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Decorated dance music artist Moksi is back with his third studio album in Moksi Crew, the first Moksi project arriving as a solo effort from Dutch producer Samir. Featuring 12 tracks, the new album showcases Samir’s readiness for a fresh start as a solo act, as it takes listeners on a sonic journey expanding beyond the act’s signature house-oriented sound to incorporate mixes of house, bass, and techno across every track. Building on the forward-thinking sonic architecture of its predecessor, the album vibrates with untamed energy, capturing the raw essence of the dance floor.

As you’ll quickly hear below, Moksi Crew goes beyond being the next chapter; it’s an urgent statement of intent—harder, better, faster, stronger, yet retaining a familiar essence. Samir’s journey to “Moksi Crew” marks the beginning of an exciting new era for the artist and the brand and we can’t wait to hear where he takes things next. We were lucky enough to sit down with the artist himself to pick his brain on his artistic evolution over the years, the inspiration and creative process behind Moksi Crew, and other interesting topics. Stream the impressive album via Spotify and dive into our exclusive interview with Moksi below.

You mentioned that when you started Moksi in 2015, you never expected it to become such a versatile act. How has your journey as a solo artist evolved since Diego left the group in June, and how does “Moksi Crew” represent this new chapter for you?

When I started with Moksi the main influences were the UK styles such as UK Bass, Garage, Bassline, 2Step. But after a while, quite organically, my choices in the studio moved to more than that. Genres like Deep House, Melodic House, Techno and Tech House found their way into my head and fingers. These genres were always very dear to me, since I was a DJ (way before Moksi) I was always inspired by those sounds. So it made sense it found its way to the surface. Diego definitely had an influence in the music production process, but it mainly came from my end. I was always the producer of the act. The biggest change for me is missing a go-to person that can give feedback on things I make. But that was quickly found with friends and management.

The new album explores a wide range of dance music influences, touching on genres like house, tech house, melodic house, deep house, and techno. Can you share more about the inspiration behind this diverse sonic palette and how it reflects your growth as an artist?

I never really have a clear set idea when I start working on a song. I kind of just start off and then end up somewhere. It’s a very fluid process. Experimental if you will. The influences you hear are all subconscious, memories I have from songs I played back in the days. Or just the simple fact that I automatically gravitate towards things that are within my taste. This probably explains why it’s so versatile. I follow the song in the production process and I’ll let it decide what it needs – instead of forcing a specific sound or outcome. Because I believe that when you force the process with your ego it will sound fake eventually.

Rediscovering yourself as a producer and getting your hands dirty with the technical aspects of production for this album sounds like a unique experience. Can you share some of the challenges you faced during this process, as well as any particularly fun or rewarding moments that stood out?

The biggest challenge was to not force the process too much. It’s easy to lose your identity in the search of a new sound or new influences. And I tried to keep being honest with myself throughout the process: Is this really me? Am I forcing it? Am I trying to sound like someone else? Another thing that was challenging was the realization that this album was gonna set the tone for my solo career. The pressure that comes with that can give off the wrong energy. It’s easy to become a little too ambitious when you make the expectation incredibly big in your head. On the other hand, proving myself has been part of why I became an artist.

Your goal as a producer is described as pushing a sound forward, avoiding reproducing others’ sounds or creating music that easily connects with the masses. Can you delve deeper into your philosophy as a producer and how it shaped the creative decisions behind “Moksi Crew”?

I make music to find my place in society. It stems deeper than just making a cool song. It has a lot to do with knowing that you contribute something to the world that didn’t exist before. Or creating something that has an impact in people’s lives. It creates value as a human-being knowing that you’re adding to the mix. It’s about being seen, being heard. When I make music to meet expectations or to achieve some big goal – it starts sounding empty and fake. Resulting in a song that has no benefit to society or culture in any way. I’m well aware that it sometimes is confusing for people when I make certain style choices in songs. Because everything has to fit into a profile. People expect me to be Bass-House, but let me break it to the world. I’ll always be Moksi. And that means it’s always a surprise. Even to me.

You express a desire for your music, particularly this new album, to contribute to the ever-evolving story of house music. How do you see this album fitting into the broader narrative of house music, and what aspects of the genre’s history have influenced your approach to creating music?

It’s really hard to answer that question because I think time will have to tell. I don’t claim that this is a groundbreaking album. Or that I’m changing a culture. It certainly is a goal, but the question if i succeeded at that – i’ll leave up to the listener. The least I can say is that it’s good that artists like me (that have some sort of influence) try and help the House genre evolve by making decisions that are maybe a little unexpected.

You’ve embarked on quite the remarkable journey that began with your first track, a 45-second snippet, leading all the way to the new album. Any reflections on your journey so far and what’s next for Moksi?

It’s amazing that I actually pulled it off to get this far. I’ve always wanted to have an impact with my music. I’m grateful that people have believed in me since day one. Even right now I’m surrounded by great people that want the best for me. I’m full of energy and ambition. I’m ready for the years to come. Actually overflowing with ideas and i’m NOT GONNA HALF ASS IT.

‘INTERVIEW: Moksi Talks Newfound Solo Chapter, Inspiration Behind “Moksi Crew” Album, Artistic Growth + More

The post INTERVIEW: Moksi Talks Newfound Solo Chapter, Inspiration Behind “Moksi Crew” Album, Artistic Growth + More appeared first on Run The Trap: The Best EDM, Hip Hop & Trap Music.


By: Max Chung
Title: INTERVIEW: Moksi Talks Newfound Solo Chapter, Inspiration Behind “Moksi Crew” Album, Artistic Growth + More
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Published Date: Mon, 16 Oct 2023 21:19:26 +0000

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A State Of Trance Top 1000 #1 Is Revealed!

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After 30 years of nothing but Trance excellence, with all the feels, and all the incredible talent, Armin van Buuren‘s legacy prevails. A State of Trance Top 1000 Award revealed the number one track of the label. We can’t imagine how hard it was to pick their top track ever. Cue the drum rolls please… The award goes to none other than Dutch Trance producer RAM and German DJ Jorn van Deynhoven. The honorary title is thanks to their remix of the 2009 masterpiece ‘RAMsterdam’.

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A post shared by ☆ R A M ☆ (@ramofficial)

The Duo took it on their social medias to showcase the plate they received to commemorate the award. We can’t forget the track has earned over 10 million streams on spotify. The track embodies Trance in its rawest form. Its true nature and drive summarize the power the genre carries from decade to decade. Naturally, ‘RAMsterdam’ (Jorn van Deynhoven Remix) reigns supreme over 999 other songs that have moved millions of people since the inception of A State of Trance. Furthermore, RAM mentioned on his Facebook post that after he earned the title, DJ Mag announced his residency in the number one Trance club in China for 2024.

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Both artists are one of a kind, and the award deeply recognizes the mark they continue to leave on a State of Trance and the scene itself. ‘RAMsterdam’ (Jorn van Deynhoven Remix)paved the way for more unique sounds to evolve and develop to this day. RAM and van Deynhoven have what it takes to carry the title of worldwide phenomenon.

Congratulations to these two legends! Now, go ahead and leave ‘Ramsterdam’ (Jorn van Deynhoven Remix) on replay. After all, it is the number 1 ASOS Top 1000 track.

The post A State Of Trance Top 1000 #1 Is Revealed! appeared first on EDMTunes.


By: Jay Seabrook
Title: A State Of Trance Top 1000 #1 Is Revealed!
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Published Date: Tue, 30 Apr 2024 13:54:55 +0000

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[EVENT REVIEW] Ultra Chile Returns After Nearly A Decade, And In Full Force Too

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The large ‘U’ festival celebrated a fantastic return to South America recently.

When you think of Ultra Music Festival, you likely gravitate towards Miami straight away. But we’re lucky enough to have them all over the world, celebrating parties far and wide. That is certainly a blessing for energetic crowds living in somewhat further places in the globe, like South America.

I’ve been here for a while, and it’s safe to say it’s growing a strong community of Dance-devoted madmen like me. I’ve been lucky enough to get to know the Argentinian scene fairly well, and also those in its neighbouring country, Chile. This is a country where Hardstyle reigns supreme, and genres like Techno and its branches are seeing a roaring uptrend in the number of fans and followers. So much so, that Ultra themselves decided to pay a visit. A two-day visit, mind you.

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Ultra Chile: Its History

Chile had its first Ultra in 2013, with the next two years also calling artists from around the world to come together on the far southern end of the globe for Ultra Chile 2014 and 2015. The year after, Chile received a more compact Road To Ultra, as well as in 2017, for the Ultra host of those years was the continental giant, Brazil. After that, Chile would have to wait some time before the brand set foot on it again.

2023 saw Road To Ultra return to the long country for a Halloween party, headlined by Marshmello, Nicky Romero, Oliver Heldens, and Two Friends. And this year, the acclaimed main branch returned in full force, with two days of unstoppable beats coming from a handful of places, and showcasing an impressive plethora of talents, established, up-and-coming, returning… everything.

It was held on Friday, April 19th, and Saturday, April 20th, in Santiago’s iconic go-to place for massive events, Espacio Riesco.

Day One: Friday

Day One kicked off late in the afternoon, at 7 PM to be precise. The crowds started to appear from very early on. Once inside, it was time to have a look at the place, and, oh dear, they truly made the most out of the venue. Three of the four stages were on that day, the Mainstage, on the back of the property and boasting an impressive open-air setting, the Resistance stage, a blacked-out, massive former plane hangar to welcome the best Techno represents in the world, and the Carolina stage, a local-lineup filled stage out on the open.

Day One Winners

Jumping between the Mainstage and the Resistance stage allowed me to watch basically all artists for a little. That’s life at a festival, you can’t really marry one particular DJ. That said, I think I’ve got my favourite artist of the night, and it is Stephan Bodzin.

I had never watched him play, so I was basically going in not knowing what to expect. Add to that, I was at the Main seeing Armin before, so I didn’t really know what I was about to witness. Walking into Resistance, the first thing I noticed was that there was A TON of space to dance and just be yourself. The Mainstage was filled to the brim with people, and well, that left the Techno-devoted stage with a crowd that was truly enjoying Bodzin’s magic. I did too.

I swear, ten minutes in I was already fully hooked. Eyes closed, moving side to side, that kind of hooked. Him playing a live set was a tenfold amplifier as well, since he was interacting a lot with the audience, and the audience interacted a lot with him back. Ask me to name one track from his set, I can’t. But what I CAN recall vividly is how happy he was managing his instruments, and how happy the people dancing beside him were. I was one of them, fully gone away in a trance. A star for you, mate.

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Day Two: Saturday

Day Two started quite earlier, promising twelve endless hours of good music. My friend — who flew in from Buenos Aires for the festival — and I entered the place just past 2:30 PM. And after a little day tour of the venue, we headed straight to the brand-new Resistance Square stage. Reason being, Daniella Da Silva was on at 3:00.

The stage itself was really interesting to me, since the Ultra guys turned this giant conference place into the host for the darkest, most energetic beats of the entire day. I remember my highschool once took me for University speeches or something of that kind literal years ago, and seeing it changed to fit a literal Ultra festival blew me away.

The other stages were just as breathtaking as the day before, and now places like the Mainstage enjoyed the geographic surroundings of Espacio Riesco: mountains for days. It was another level. Point for you, day parties!

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Day Two Winners

Daniella Da Silva

My friend wanted to see her so badly, and I wanted to learn from someone new to me. Good. Lord. Those were 90 minutes of nonstop dancing. There are pictures and videos of me absolutely losing it during her set which I won’t show for, reasons, but let me tell you, her energy is sensational. Dark, Hard Techno. I’m not of the kind to enjoy that in a car ride or on a normal day, but I for sure allowed myself to enjoy her beats at Ultra. I felt slightly sore after that, and that should tell you enough of how good of a set hers was.


My childhood hero. How wouldn’t I have enjoyed Hardwell’s set when he was my role model when I was in school back in the day? Growing up loving ‘Encoded’, ‘Spaceman’, and his remix of ‘Man With The Red Face’, it was about time to see him again. Absolutely nuts. Lots of what he played I had heard before at his Ultra Miami set from earlier this year, but far from taking away from the experience, it allowed me to sing my lungs out. Special shoutout to that ‘Strobe‘ x ‘Save The World‘ mashup which nearly got me crying.


These guys take the gold for me, no question. Seeing Hardwell, you know beforehand that it’s going to be a phenomenal show, but I had never seen Kasablanca before. I’d only heard their Anjuna tunes. And so my friend and I got to the very front of the Mainstage to see them. We could not have decided better.

They played a live set, just like Bodzin had done the day before. The difference here was the setting: While Stephan Bodzin played inside the warehouse vibe of the Resistance stage, Kasablanca did it out in the open. And their set just so happened to occur during the last hours of the day and into the night, sunset included.

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They absolutely rocked it. From synths to vocals to literal choreography, their set had it all. They truly made good use of the Mainstage speakers as well, with their fat-bottomed tracks. I can’t tell you just how magical that time was, even the landscape fit the vibe of their music. Mountains all around, the clouds turning slightly red at sunset (see a few pictures above), and the moon reigning high aloft by the time they dropped their remix of Above & Beyond’s ‘Black Room Boy’. The duo take the gold, and my heart with it. I won’t turn down the possibility of seeing them in the future.

Final Thoughts

It had been a while since I last attended a big festival, since I’d been much more inclined to go to artist-focused events. It was a refreshing treat to come to Ultra Chile and soak in the festival experience again. My mate and I had a great time, enjoyed the food (shoutout to Papa John’s), the Gin Tonics, and the feel-good atmosphere. For now, be right back, I’ll be listening to Kasablanca!

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The post [EVENT REVIEW] Ultra Chile Returns After Nearly A Decade, And In Full Force Too appeared first on EDMTunes.


By: Felipe Latorre Cabello
Title: [EVENT REVIEW] Ultra Chile Returns After Nearly A Decade, And In Full Force Too
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Published Date: Mon, 29 Apr 2024 18:43:56 +0000

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Adriatique’s ‘Beyond Us’ (Hatshepsut Version Alex Wann Remix) Is a Mystical Voyage

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As time goes by, some songs become timeless classics. Even more when artists reimagine different emotions and moods. This is the case with Eynka‘s ‘Beyond Us‘. It wasn’t long until Swiss Electronic duo Adriatique made their own renditions of the track. They amped it up a notch when they immortalized their rendition at the Hatshepsut Temple in Egypt last year for Cercle. Finally, we’re delighted to get an even more magical version of the track, brought to you by Deep House Parisian Icon Alex Wann.

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‘Beyond Us’ (Hatshepsut Version Alex Wann Remix)

How do you remaster and refresh a track that has so much influence and power, you may ask? Well, it seems like Alex Wann found the right formula for his ‘Beyond Us’ remix. From Eynka’s melodic touch, to Adriatique’s deeper and darker undertones, Wann manages to deliver an ethereal track with powerful afro elements. The percussion calls out to your ancestors, and the groove represents the vast deserts phenomenally. After a successful run with his Kelis’ ‘Milkshake’ Remix, the producer continues to influence the world around him.

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A star in the rise, Alex has received the support from House legends Keinemusik, Pete Tong, Swedish House Mafia, Diplo, and Blond:ish. This remix furtherly proves his ability to produce with different elements and styles, such as Adriatique’s unique sounds. Earlier this year he embarked in a North American tour, visiting major musical capitals such as Miami, New York, Toronto, San Francisco, and Montreal. Next Up, Alex Wann will make his rounds around Ibiza, Milan, Dubai, and La Bourget.

Watch out for Alex Wann this summer! He will most likely reign supreme with this delicious version of ‘Beyond Us’.

The post Adriatique’s ‘Beyond Us’ (Hatshepsut Version Alex Wann Remix) Is a Mystical Voyage appeared first on EDMTunes.


By: Jay Seabrook
Title: Adriatique’s ‘Beyond Us’ (Hatshepsut Version Alex Wann Remix) Is a Mystical Voyage
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Published Date: Mon, 29 Apr 2024 01:18:32 +0000

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