Based in Montreal, Pete Philips is part of a new wave of live electronic artists redefining how dance music is performed on stage. Blending modular synthesis, guitar, and vocals into a hybrid performance format, his work sits somewhere between electronic live act, indie songwriting, and melodic club music.

Originally emerging under the moniker Poe (CA), Pete Philips evolved his project into a more personal live identity, where machines and traditional instruments coexist in real time. His music merges elements of electronica, indie dance, synth-pop, and melodic house, often characterized by lush synthesizers, warm harmonies, and introspective songwriting layered with his own voice and guitar.

At the heart of his artistic approach is the idea that electronic performance can feel as expressive as a band. His live shows weave modular synth sequences with live guitar textures and vocal melodies, turning what could be a purely technical setup into something emotional and cinematic. The result is a format that bridges the worlds of club culture and live concert performance, more narrative than a DJ set, yet still rooted in dancefloor energy.

Philips has already brought this evolving live concept to respected stages within the electronic scene, such as MUTEK and Piknic Électronik, amongst others. 

His recent work also explores a concept called Machine Born, an audiovisual narrative reflecting his fascination with technology, nature, and the relationship between organic and synthetic forms. Through this project, Philips creates music that feels both futuristic and nostalgic; an intersection where analog warmth meets digital imagination.

With releases on labels like You Plus One and a growing presence across Canada’s live electronic circuit, Pete Philips represents a generation of artists pushing beyond traditional DJ culture. By integrating modular synthesis with guitar and voice, he is crafting a new kind of live electronic performance, one where machines don’t replace musicianship, but amplify it.

Make sure to follow Pete Philips on Instagram Spotify, Soundcloud & Youtube.

The post Spotlight | Pete Philips appeared first on Husa Sounds.

How did it feel to finally perform in the Middle East for the first time? Did the energy of the crowd meet your expectations?

Honestly, it felt amazing. We didn’t really know what to expect. We’d heard great things, but being there in person was a whole different story. The moment we got on stage, the energy just hit us, people were super warm, super open, and really there with us. And what made it even more special was that people actually understood the lyrics and the stories we’re trying to tell. We’ve always played in Europe while singing in Arabic, so having a crowd connect with the words so naturally took the whole experience to a completely different level. We walked off stage already talking about how good it felt.

What was your favorite part of the “Chill Oposite” festival?

From the moment we arrived, Dahab gave the festival a unique and unforgettable feel. The scenery and atmosphere blended together perfectly, super laid back but still full of energy. And honestly, hanging around the site after the gig was one of the best parts. Hearing feedback from people who were discovering us for the first time, and having them ask about the lyrics and the stories we’re trying to tell, gave us a real sense of belonging.

After this first experience in the region, do you see yourselves coming back soon or maybe collaborating with local artists?

Definitely. This first trip really opened our eyes to how much is happening in the scene here. We’d love to come back. There’s a real buzz and so much talent around. Collaborating with local artists is something we’re totally up for, and there’s a lot of room to create something really cool together. Hopefully, you’ll hear some news soon, we’re already cooking up something with a few local artists.

The post Interview | Saraabb appeared first on Husa Sounds.

In this conversation, we explore the stories behind Crescenzo’s sound, delving into his background, inspirations, and significant life events. He also reflects on his recent mix recorded for Husa Sounds and shares insights about his latest release, “Mystic Night,” on the Saisons Musique label.

When did your djing journey start and what was special about it? 

My journey into the evolution of music started when I was 18 years old. My best friend Samir and I started a mobile DJing company, which we called DJ4LIFE Productions. Our main events were weddings, birthday celebrations, school dances, etc. I got to learn to play for a variety of people who enjoyed all different styles of music. As my career continued to grow, I got into playing more in commercial bars and clubs. This allowed me to focus more on reading what the crowd wants and keeping a vibe going. I soon started to stray away from the commercial stuff and Top 40, as I felt the music was lacking depth and meaning. I felt more like a jukebox than an actual DJ meant to make the crowd discover new music. It has been a never ending journey of new discovery of music and sounds. My past has shaped me into the artist and DJ I am today. It has taught me to trust my instincts, play not for the crowd but with the crowd, and never forget to also play with my heart.

Share a track that changed your view of music

The year was 2014. I remember clearly one night driving home after I was DJing in a commercial club. The radio DJ played a track called Crossing Borders (Pleasurekraft Remix) by Booka Shade. Crossing Borders (Pleasurekraft Remix) by Booka Shade 

Everything about this track, from the catchy bassline to the housy synth stabs and cool vocals, caught my attention. The arrangement was out of the ordinary from everything I had heard and played at that time. I was captivated by how different it was and how my ears were so attentive to all of the new sounds. This track felt less like a song but more like a state of mind. It bridged the genres of house and techno perfectly. From this moment on, I went into digging further into this sound and found myself in the underground scene of music.

Tell us something that people don’t know about you

Respiratory therapist by day, DJ by night. One of my personal achievements that I am very proud of is my education in the healthcare system and my work as a respiratory therapist. I graduated and started working in hospitals in 2012, caring for patients of all ages, from neonates, teens, adults, and the elderly in ICUs and emergency rooms. I actively continue to treat patients today, now in the operating room, putting them to sleep and keeping them asleep during their procedures. It has been a field that I have deeply loved since the beginning, and maintaining a healthy balance between this and music has kept me grounded. It has taught me how precious life can be and how we should never take a day for granted.

Can you share a transition you had in your life lately? 

A little under two years ago, I took the decision to quit drinking alcohol. Our scene is filled with substance abuse and alcohol consumption, and being around it every weekend was taking a toll on me. I felt that some change was needed, and if I wanted to continue to pursue this career in music for my whole life, I needed to quit drinking. Alcohol was having a grasp on me, and I was building a dependency towards it. My nights DJing consisted of drinking, and I realized only lately that I was using it to have fun. I quit drinking to prove to myself that I was, in fact, doing music because I loved it. Since I’ve quit, I’ve been able to find my love for music again naturally. The moments that I share with everyone on or off the dance floor now feel more real.

You released your first track ‘’Mystic Night’’ on the album Ensemble III Montreal on Saisons Musique, what did this milestone mean to you?

When I was approached by one of the A&R members of Saisons Musique to send some material for a potential upcoming Montreal VA release, I was thrilled. Being part of this special label alongside some of Montreal’s most talented and humble artists felt just right. Knowing this would also be my first release, I got to work on completing Mystic Night as quickly as possible. This track was the first piece of music I felt comfortable sharing with the world, and this release meant a great deal to me. After spending over five consistent years in the studio, learning and practicing the intricate art of music production, this release felt like a major achievement. I have since been devoting more time to producing, having rediscovered my love for this craft, and I’m excited to share my upcoming projects in 2026.

We are happy to release a mix you recorded for Husa Sound, can you elaborate on the idea behind it?

I have always found making mixes to be a difficult task. There’s something about being alone in your studio, trying to put together music that you think fits, without any reaction or vibe from a crowd on the dance floor. It’s a process I’m still working on improving. For this mix, I decided to focus on tracks that are deep, yet still within my realm of hypnotic and groovy tunes. It’s a warm and easy listening set, which also includes Mystic Night as the closing track. It felt just right to end it this way. I love sharing music with the world, and making mixes is a great way to do that, but in the end, I feel the best way to truly experience and understand a DJ or artist is to see them performing live in their element.

Last words you would like to share with our readers?

I’d like to wrap up this interview with a heartfelt thank you to the entire Husa Sounds team for inviting me to share not only my music, but a deeper look into my personal journey with all of you. Let’s continue to stay inspired and support one another in this chaotic world because where words fail, music speaks. Life without music and dance would feel empty, so let’s stay inspired and keep creating.

Love,

David

The post A conversation with Crescenzo appeared first on Husa Sounds.

What genres or sounds have you been diving into lately, and how are they shaping your current production or DJ sets?

For me, good music is good music. I started as a progressive house DJ in 2003, then my sound moved through electro, minimal, tribal and deep influences, and it keeps evolving. I am not chasing trends as much as collecting elements I love from whatever is relevant to the moment, then playing them in a progressive way. I always aim for a journey in my sets, and drop a banger when it feels right.

Your journey in the Egyptian electronic scene started back in 2003, what initially drew you to DJing and producing, and what keeps you passionate about it today?

Back in the day the raves felt very genuine and focused on music. We would find parties on a website called thedjlist, drive in my mum’s old Toyota and literally follow a space cannon beam in the sky to find the location. You could hear legends like Sander Kleinenberg, Wally Lopez, Nick Warren and Seb Fontaine playing six hour sets for fully locked‑in crowd, no phones, just them and the speakers. That energy made me want to be a DJ, so I borrowed an old Numark CD rack and a mixer from a friend, and that is where it really started. What keeps me passionate is that the sky is the limit on how it opens new opportunities, how it makes people feel and time just flows when I am creating.

Can you walk us through your personal transformation to sobriety and the key moments that led to this change?

Starting so young, I was exposed to a heavy party lifestyle and substance abuse, and after years of doing this four nights a week it stopped being fun and began to damage my life and mental health. During Covid in 2020 I went to my beach house on the North Coast with my mum, my monitors and thirty cats, and decided it was a one‑way ticket. From that moment I quit everything, including cigarettes and alcohol, and have been completely sober since. It is honestly the best decision I ever made.

How has sobriety influenced your approach to music, from creating in the studio to reading and connecting with your audience?

At first I felt uncomfortable playing sober and a bit disconnected, but I reminded myself that I started this journey sober and was already good at it back then. I decided to keep the insights those experiences opened up in my mind, but to honour them in a healthy way. Now I wake up early, dig for music, organise my library, work out, pray, spend time with my family and study new things like motion graphics and digital marketing. My mind is clearer, the anxiety and depression faded, and I connect with crowds from a much more grounded place.

Caring for animals is something that you value a lot, especially where you currently live in Marina. Has it always been part of your life or something that you connected with recently?

I always had pets, but rescuing animals started when our Belgian shepherd refused to move away from a box on the street that had three kittens inside. We saved one of them, and that experience stayed with me. When I moved to the North Coast during Covid, there was almost nobody there and the animals were literally starving, so my mum and I spent whatever we had on feeding them and taking injured ones to vets in Alexandria, even when money was tight. Every time we helped, life somehow sent something back, like a last‑minute gig that covered months of expenses. Over time I became active against poisoning and abuse in my area, filed cases and built trust with the police. One of my favourite stories is Hayat, a paralyzed dog with a one percent chance of walking again. With a lot of care and faith she recovered, now she runs and has even had a puppy.

Your sound effortlessly blends house, micro, tech, and disco elements. What’s your process for navigating these genres and keeping your sets unpredictable yet cohesive?

I like to pick favourite elements from house, micro, tech and disco, then arrange them in a progressive, story‑driven way. It is less about strict genres and more about how the tracks talk to each other and to the dancefloor in that moment. I start from a middle ground between what people already enjoy and the sound I believe in, then once they are locked in I start to experiment. If I lose them, I quickly shift the mood and bring them back. It is an art that came from a lot of trial and error, including clearing a dancefloor a few times, which I definitely do not want to repeat.

With recent releases like your remix for Francesca Lombardo, “Lost in Eden” on Tzinah Records, and contributions to compilations, what can you tell us about your latest music projects and what’s coming next?

This year’s milestones, like my “Wanna Dance” remix for Francesca Lombardo’s Echolette & “Lost in Eden” on Tzinah Records Founded by Primarie and the compilations I joined, mean a lot because I have been focusing on quality over quantity. I am not in a rush to release on every label or play every club; I am enjoying the journey and trusting timing. Next year is about more studio work, more consistent releases and sharing an original track I just finished with vocals from a childhood friend. There are also a few projects in the pipeline that will reveal themselves when the time is right.

The post Interview | Karim Yousry appeared first on Husa Sounds.

What genre or sounds have you recently become obsessed with, and how has it influenced your mixing or selection style?

I’ve always been drawn to a wide spectrum of sounds: disco, soulful house, afro grooves, and acid sounds. My taste is intentionally miscellaneous, and I naturally gravitate toward music that moves something deeper in me.

There’s something special about Cerrone’s music, where Euro-disco, funk, orchestral arrangements, heavy percussion, and early synths collide. It feels nostalgic yet ahead of its time. I’m equally captivated by Italo disco, with its drum machines, cosmic synths, and those simple but addictive hooks and vocoded vocals.

Maybe it’s the Pisces in me, but I’m pulled toward music that carries both emotion and imagination. That duality resonates because I’ve always felt like an old soul who’s also dreaming about what’s next. It shapes my selection too. I’m always searching for tracks with that timeless but forward energy. The ones that feel familiar yet thrillingly new.

What got you into DJing, and what do you like most about it?

Music and dancing have always been a part of me, but for a long time I never gave myself permission to explore anything artistic. After graduating, my identity became wrapped up in work and growing tech startups, which I love, but it consumed most of my twenties.

When COVID forced everything to pause, I finally had space. That restlessness pushed me into self-reflection, and it led me back to music. I started diving into the sounds I loved, discovering their origins, and exploring influences. I would take a small controller and speaker on my trips to Sinai and spend hours on the beach mixing purely for the joy of it. It grounded me, and it still does.

DJing became my outlet and a way to express something deeply personal without words. What I love most is sharing a piece of who I am and connecting with people on a human level through music. It’s a constant personal reminder that growth doesn’t only happen in career milestones.  It also happens in the spaces where we rediscover ourselves.

What’s the most unexpected track you’ve dropped recently that shifted the entire energy of a crowd?

I love mixing nostalgic gems with new discoveries because surprising myself is just as fun as surprising the crowd. A few favorites come to mind. Cerrone’s “Summer Lovin” (Purple Disco Machine Edit) is one of those timeless tracks that always shifts the atmosphere. It’s emotional, uplifting, and lands every single time. 

Another one I used to play a lot that always gets the crowd going is “Again & Again” by DJ Mark Brickman (Original Mix). I once played it at XP Futures in Riyadh in 2023 as part of Nacelle’s showcase. The energy was incredible and the crowd absolutely loved it. It’s one of those tracks that gives you that instant boost and connects everyone on the dancefloor.

A more recent moment that really transformed the energy was when I played “La Vita De Mare” by Mind Enterprises for the first time last summer. The reaction was instant. It’s playful and sun-soaked, and watching the crowd vibe with it in real time was such a joyful moment.

Your sets often include timeless classic house cuts. What’s your process for finding tracks that still feel fresh?

My process for finding tracks that still feel fresh almost always starts with one song that grabs me. Then I disappear down a rabbit hole. I get incredibly nerdy about it: researching the artist, their influences, the era, their discography, and any related sounds or genres. If something sparks a feeling, it gets saved. I organize everything by mood, era, or emotion, sometimes even with emojis or playful playlist names.

A lot of my discovery happens in quiet moments, like early mornings or during long drives. Traffic can be tiring, but listening to music while driving lets me zone out from the world and really focus on the details, the layers, the textures, the emotions in a track.

That’s often when I’ll realize, “This is a track I need to bring into a set.” With timeless tracks, it’s simple: if it moves me, it’s worth exploring. From there, I imagine how it might land with the crowd and the energy it could create. Some of my best sets have come from tracks I found in those small, personal listening moments.

From Cairo Jazz Club to international festivals like Fusion Festival: what has been most important for your growth as an artist?

Whenever I look back at this journey, I get sentimental. I started mixing in 2020, and my first gig was with Society of Play, surrounded by friends and a collective of people who were there to play and connect. I had no plan. I was leading with my heart and playing the music I loved.

Since then, so many promoters and individuals have trusted me long before I expected anyone to. There were many moments of trial and error, but I’ve always centered intention and connection over what I felt I should be doing. Even though my professional background is strategy and growth planning, music is where I let intuition lead.

I’m not in a rush. I’m constantly exploring new formats and disciplines, like vinyl mixing and music production (hi, Yellow Tape), and I’m always diving into new genres, even if I don’t showcase them publicly.

I chose “miscellaneous” for a reason because I genuinely love blending different sounds, eras, and moods. It gives me the freedom to play what resonates in the moment, not what I feel I have to play to fit a box or serve any agenda.  For me, music has to remain intentional, personal, and joyful, because that’s the energy I want to share with every crowd.

You played a b2b set with Aly Goede at Fusion Festival last summer. How did it feel to bring Egypt and Sandbox energy to a German playground?

Fusion was surreal. None of it would have happened without Aly, and I’m forever grateful to him and to Madmotormiquel for making it possible and for being the warmest of people. Playing in the morning, in nature, surrounded by friends, and closing the Panne Eichel stage still feels like a dream.

Our Sandbox set in May was one of my favorite sets ever, and bringing some of that energy to Fusion was incredibly moving. Everything felt vivid and alive. I wish I had more footage, but the fact that it wasn’t filmed to respect the dancefloor makes it even more special. The memories feel engraved in a way a recording could never capture.

What’s one special track you loved playing that morning?

I played Immer by Ede and Deckert featuring Sargland, remixed by Kid Simius. “Immer” means “always” in German, and playing it that morning felt like a love letter to everyone on the dance floor. I first heard it when Kid Simius performed at Shorelines 2023, and it hit deep. I knew I wanted to share it one day, so playing it at Fusion, in a place where the word and its meaning naturally belonged, made it even more special.

The track repeats a hypnotic refrain about wanting someone immer, meaning always and forever. It touches on longing, desire, and that inevitable pull toward someone you can’t let go of. The dreamy, slightly melancholic energy of the track matched the moment perfectly: the morning light, the warmth around us, and a crowd that understood its meaning. It landed exactly the way I hoped it would.

Another special moment was Aly’s choice for the closing track, El 3asal by Donia Wael and El Waili. Hearing those tender lyrics washing over everyone felt intimate and raw in the best way. It was the kind of ending that stays with you long after everything is over. And honestly, it was such a joy to witness Aly do his thing and be part of it.

What does the electronic scene have that makes it different from other scenes?

The electronic scene holds a beautiful duality. On one side, it is liberating and connective and allows people to come together in a shared experience. On the other side, it has darker elements that I don’t always resonate with. But honestly, being part of it has given me so much.. 

Feeling the energy, watching artists create and transform a space through music is inspiring in ways that go beyond the scene itself. It has taught me presence, connection, and how to truly appreciate every moment.

For me, it comes down to  intentions and actions. The scene is a huge open space with all kinds of formats and energies. When approached with care and good energy, it becomes healing, transformative, and deeply connective. That is the part of the scene I want to contribute to and grow with.

What is the ideal venue for you to play at? No limits.

I’m a lover of nature, beaches, and sunsets, so the Sandbox beach stage is truly my dream setup. It is a space where I can fully connect with the music and the crowd. I also have to mention the cliff stage at AEGIS festival. This year was my first time staying until after sunrise ever (crazy, right?) and getting to play during both sunset and sunrise while witnessing artists transforming the dancefloor in between was one of the best days for me. Experiencing the music at the cliff stage during those hours made everything feel alive in a way that is hard to put into words.

If I allow myself to dream even bigger, the Dekmantel beach edition would be incredible. Really, any venue where music and the natural world merge is ideal for me. Music in nature produces a unique energy that is impossible to replicate indoors.

For me, playing in nature isn’t just about the view. It shapes the set, the pacing, the mood, and how I connect with the crowd. That is where music feels the most immersive, freeing, and transformative, and it’s where I feel most at home behind the decks.

The post Interview | Jess appeared first on Husa Sounds.

Where did the name Hoopalai come from? 

It came from the idea of creatively being on a slippery floor!

How did Montreal’s underground scene impact your sound? 

Our influences mainly come from the ’90s and the original rave era, where we first got involved as DJ & promoter and curators. That period had something truly new and deeply community-driven, which was very inspiring.

How important is jamming to your creative process? 

Jamming means spending time together in the studio and working on the machines plays a key role in our early creative process.

We make music to connect with one another. We express ourselves through machines. Jamming with analog gear often leads to happy accidents that fuel creativity, giving us the chance to bounce new ideas around in the moment.

What’s one decision you made early on that seemed risky or unconventional, and how did it become a turning point for your growth? 

We always aim for a non-easy approach that makes you deserve the ‘’feel good’’ part of a song or a moment in a dj set. We always applied that rule to our creative approach.

When you hit a creative block, what’s your go-to process that helps you reset, and why does it work for you? 

We remove the kick, bassline and/or the main melody, then experiment with new drums and melodies while keeping the rest of the arrangement intact.

How would you describe the evolution of your sound, and where do you feel it’s heading next?

As we make techno, house, space disco, deep house, breaks and all sorts of electronics, the evolution of our work is really based on our approach, state of mind and references.

Where we are heading is unfortunately classified.

What role does intuition play when you create or perform your live set? 

100% intuition. We don’t believe in preparing a set. You can prepare various songs you wish to play but it’s only once on stage, you can determine the needs considering the environment, the sound system, the crowd etc.

Imagine you could collaborate with any artist or creator, who would it be, and what would you ask them? 

There are many but definitely these ones:

• Herbert: Big inspiration for both of us. Definitely for his unique sampling process and techniques.

• Suzanne Ciani for her modular synthesis goodness.

• Morgan Geist for his vision and the mixdown in an all analogue mixing environment

• And of course Aphex Twin for his lovely soprano voice that we all cherish

Your latest release “Like a Movie” has a distinct indie vibe, what inspired the sound and what is the story behind the creative process?

François: I wrote the original idea for the song in about one hour, early in the morning, inspired by a wild night and the urge to create something fresh that would release positive emotions.

I called Fred and told him I’d done something interesting, then sent it over. He was immediately inspired to jump in. It took a few years before we released it, because for us, the timing wasn’t right, until we got the call.

The post Interview | Hoopalai appeared first on Husa Sounds.

How would you describe your sound for those who don’t know you?

It’s a mix of minimal indie, house, and tech house. I like to blend these influences with groovy beats and live percussion to create something energetic and engaging.

You’re based in Dahab, away from the big city nightlife; how has living there influenced your music?

Dahab is a small town that naturally brings people and musicians together. Living here gave me the freedom and flexibility to experiment and shape my sound without pressure, while staying connected to a creative community.

What made you fall in love with electronic music, and how did it lead you to your sound today?

My love for percussion came first, and electronic music opened up new ways to express rhythm and groove. Exploring those layers and textures helped me find my own style, where I combine traditional percussive elements with electronic sounds.

You sometimes play with an electronic drum, how do you compare it to the real thing?

It’s a completely different technique. I enjoy acoustic more because of its raw energy, electronic drum can never fully replicate that. Still, it has its own character and opens doors to sounds you can’t get acoustically.

What was your favourite gig so far?

Definitely at Bucht der Träumer festival in Germany. It was a big moment for me, my first festival of that scale. It was also challenging because I h

ad just injured my back and played on crutches, but the energy from the crowd was incredible. I loved not only performing but also being part of the festival experience.

Why is the Berlin scene so unique from your perspective?

In Berlin, there’s a deep respect for both the music and the artists. Clubs and festivals really care about curation, from the sound system to the visuals, and that attention to detail creates unforgettable experiences.

Chill O’Posite Festival in Dahab, Egypt is coming up, and you’re playing on the new Secret Garden stage presented by Bayati with Kotote and Ragab. What can we expect?

I’m really excited about this one because I’m also collaborating with them to build the new Secret Garden stage. It feels special to create a new space for music and share it with friends like Ragab and Kotoe as part of the Bayati showcase. My first time playing with Bayati was amazing, so I’m looking forward to bringing that same energy.

What are you most excited about next; new music, shows, or collaborations?

I’m currently working on a new tracks and a new releases with Husa & Zeyada, which I’m very excited about. I’m also looking forward to next summer’s season in Europe, especially shows in Berlin and Portugal.

The post Interview | Mohii appeared first on Husa Sounds.

What first sparked your passion for DJing and house music?

The energy of the dancefloor. I was fascinated by how music brings people together, how friendships are formed at parties, and the shared love that exists in those moments.

That connection is what inspired me to become part of this culture.

What lessons did you learn on your journey from founding Deep House Bucharest to launching Trubadour Records?

The most valuable lesson is the power of collaboration. Building and maintaining a strong team is essential — alone you can only go so far, but with the right people, you can grow something meaningful.

Who were your biggest musical influences growing up?

One of my biggest influences has always been Mihai Popoviciu. His sound is timeless, and he’s both a great DJ and a remarkable producer.

I’ve always admired the consistency of his work and see him as a true pioneer of the Romanian electronic music scene.

What is your creative process when starting a new track?

Recently, I’ve been enjoying working with samples — cutting, layering, and experimenting with beats.

I often begin with a bassline as the foundation, then gradually add melodies and grooves until the track comes alive.

How do you approach music production when working with labels like All Day I Dream and Satya?

Each label has its own unique sound and identity, so it’s important to adapt while staying true to yourself.

Today, I focus on producing music that I genuinely love and that feels natural in my sets. My sound has matured, and I feel more confident in expressing it.

What advice would you give to upcoming DJs and producers?

Be consistent, stay curious, and keep learning. Growth comes from dedication and openness to evolving your craft.

Any interesting story behind your upcoming releases?

Yes — together with my Deep House Bucharest family, we’re preparing a VA (various artists release).

We plan to retreat to the mountains for a week, working on drafts and turning them into polished tracks.

It’s a mix of music, friendship, and inspiration all in one.

The post INTERVIEW | BROSS appeared first on Husa Sounds.

Narratives proudly launches its record label journey with a statement debut: Blow My Mind EP, a collaborative two-track offering by label co-founders Mustafa Ismaeel and Dilby. Based between Toronto, Riyadh, and Berlin, Narratives is a creative collective where sound, art, and storytelling collide. After four years of building a global community through mixes, events, and showcases, the vision comes to life in this release, blending diverse influences into a unified deep house sound. Blow My Mind EP encapsulates what Narratives stands for – groovy rhythms, emotive storytelling, and cross-continental artistry.

The opening track Part Time Lover is a groovy, energetic cut with a rolling bassline and punchy groove that lay the foundation, while a blues-influenced lead and a memorable vocal hook give the track an anthemic, sing-along quality. In contrast, the title track Blow My Mind takes a sensual, late-night direction, oozing an old-school house vibe, driven by a warm bassline and accented with sassy vocals that weave through the melody. 

Mustafa and Dilby pour their passion and pedigree into this release, a culmination of their shared experience and a bold declaration of what’s to come.

The post Premiere | Narratives’ Debuts with Blow My Mind EP by Mustafa Ismaeel & Dilby appeared first on Husa Sounds.

This culture of curiosity inspires performers to deliver more genuine and daring sets, resulting in performances that are often raw, heartfelt, and inventive. The festival’s deep commitment to experimentation and diversity continues to shape the future of digital art and electronic music at a global scale

Let’s dive into six key musical performances that are very likely to become highlights of MUTEK’s 26th edition, which features notable world premieres:

Kevin Saunderson & Dantiez present e-Dancer 

One of Detroit’s most influential musical pioneers, Kevin Saunderson, is back with e-Dancer for its first original album in over 25 years, a visceral, groove-driven collection of techno designed to ignite dancefloors around the world. Co-created with his son Dantiez, who also played a key role in crafting the album, the performance at MUTEK will showcase a powerful blend of heritage and innovation.

Dantiez joins Kevin on stage, bringing his fresh, energetic approach into a hypnotic, deeply emotional, and electrifying live experience. Together, they channel Detroit’s underground spirit through propulsive rhythms and deep basslines that honor the city’s legendary sound. 

An unmissable journey through the roots and future of Detroit techno and house music.

When and where?

Artists bio

The Bionic Harpist & Techno Para Dos — fran·gere

For the first time, MUTEK will transform Lafontaine Park’s Théâtre de Verdure into an outdoor playground of sonic exploration. This free event features the world premiere of fran·gere, a collaboration between The Bionic Harpist and Techno Para Dos.

Alex Tibbitts, a pioneering electroacoustic artist from Montreal, and Raúl Villamil, an experimental sound designer from Mexico, merge ancient harp and modular synthesis into a unique contemplative soundscape. This spontaneous live exchange offers a space where natural sounds and digital textures intertwine, opening expansive sonic horizons.

When and where?

Artists bio

LOIDIS

Loidis, the project of the Kansas raised Brian Leeds, blends minimal techno, dub textures, and microhouse to create intimate, reflective soundscapes. Known for his work as Huerco S. and Pendant, Leeds crafts hypnotic and emotionally resonant music.  His recent double album One Day received praise for saturated melodies and tactile rhythms.

This show marks the Canadian premiere of his latest live performance, offering a rare chance to experience Loidis’ fragile, slow-burning, sensual, dreamlike universe in an immersive setting.

When and where?

Artist bio

NICOLAS CRUZ

We could easily dedicate an entire article to Nicola Cruz’s impact on this festival, but we’ll try to keep it short (ish).

The Ecuadorian electronic musician is known for constantly reinventing himself. Recently, Cruz’s sets have become more abstract and immersive, filled with field recordings, modular textures, and layered soundscapes. Each performance feels like a spontaneous exchange, as he explores new sonorities and rhythms with a careful, almost conversational approach.

His recent collaboration with machìna, called Kaiwa, exemplifies this creative spirit. Premiering at MUTEK’s Nocturne series, The project is a dialogue between two distinct voices, with Cruz’s raw analog dubby sounds & rythms blending seamlessly with machìna’s crystalline vocals and jazz-inspired improvisations. Kaiwa’s live performance is a dynamic and unpredictable fusion that pushes musical boundaries while inspiring movement and reflection

Alongside Kaiwa, Nicolas Cruz will perform two more sets during the festival, a DJ set at Expérience 1 and a live performance at Metropolis 2.

And if that was not enough (!), Cruz and machìna will also lead a music production and creative process workshop at DASA

Where and where?

EXPÉRIENCE 1

NOCTURNE 5

MÉTROPOLIS 2

Artist bio

Artist bio

MUTEK offers a program crafted to listen, see, and experience differently. Every year, it offers a rare chance to experience the future of digital creativity, exploring new ways to see and hear the world around us. And beyond all the innovation, MUTEK is dedicated to doing things responsibly. Through efforts to reduce its environmental impact and support local communities, and  the festival shows how art and technology can lead the way toward a more sustainable future. Join us at Mutek to experience these groundbreaking performances and be part of a community pushing the boundaries of digital creativity.

The post 6 Key Musical Acts to Explore at Mutek Montreal 2025 appeared first on Husa Sounds.