Épisodes

  • Chus & Ceballos Live from Chicago 2026 (ONE Podcast 111)

    Chus & Ceballos Live from Chicago 2026 (ONE Podcast 111)
    Aug 6 2026
    © 2026 True Underground. All rights reserved. Chus & Ceballos Return: Stereo Productions Marks 25 Years with Renewed Purpose and the Spirit of Somos Uno 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 ...
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    1 h
  • Mitch Oliver @ SLAPPED Amsterdam July 4th (ONE Podcast 110)

    Mitch Oliver @ SLAPPED Amsterdam July 4th (ONE Podcast 110)
    Aug 5 2026
    © 2026 True Underground. All rights reserved. ONE-110 | Mitch Oliver Live at Het Sieraad Amsterdam for SLAPPED Records 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. Key Takeaways Recorded live on July 4, 2026, Mitch Oliver delivered ONE-110 inside the Plaatwerkerij room at Het Sieraad during a strict phone-free showcase in Amsterdam. Establishing SLAPPED Records as an artist-centric platform, Mitch Oliver guarantees complete master ownership for musicians alongside an executive team comprising Corey Steinke, Victor Rodriguez, and Chloe Gastinel. The live podcast set features premier club plays of Yulia Niko’s remix of “Let You Go” featuring Keilimei and DOX’s remix of “Control” by Forgivmetommy! and Joyia. Long-format sets at Montréal institutions Stereo and Stereobar refined the technical approach of Mitch Oliver toward low-end frequency management and four-deck track layering. 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. Mitch Oliver 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. Montréal Melodic House Producer and SLAPPED Records 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 ...
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    1 h et 30 min
  • Rolbac Live At Moga Festival | ONE Podcast (#108)

    Rolbac Live At Moga Festival | ONE Podcast (#108)
    Jun 30 2026
    © 2026 True Underground. All rights reserved. Rolbac Channels the Raw Resilience of the Lebanese Underground 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. Key Takeaways Rolbac originates from the mountain region of Zahle, Lebanon. The single ‘Where Is My Love’ releases via Circus Recordings on 26 June 2026. The track was developed during an isolated music retreat surrounded by nature. Rolbac recorded his upcoming ONE Podcast mix live at Moga Festival. 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 ...
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    1 h et 4 min
  • Marcus Schmahl – Progressive House and Melodic | ONE Podcast (#107)

    Marcus Schmahl – Progressive House and Melodic | ONE Podcast (#107)
    Jun 16 2026
    © 2026 True Underground. All rights reserved. Former 2pole Member Marcus Schmahl On How He’s Found His True Progressive House Identity 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. Dismantling the Legacy Aliases 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. “The aliases were always functional. Different genres, different collaborations; it made sense to separate them. Broombeck was one thing, 2pole with Mark was another. But at some point you realise that all of it comes from the same place, the same set of ears, the same instincts built over thirty years. I didn’t want to keep fragmenting that. Whatever I make now carries my name because it carries my signature.” 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 Logic of the ONE Podcast Mix 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 melodic and arpeggio work came primarily from three synthesizers: the Modor NF-1, a Buchla, and the UDO Super 6. For shakers and percussion I recorded live with a stereo microphone pair. The atmospheric layers are field recordings; one from an airport, and one I made by moving ice cubes in a gin and tonic glass, captured with two microphones. The gin and tonic was consumed after the session.” 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. “The philosophy is simple: make the music I actually want to make, and put my full signature on it.” ONE Podcast Tracklist Notamous, Will Daley – Circled Squares [Solis Music]Michael A – Neo ...
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    1 h et 47 min
  • Pharrö – Underground Afro House Mix | ONE Podcast (#106)

    Pharrö – Underground Afro House Mix | ONE Podcast (#106)
    Apr 22 2026
    © 2026 True Underground. All rights reserved. Born in Medellín, Colombia, and refined by over a decade of operating across the US East Coast, Pharrö is an artist built on the grit of the regional circuit and the foresight of a seasoned promoter. 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 { "@context": "https://schema.org", "@graph": [ { "@type": "BreadcrumbList", "itemListElement": [ { "@type": "ListItem", "position": 1, "name": "Home", "item": "https://www.trueunderground.one/" }, { "@type": "ListItem", "position": 2, "name": "ONE Podcast", "item": "https://www.trueunderground.one/podcast/one-podcast/" }, { "@type": "ListItem", "position": 3, "name": "Pharrö - ONE-106", "item": "https://www.trueunderground.one/pharro-underground-afro-house-mix-one-podcast-106/" } ] }, { "@type": "NewsArticle", "mainEntityOfPage": { "@type": "WebPage", "@id": "https://www.trueunderground.one/pharro-underground-afro-house-mix-one-podcast-106/" }, "headline": "Pharrö - Underground Afro House Mix | ONE Podcast (#106)", "description": "Medellín-born DJ and producer Pharrö discusses his transition from regional promoter to global contender and his upcoming 2026 releases on Witty Tunes and mn2s.", "image": { "@type": "ImageObject", "url": "https://www.trueunderground.one/wp-content/uploads/2026/04/Copy-of-soundcloud-covers-47.jpg", "width": 1241, "height": 550 }, "datePublished": "2026-04-22T18:00:00Z", "dateModified": "2026-04-22T18:00:00Z", "author": { "@type": "Organization", "name": "True Underground Editorial Team", "url": "https://www.trueunderground.one/about-dance-music-media-platform/" }, "publisher": { "@type": "NewsMediaOrganization", "name": "True Underground", "logo": { "@type": "ImageObject", "url": "https://www.trueunderground.one/wp-content/uploads/2022/04/cropped-tu-logo.png" }, "contactPoint": { "@type": "ContactPoint", "email": "news@trueunderground.one", "url": "https://www.trueunderground.one/contact/", "contactType": "editorial" } } }, { "@type": "PodcastEpisode", "name": "ONE-106: Pharrö", "episodeNumber": "106", "...
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    1 h et 31 min
  • Angara – Melodic Techno Mix | ONE Podcast (#105)

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

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

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