that defined a generation. Circus emerged at a crossroads. Cream’s main room drifted into commercial hard house, hurting his bookings. He proposed a new night. Cream agreed. Then Cream closed. The residency ended before the first Circus night existed. He had a concept, a following, but no venue. Richard McGinnis stepped in. Two friends invested £500 each. They moved the concept to The Masque. That decision created one of the UK’s longest-running club institutions. Every major name has played the Circus floor. It became a cultural anchor, not just a night. Early challenges were structural. Liverpool’s booking power sat with Bugged Out. Circus needed authority from scratch. Yousef had name recognition and a Radio 1 platform, but nothing came easy. “The trick was just be persistent, have a goal, and a deciding story about your values.” He learned booking from McGinnis, stayed persistent, and grounded the brand in values: inclusion, fresh music, safety, a place to be silly. For more than 15 years he sacrificed a weekend a month to maintain the residency, even while touring. “I took off a weekend a month to build Circus… just to be there with Rich and commit.” Circus Recordings launched in 2008 out of necessity. Big labels took a year or more to release his music. He wanted speed and control. “I was just frustrated at the time it took to get my music out there.” The label defined its lane: house at its most functional, emotional, and club-focused. Milestones followed. Ten-year and fifteen-year Circus compilations brought Carl Cox, Kerri Chandler, Sasha, Laurent Garnier, Paco Osuna, and more. Green Velvet’s “Bigger Than Prince” became the breakthrough. Hot Since 82 and Martinez Brothers remixes carried it globally, elevating the label. “It went on to be a global phenomenon.” During the Covid shutdown, Yousef and his Circus team were selected by UK central government to lead the reopening of events. They accepted the economic risk despite having been closed for over a year. Circus then delivered The First Dance, the first music event anywhere in the country to restart the UK’s events sector. It became one of the most consequential moments in modern British electronic music, setting the precedent that allowed nightlife, culture, and even national sport to reopen. Yousef’s five albums chart a producer who understands dance floors but refuses to be limited to them. “I’m a storyteller… that needed to come out via my music.” Scars and Situations, A Product of Your Environment and In The Process of Eight were his first three. 9 Moor Drive delivered catharsis. I Operate in Purple, released September 26th, 2025 hit number 1 and shows refined intent and confidence. “I’m now much more aligned with accurately digging into what I want to say as an artist.” “I Feel Good” with Alexx from the new album, reimagines an ’80s soul classic. Sampling limited the direction, so he rebuilt it from scratch. “I wanted to sample the original at first, but sampling restricted what could be accomplished.” Alexx resang and rewrote the lyrics. Mark “Blakkat” Bell added live bass. The result nods to classic New York house without nostalgia. Circus thrives because it refuses to stagnate. “Persistence and partial insanity to just keep going has served us.” The brand now runs events across Blackstone Warehouse and Invisible Wind Factory, shifting between disco, techno, and everything adjacent depending on the audience. Yousef’s longevity rests on discipline, not mythology. “I insist upon self-sufficiency… I don’t have a manager… I’m happy doing a range of activities.” He believes he is at his peak. “I’m a better DJ than I’ve ever been… I only play music I truly and deeply believe in.” He rejects nostalgia edits and crowd cheats. Cliques and superficial scenes? “Cliques in dance music are the opposite of the spirit of house music.” Kindness and inclusion remain core. That is his operating system. Yousef’s A&R is instinctive: the same rush as finally finding the ...
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    1 Std. und 2 Min.
  • ONE-99 | The Mekanism

    ONE-99 | The Mekanism
    Nov 13 2025
    © 2025 True Underground. All rights reserved. Damien Roussel’s path as The Mekanism traces a rare blend of discipline, restlessness, and human perspective. The Mekanism got his first taste of Paris’s flourishing house scene in the early 2000s, but it was his unexpected detour to Asia that left the real mark. “Back when I was living in China, on this island called Hainan, I actually opened a nightclub there,” he recalls. “It was a crazy experience – but what really hit me was seeing how tough life was for a lot of the people I worked with. Some of them were living in real poverty, and that made me realise how lucky I was. It pushed me to live my passion to the fullest, to enjoy every moment, and to never take this life for granted.” That awareness has stayed with him. It’s part of what gives The Mekanism’s sound its emotional edge – grounded but never static. When his 2015 release Acid Love landed on Play It Say It, it marked a turning point: a new rawness, a shift toward acid and groove. “I’ve always loved sampling – it’s something I use a lot in my productions,” he says. “For Acid Love and Lost Girl, I didn’t want to follow any rules, I just wanted to have fun in the studio and see where it would take me.” The result was a liberated, rule-free energy that set him apart from his earlier deep house work. “To be honest, my productions never really sound the same – I love so many different styles, and I’ve made the choice to produce whatever comes to my mind. It might be a bit confusing for promoters sometimes, but it’s an artistic choice I fully embrace.” His label choices follow the same ethos. “I always choose labels I genuinely follow and support,” he explains. “Phil Weeks has been a huge influence on house music, and he’s also an incredible person, so working with him feels really special. For me, it’s about being part of a scene and a sound that I truly respect. Seth is a great example – I had the honour to sign with him and even play B2B a few times, which was an amazing experience.” For Roussel, credibility outweighs convenience: “It’s not just about the beat.” The synergy between his DJ sets and production is deliberate. “I love making tracks for the clubs because I get to play them myself,” he says. “But I also enjoy producing more chill stuff – the kind of music you can listen to on the beach or anywhere really. I’m happy that different generations connect with what I do, not just clubbers.” Collaboration fuels that versatility. His recent EP with Salomé Le Chat on Bambossa Records emerged naturally from friendship. “Producing with Salome is a real pleasure because we’re close friends and share a similar vibe, so it happens really naturally and effortlessly,” he says. “Collaborating with someone can only enrich you through the exchange of knowledge, and it also pushes you out of your comfort zone and gives you a new perspective on your own work.” Right now, he’s returning to brightness and warmth. “At the moment, I’m coming back to more sunshine-y sounds,” he explains. “Music happens in cycles, and right now it’s the cycle of happy house for me. I think people want to hear that right now – at least it puts a smile on my face, and that’s exactly what I want to share.” Inspiration strikes The Mekansim everywhere. “I draw a lot from everyday life – what I hear everywhere, in the streets, people listening to their music, old tracks on the radio,” he says. “I try to feel the energy around me and see what could match the moment.” In the studio, Roussel relies on a mix of analog and digital. “I’ve always been fascinated by analog gear – I feel like you can get a real, authentic sound more easily than with VSTs,” he says. “That’s why I’ve always loved buying synths and building my modular setup, trying to find unique sounds – you can hear a lot of that in tracks like Lost Girl. The most fun part is plugging all the synths and drum machines together, launching everything at once, and just jamming. That’s when the magic really happens.” After three years living in Mexico, The Mekanism is preparing to return to Europe, bringing a global sensibility to every set. “I play what I love, while obviously reading the crowd, so it can range from disco house to acid house or electronica depending on the night and the venue,” he says. “But you won’t see me producing or playing music with flutes!” Even as his music continues to evolve, The Mekanism’s gaze is shifting beyond the dancefloor. “Actually, I wanted to get into filmmaking, and right now I’m finishing my first movie – a comedy that will hit cinemas in May,” he says. “It’s really exciting as a first project to get my foot in the door. Comedies are also easier to make than action or sci-fi films, so this feels like a good first step.” The post ONE-99 | The Mekanism appeared first on True ...
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    58 Min.
  • ONE-98 | CASH ONLY

    ONE-98 | CASH ONLY
    Oct 16 2025

    © 2025 True Underground. All rights reserved.

    UK DJ and producer CASH ONLY has made 2025 a breakout year, combining festival stages, club floors, and a string of standout releases into a defining period of growth.

    Known for a signature sound blending House, Afro, UK Garage, and Tech House, he has delivered a series of high-profile collaborations on Famous When Dead Records, the label he co-founded with Midlands-based abstract street artist Famous When Dead. The imprint has become a hub for music, visual art, and culture, garnering global radio play, charting tracks, and over a million streams collectively.

    CASH ONLY’s presence this year extended across major festivals and venues, including Glastonbury, Hi Ibiza, Cafe Mambo, Defected Croatia, Reading, Parklife, and the iconic Pikes Ibiza, while simultaneously managing Sam Divine’s Dvine Sounds and preparing the launch of her new label concept, 555. His creative projects also merge nightlife with fashion and culinary culture, through partnerships with MEYBA, Sly Dog Rum, and Ginger Wings, producing limited-edition apparel, “Wing Raves,” and immersive experiences.

    Contrary to popular assumption, CASH ONLY has nothing to do with money. The alias originated in 2012 when he bought a piece of abstract art titled Cash Only by Famous When Dead. Originally conceived for a duo, the name stuck as he pursued House music events. A decade later, with solo studio work, the name returned, gaining fresh relevance in a post-COVID world and becoming a quirky global touchpoint, with fans spotting CASH ONLY signs worldwide.

    Reflecting on the year, CASH ONLY cites his performance for Back to Mine at Pikes Ibiza as pivotal. Playing in the intimate, high-energy Bathroom Club, packed into a space no bigger than a domestic bathroom, the set captured the raw connection he strives for in every performance. This moment, he says, set the tone for the year’s momentum.

    CASH ONLY launched Famous When Dead Records to gain control over his music while blending sound and visual art. The label seeks to stand out through creative expression and social commentary, aiming to build a community invested in both music and meaningful messaging. Through this, he hopes to provide positivity amid the world’s challenges, using art and music as channels for connection.

    With music releases and DJ dates firing on all cylinders, CASH ONLY is focused on creating a community that engages directly with his projects — from events and merchandise to small-capacity experiences designed to offer more than just another club night. “I’m excited to get this activated next year,” he says, hinting at a more immersive and participatory vision for 2026.

    Tracklist

    Kerri Chandler, Dennis Quin Ft Troy Denari – You Are In My System (Philip George Remix)

    Devstar – I NEED YA (Jeremy Sylvester Re-Lick)

    Jenn Getz & Alfie – All I Really Want

    Cash Only x gawp Holly Ellison – Remedy

    Jewel kid – Free

    Kim English – Nite Life (M-High Remix)

    Kruel Intentions, Carly Carmen – Wind My Body Down

    Low Steppa x Rue Jay x Reza – I Am The Creator

    Rue Jay x TANYA TANYA – Our Love

    NESI – Thats it

    Precious Love (Sam Divine Remix)

    George Morel – Let’s Groove (James Poole Edit)

    Discoplex – In The House Music

    JACKARD, THIJS KONING – I Feel It

    CINTHIE – Hands Up

    Capri ft Evelyn King – One More Time

    The post ONE-98 | CASH ONLY appeared first on True Underground.
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