© 2026 True Underground. All rights reserved.

Twenty-five years after founding Stereo Productions, Chus and Ceballos stand at a meaningful crossroads. The Spanish duo behind the influential Iberican Sound have reunited after a five-year pause, returned to the world’s biggest dance floors on The Reunion Tour, and released “Somos Uno,” a track that crystallises the renewed connection they rediscovered with each other and with their audience. What follows is the full arc of that journey, from late-1990s Madrid studios to the present chapter of a label built on authenticity rather than fashion.

The story begins in the late 1990s, when two producers from different musical backgrounds first began exchanging ideas. One came from house, the other from techno. What they shared was more important than what separated them.

Even coming from two genres as different as house and techno, we both found a balance in the way we combined our ideas. We immediately realized we shared the same philosophy. Neither of us wanted to imitate what everyone else was doing. We were both searching for a sound that was emotional, rhythmic, and unmistakably our own. That shared vision became the foundation of everything that followed, and it’s still the reason we’re making music together today.

Those early sessions in Madrid absorbed the city’s vibrant nightlife, Latino diaspora culture, ethnic rhythms, African percussion and flamenco. Rather than copy what was happening elsewhere, the pair fused those influences into something that felt personal. Years later the resulting style would be called the Iberican Sound. The distinction was never about a single piece of equipment or a production trick. It was about treating percussion as the lead instrument instead of mere support. Layered organic rhythms, deep grooves and emotional musicality gave the records a character that stood apart from much of the European house of the era.

Like most producers of their generation, they worked with a mixture of analogue gear, early digital tools and whatever else they could access. The decisive education, however, came from the clubs themselves. Endless nights on Madrid dance floors taught them more about rhythm and low-end weight than any studio manual.

In 2001 they launched Stereo Productions. The mandate was simple and remains unchanged.

Our vision wasn’t technical; it was musical. We wanted complete artistic freedom. Stereo Productions was created so we could release music we truly believed in, regardless of whether it fitted current industry trends. That philosophy remains unchanged today.

Early club records such as “That Feeling” established the percussive blueprint. Clarity against heavy kick drums was achieved through disciplined arrangement as much as processing. Ninety percent of the rhythm sections came from live recording sessions with real drummers and percussionists. The remaining ten percent was drawn from personal sound libraries, record collections and rare tape sources. The pair have never believed in overcrowding a mix. Every rhythmic element must have a clear role.

When cutting sub-bass-heavy tracks to vinyl in the early-to-mid 2000s, the physical limitations of the format enforced rigorous discipline. Working fully analogue at the time, they paid close attention to balance, phase and low-frequency control so that needles would not jump on powerful club systems. Those lessons still shape their productions even in the digital era.

Long residencies at venues such as Stereo Montreal refined their sense of dynamics and space. In rooms with world-class sound systems every detail is exposed. The experience taught patience and the value of tension rather than constant loudness. Stereo Montreal became the ultimate testing ground for new material.

Throughout the 2010s, as house and tech-house shifted around them, Stereo Productions stayed locked on organic drum structures. Trends were ignored in favour of groove and percussion that would still function years later. The catalogue was built to last, not to chase the moment.

Peak touring years in the 2000s brought their own technical considerations. When recording live sets the priority was preserving the energy of the night rather than chasing technical perfection through heavy master-bus processing. The emotion of the dance floor mattered more than clinical polish. In the booth, communication between the two became almost instinctive. After so many years together, a glance was often enough. Reading multi-generational crowds always took precedence over any prepared playlist.

By 2020, after more than two decades of non-stop travel and high-level performance, the project was paused.

The COVID-19 crisis caused a huge impact worldwide; we lived in different countries separated by a 9-hour time difference, and communication stopped. After more than twenty years of constant touring, performing at a very high level, we felt exhausted, and it was the right moment to explore individual creative paths. There was no drama behind the decision, it was about personal growth. Sometimes taking a step back allows you to return with a fresh perspective, and that’s exactly what happened.

The five years apart proved productive. Solo work and new collaborations expanded each producer’s palette while reinforcing the core identity that had always defined Chus & Ceballos. Perspectives on sound design and dynamic headroom broadened. Observations of modern club culture also sharpened. More than the acoustics, what stood out was the change in audience behaviour. Underground scenes had largely disappeared, yet one constant remained: people still respond to honesty and emotion. That realisation now guides their return.

The Reunion Tour changed everything. Marathon sets and the renewed connection with crowds made clear that the partnership still had something meaningful to say. “Somos Uno” became the soundtrack to that realisation. The title itself captures the unity felt on dance floors around the world. Club translation was treated as non-negotiable. The record was not made for headphones. Parallel compression kept the low end clean and controlled, and the track was tested repeatedly on proper systems in real club environments before it was considered finished.

Live setups have evolved with the times. Years of Traktor have given way to USB sticks and Rekordbox. Greater flexibility and reliability allow the focus to stay on storytelling. The real difference, however, is experience. Communication in the booth remains instinctive and natural.

As Stereo Productions reaches its 25th anniversary the operational focus is unchanged. The label does not chase genres. It chases personality. House, Latin, Afro, Melodic, Tribal, Techno or anything else is welcome provided the music possesses identity. The search continues for producers willing to develop their own sound rather than follow formulas.

Balance between touring and studio work is now carefully managed. The Reunion Tour prioritised reconnection with the audience. With that momentum established, greater time is being devoted to the studio. The two activities continue to feed each other: weekends on the road shape the music made during the week.

Looking ahead, the year carries special significance.

This year is especially meaningful because Stereo Productions celebrates its 25th anniversary. That’s a milestone we’re incredibly proud of, and we’re approaching it with renewed energy. Alongside our own new music, we have an exciting release schedule featuring both established artists and a new generation of producers who share our vision of quality underground music. Our long-term goal remains the same as it was twenty-five years ago: to release timeless records, support original talent, and continue building a label that represents authenticity rather than trends.

The new chapter is not a revival built on nostalgia. It is a continuation of the same principles that guided two producers in late-1990s Madrid: trust instinct, prioritise groove and emotion, and protect the freedom to make music that feels true. “Somos Uno” announced the return. The 25th anniversary of Stereo Productions confirms that the foundation remains solid. The dance floors, it seems, are ready to listen again.

Check all latest ONE Podcast editions here.

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© 2026 True Underground. All rights reserved.

Mitch Oliver is a Montréal melodic house DJ, producer, and SLAPPED Records founder who delivered the 110th installment of the True Underground One podcast. Recorded live on July 4, 2026, inside the Plaatwerkerij room at Het Sieraad in Amsterdam, Netherlands, the set captures an immersive, phone-free club performance co-hosted alongside Offbeat House. The recording highlights July 2026 and August 2026 label releases alongside deep audio selections focused on physical low-end weight and dynamic club tension.

Musical heritage provided the initial foundation for the audio development of Canadian selector Mitch Oliver. Raised in Montréal surrounded by a grandfather classically trained on piano and violin alongside parents performing jazz and blues at home, immediate exposure to acoustic dynamics trained his ear before formal studio education began. Transitioning away from competitive alpine ski racing at age 13 after discovering electronic broadcasts on satellite radio, machine-driven rhythms offered a hypnotic alternative to professional athletic training.

Initial exposure to electronic arrangement crystallised through pivotal radio transmissions during the turn of the decade. Early listening habits focused on melodic composition and emotive progression rather than peak-time intensity alone.

By far the most impactful artist I discovered at that time was Avicci. I remember his BBC radio 1 set in 2010 as Tim Berg blowing my mind. His ability to lift my spirit into another dimension and to really let me self go into the music was unmatched and something I had never experienced before.

Formal audio training commenced in 2017 when Mitch Oliver enrolled in music school to study composition and music theory fundamentals. His early hardware setup remained minimalist, pairing a compact Focusrite Scarlett audio interface with a small MIDI keyboard and entry-level studio monitors. Translating dancefloor utility into digital audio workstation session files required bridging technical synthesis with crowd dynamics observed inside Québec clubbing spaces.

Dancefloor tension relies on balance rather than continuous acoustic saturation. Managing spatial dynamics and frequency separation remains central to his engineering methodology across every original mix and production project.

I strongly believe that the secret to a successful dance record is contrast and that’s where the magic of tension and release lies.

Extended club sets inside Montréal nightlife institutions Stereo and Stereobar provided the testing ground for refining low-end frequency management. Operating custom, high-definition sound systems demanded precise sub-bass control, allowing extended transitions and four-track layering without muddying the mix or fatiguing audience ears.

Navigating varying room acoustics requires altering performance parameters when shifting from intimate club booths to large festival mainstages like Piknic Électronik or Igloofest. Outdoor festival environments demand direct track progression, whereas dark club rooms allow subtle, atmospheric cuts with raw sub-bass weight to command the floor.

Playing on these precise and equally powerful sound systems is a true blessing. Playing long sets allows me to take my time into really building a whole journey musically and the quality of the sound allows me to play some more subtle songs that don’t have lots of ear candy but so much groove, emotion and raw energy in the low-end frequencies.

Recognising systemic industry limitations regarding artist compensation and creative freedom led to the creation of SLAPPED Records. Established as an independent platform centered on absolute master ownership for musicians, the label bypasses rigid subgenre boundaries while deploying AAA promotional frameworks for every release.

Operational execution relies on a dedicated internal executive team. Corey Steinke handles day-to-day operations, asset creation, DSP pitching, distribution, and release marketing. Victor Rodriguez oversees business development and joint A&R curation, ensuring output aligns with core values. Creative Director Chloe Gastinel maintains visual brand identity across global release assets and merchandise campaigns.

Early catalogue milestones established immediate international momentum. December 2024 single “Secret” featuring Might Delete Later generated over 300 international radio plays and secured a Beatport Deep House Top 50 placement. March 2025 release “Paris Lovin'” featuring Tyler Mesa and Keilimei accumulated over 47,000 YouTube views through cinema-style visual storytelling, while May 2025 collaboration “Free” with Moroccan producer Amine K surpassed 250,000 streams with support from Steve Aoki and Sam Divine.

Subsequent label projects expanded the sound profile further. November 2025 compilation Many Faces Vol. 1 united 12 international artists across five distinct subgenres, followed by January 2026 track “Mambo” alongside Andrew Nak, which earned widespread club rotation from Joris Voorn, Eelke Kleijn, and Claptone.

On July 4, 2026, SLAPPED Records hosted a milestone event inside the Plaatwerkerij room at Het Sieraad in Amsterdam, Netherlands. Partnering with Offbeat House, the night enforced a strict phone-free policy to enforce complete audience immersion and direct human connection on the dancefloor.

Luckly tho we didn’t really have to enforce the no-phone policy as the crowd that came to the party was an educated and in the moment crowd who truly came to dance and get lost in the music so it made it realy easy. That energy and strong awareness of the moment brought one of the best sets of out me.

The resulting live recording for True Underground One podcast episode 110 captures that exact performance. The set prominently features two upcoming label releases: Yulia Niko’s hypnotic Berlin-influenced remix of “Let You Go” featuring Keilimei, dropping July 24, 2026, and DOX’s driving afterhours remix of “Control” by Forgivmetommy! and Joyia, scheduled for release on August 14, 2026.

True Underground One episode 110 is a live podcast recording set performed by Mitch Oliver at Het Sieraad in Amsterdam, Netherlands, on July 4, 2026. The set was recorded inside the Plaatwerkerij room during a phone-free event co-hosted by SLAPPED Records and Offbeat House.

Mitch Oliver has released original tracks and remixes on established electronic music imprints including Get Physical, Glasgow Underground, Renaissance, Hoomidaas, and SLAPPED Records.

SLAPPED Records is operated by founder Mitch Oliver alongside Label Manager Corey Steinke, Business Development and Music Relations Director Victor Rodriguez, and Creative Director Chloe Gastinel.

The live recording highlights Yulia Niko’s remix of “Let You Go” featuring Keilimei, scheduled for release on July 24, 2026, alongside DOX’s remix of “Control” by Forgivmetommy! and Joyia, scheduled for August 14, 2026.

The phone-free SLAPPED Records showcase took place inside the Plaatwerkerij room at Het Sieraad in Amsterdam, Netherlands, on July 4, 2026.

Exposure to classical piano and violin from a grandfather alongside jazz and blues performances from parents established an early foundation in live instrumentation and melody for the artist before entering formal music school in 2017.

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© 2026 True Underground. All rights reserved.

Middle Eastern electronic music producer Rolbac has delivered an exclusive live performance mix for the latest edition of the True Underground audio series. Recorded live at Moga Festival, the session features a curated selection of unreleased regional edits alongside his debut single on Yousef’s Circus Recordings. The podcast episode lands on 26 June 2026 to showcase the ongoing artistic resilience defining the contemporary Lebanese underground scene.

Rolbac developed his musical foundations in the mountain landscapes of Zahle, Lebanon. Raised by a drummer father and a DJ uncle, his childhood home provided constant exposure to rhythmic experimentation and diverse record archives from the 1980s and 1990s. Classic driving rock arrangements, alternative pressings, and formative tracks like Rare Earth’s ‘Get Ready’ served as primary creative catalysts, shaping how he approaches modern sound design and linear track arrangement.

To protect his creative process from industry distractions, Rolbac maintains a highly disciplined schedule. He treats studio production hours as an official employment commitment, forcing himself to show up consistently to discover unexpected sonic pathways. This systematic isolation from short-form digital marketing trends allowed him to log the hundreds of solitary hours required to build his complex electronic signature.

This technical framework relies heavily on intentional contrast, balancing intense dancefloor momentum with quiet moments of psychological introspection. Rolbac structures his arrangements to mirror human complexity, utilizing shadow and tension to ensure his tracks carry physical weight. This deliberate juxtaposition prevents his sound from feeling flat, creating an engaging experience that resonates far beyond standard club environments.

This production methodology directly guided his debut single, ‘Where Is My Love’, dropping on Yousef’s Circus Recordings on 26 June 2026. The initial track concepts emerged during an isolated music retreat surrounded by nature, entirely detached from urban pressure and daily industry routines. Label boss Yousef heard the early instrumental drafts and secured the track for his imprint, establishing an international platform for the Lebanese artist.

“‘Where Is My Love’ came out of a music retreat. We were away from our usual routines, surrounded by nature, and creating without any pressure, which really shaped the energy of the track. Yousef heard it and loved it, so we were able to collaborate.”

The single seamlessly blends futuristic, late-twentieth-century synthesiser lines with classic house piano stabs and a driving club groove. Achieving this frequency balance required weeks of exhaustive trial and error rather than standard mixing equations. Rolbac constantly restructured the drum parts and auditioned different hardware emulations to ensure the heavy bassline remained completely clean without crowding the low-end spectrum.

A defining characteristic of the single is the complex synthesiser progression positioned immediately after the main arrangement drop. Rolbac applied heavy manual modulation and filter movement to this specific sequence, transforming it into the central melodic identity of the project. This meticulous attention to synthesis detail ensures the track delivers high-tier clarity on expansive warehouse sound systems.

This studio milestone directly informs his contribution to the ONE Podcast series, catalogued as episode 108. Recorded live at Moga Festival, his ONE Podcast mix provides a definitive snapshot of his technical approach behind the decks. While his studio compilations adhere to a highly rigid narrative flow, his festival performances remain entirely reactive to immediate crowd energy.

The recording captures the precise momentum of his open-air performance, translating his reactive club energy directly into a structured home listen. The set list features an exclusive selection of unreleased original material, specialized edits, and upcoming project previews tailored for Middle Eastern crowds. These tracks reflect his ongoing mission to project regional electronic identity onto the global music market.

By integrating distinct local motifs into a contemporary house framework, his selections bridge the gap between regional club spaces and international networks. The inclusion of these exclusive regional revisions ensures the mix functions as an authentic overview of his current musical direction. Listeners gain exposure to the specific underground frequencies driving dancefloors across the Levant.

Operating as a professional musician out of Lebanon requires navigating immense structural disruptions and severe geopolitical instability. Despite the ongoing wars and economic hurdles currently affecting the Levant, the underground electronic community in Beirut continues to organise events and maintain creative spaces. This localized defiance positions the dancefloor as a vital sanctuary for human connection and mutual survival.

Beirut-based producer Rolbac channels the raw resilience of the Lebanese underground every time he performs. The current conflict heavily impacts daily operations on the ground, yet the culture consistently adapts, carrying that heightened intensity onto the dancefloor. This environment alters the sense of purpose behind the decks, turning electronic music performance into a form of cultural preservation.

“The scene is still very resilient, even in difficult times. There are always challenges, but the culture keeps evolving and adapting, and that energy carries onto the dancefloor. When I play, it reminds me how important connection is, especially when people come together despite what’s happening around them.”

Securing international bookings remains an uphill battle for Levant-based artists due to systemic visa restrictions and a historic lack of infrastructure investment. Rolbac actively pressures international agencies for structural reforms to dismantle the systemic visa barriers blocking Middle Eastern talent from the global circuit. He emphasizes that regional music creators require direct structural access rather than temporary token exposure to compete globally.

“There needs to be more equal access to platforms, lineups, and industry support for regional artists. It’s not just about exposure, but about building real long-term pathways so talent from the Middle East and Africa can compete globally.”

If completely freed from commercial deadlines and electronic genre boundaries, the producer intends to apply his engineering skills to acoustic arrangements. His long-term creative ambitions include writing complex live jazz scores, producing underground hip-hop, and composing cinematic soundtracks. This commitment to artistic authenticity ensures his catalog continues to expand while remaining rooted in his Lebanese heritage.

Rolbac continues to drive the Middle Eastern underground movement forward, demonstrating that artistic expression remains unstoppable despite regional conflict.

Check out all editions of ONE Podcast here.

Rolbac continues to pioneer the Middle Eastern electronic movement from Lebanon, using his debut on Circus Recordings and the ONE Podcast to showcase regional artistic resilience amidst ongoing conflict.

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© 2026 True Underground. All rights reserved.

Mainz-based electronic music producer, composer, and engineer Marcus Schmahl delivers a progressive house showcase for ONE Podcast, introducing a nineteen-track audio journey that charts his complete evolutionary shift. The comprehensive mix serves as a direct sonic manifestation of his structural departure from functional club monikers toward long-form studio autonomy.

Following the commercial saturation and subsequent market correction within the melodic techno scene in 2026, the electronic music landscape is experiencing an observable structural shift. For an extended period, major commercial brands maintained an ironclad grip on global events formats, yet internal club assembly lines grew increasingly rigid and generic. This stylistic saturation has driven a substantial wave of seasoned club composers back toward the deeper, more creative arrangements of progressive house. Schmahl stands at the absolute vanguard of this industrial movement. Having achieved major international chart success under names like Broombeck and as one half of the techno outfit 2pole, he has actively dismantled his functional monikers to channel thirty years of studio wisdom into a single uncompromised profile.

The primary driver behind this sonic evolution is a requirement for complete artistic autonomy and long-form narrative execution. Operating from his facility in Mainz, Schmahl has rejected standard software patches in favour of a permanent analog hardware infrastructure. His studio architecture utilises permanent routing configurations, allowing specialised hardware like the Modor NF-1, UDO Super 6, Oberheim OB-6, Waldorf Quantum, Arturia Polybrute, and a classic Buchla synthesiser to communicate seamlessly with his digital workstation. This tactical workflow ensures that organic, unpredictable acoustic elements shape his master channel rather than standard digital emulation.

His debut progressive release, Fragments of Time, materialised through an organic industry lineage. Signed to Tronic Music, the three-track EP was commissioned directly by label founder Christian Smith after reviewing early demonstration recordings. Smith himself has been actively expanding his own footprint beyond purist techno boundaries, delivering progressive records to foundational imprints like Bedrock and Balance. This technical cross-pollination between peak-time techno engineers and progressive house frameworks brings a new elevated level of mixing discipline and structural intelligence to the genre.

The exclusive mix delivered for the ONE Podcast perfectly encapsulates this engineering ideology. Spanning nineteen meticulously curated selections, the performance weaves together complex sound design, precise low-end balance, and intense atmospheric textures. Schmahl seamlessly incorporates cutting-edge underground productions alongside seminal moments, including his own material from Tronic Music. The tracklist highlights a deep, patient energy curve that directly reflects the lessons learned during his time scaling the upper echelons of the global techno ecosystem.

The contemporary market opportunity for this deeper sound palette is starting to expand across international club circuits. While standard commercial techno still remains highly lucrative, a major segment of the underground demographic is demanding extended club sessions that value sustained narrative tension over immediate, formulaic drops. The progressive house format scales exceptionally well across modern algorithmic systems and major editorial streaming playlists, yet its most lucrative growth sector rests in the live events market. The structural resurgence of multi-hour club sets directly rewards patient energy curves and dense atmospheric production layers.

Check out the latest editions of one here.

Marcus Schmahl’s core philosophy for this new chapter is completely focused on artistic autonomy and long-form narrative execution. He has dismantled decades of functional aliases to create uncompromised music under his own name, leveraging extensive analogue hardware to build sustained tension rather than chasing formulaic, peak-time drops.

The post Marcus Schmahl – Progressive House and Melodic | ONE Podcast (#107) appeared first on True Underground.

© 2026 True Underground. All rights reserved.

Now based out of Charlotte, NC, the DJ and producer is transitioning from a local powerhouse to a global contender, coming into 2026 with major releases on labels like Witty Tunes, mn2s, ALXMY, and Used Goods Recs. For Pharrö, the foundation of his sound was forged in the high-intensity atmosphere of his birthplace. The shift to the US required a recalibration of his musical identity, blending South American energy with the nuances of the North American underground.

“Moving from Medellín to the US East Coast was a sonic pivot,” he explains. “In Medellín, electronic music is often high-energy and communal – the ‘Medellín Style’ tech-house and techno has a specific, driving intensity designed for massive crowds.”

This adaptability has seen him share stages with a diverse roster of heavyweights, from the legendary Tony Touch to Afro-house pioneer Nitefreak. Whether playing direct support or headlining, Pharrö views his role through the lens of a curator rather than a commander. This perspective is rooted in his years spent throwing shows in Charlotte and Miami, an experience that informs every decision he makes in the studio.

“Certain rooms call for a certain rhythm and sound, so I like to keep that in mind when making a track,” he says. “Throwing shows and playing different rooms helped me understand what type of audience I want to connect with.”

His recent output reflects this tactical approach. The track ‘Teleport’ on ALXMY and the upcoming ‘Don’t Feel The Same’ on mn2s are linked by a specific sonic thread: melodic momentum designed for the peak hour. Meanwhile, his What’s The Move EP on Witty Tunes explores a more stripped-back, minimal tech-house aesthetic. The track ‘Me and My’, a collaboration with Moreno & Prieto, showcases his penchant for heavy percussion and a hypnotic atmosphere.

When it comes to his live performances, Pharrö rejects the idea of the DJ as an “iron-fist” authority figure. Instead, he prioritises a fluid relationship with the audience, reading body language and energy levels to dictate the journey.

“I see it as a collaborative exchange. I have to build a relationship with the crowd to create a meaningful connection; if I’m playing for myself rather than for them, that connection is lost. If you try to ‘command’ a room with ego, you risk losing the soul of the party.”

As he looks toward a 2026 calendar filled with international signings, Pharrö remains grounded in the principle that got him here: persistence. His Colombian heritage remains the heartbeat of his identity, acting as a universal language that allows him to connect with demographics across borders.

“Ultimately, I want the Pharrö name to stand for consistency, passion, and euphoria on all dance floors,” he concludes. “I want to cultivate an environment that people know they are free to express themselves, let go & and enjoy the journey.”

Check out all ONE editions here

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© 2026 True Underground. All rights reserved.

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.

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 – Forgive You

Check out out the latest ONE Podcast editions here

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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.

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.”

Unlike many digital-native producers, 4000 Hz utilizes hardware to maintain a physical connection to sound design.

The nu-trance movement is a reaction against clinical techno. It embraces emotion, speed, and melody without irony.

“Nu-trance stands out by embracing emotion and melody. It reconnects techno with euphoria while still moving forward.”

The trajectory of 4000 Hz is marked by strategic releases that helped define his brand in different territories:

The UK crowd is known for immediate energy. For 4000 Hz, Parklife Manchester represents a pivotal moment for his brand.

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.

Despite the rapid momentum, 4000 Hz prioritizes creative discipline. His 2026 strategy focuses on:

“Keeping quality and authenticity at the core is the only sustainable path. I want people to feel genuine passion for the craft.”

The post 4000 Hz – Nu-Trance Mix | Teletech | ONE Podcast (#104) appeared first on True Underground.

© 2026 True Underground. All rights reserved.

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.

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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 pursuit remains unchanged. “Losing track of time,” he says. “When thinking stops and instinct takes over.” Outside of music, clarity comes from absence. “Silence. Travel. Being disconnected long enough to hear things clearly again.”

For the next generation, Sirus Hood’s advice is direct and unsentimental. “Focus on your homework, not the reaction,” he says. Learn the culture. Understand the origins. Study sound design and the physical reality of music. Integrity is not performed. It is built, slowly, through depth and attention.

Subrosa – Sometimes You Just Feel It

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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.”

1. Dantiez, VICTORIA WHYNOT – Get On Up

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