Could you introduce yourself?
My name is Vladislava. I’m currently based in Berlin and have been involved in Stockholm’s electronic scene for the past 5 to 6 years, mainly as a DJ and through various creative and event-related projects. I was also part of the team behind club NEU, where I worked as a booker, promoter, and night manager for 2 years. I recently graduated from my first year of the Music Production program at BIMM University Berlin and plan to continue my studies in both music production and business. I’m also doing an internship in Event Operations at one of Berlin’s oldest and most internationally recognised techno clubs, an opportunity I’m very grateful for.

What is your favourite destination?
Somewhere I haven’t been before, though I would love to go back to Morocco, Greece, Italy and Portugal again. I usually enjoy destinations with a sub-tropical climate.

Which record or moment started your musical journey?
In general, I’ve always listened to a lot of different music and still do: jazz, indie, old-school hip-hop, the classical music as I was schooled in this, and the Phil Collins and Sting tracks I grew up with as well. The Strokes came in during my teenage years, so did house music, techno and even psytrance as well from when I was 16. That was also when I started to go to raves and enjoy electronic music.

But the deeper dive into the kind of techno and house I feel aligned with today happened around the pandemic, through parties and raves in Stockholm, where people were playing vinyl from the electronic underground. From there, my taste kept moving towards more experimental, cinematic sounds and textures. These days, I appreciate complexity in sound while keeping a groove. And although I am quite specific about what I collect and play, I also believe a set should take freedom and not only follow one strict thread.

To answer your question: several moments in my life brought me to play behind the decks. It was an outcome of practising classical piano for many years, having musical knowledge, and enjoying the rave scene, which was a completely different world. I started collecting tracks when I was 20, trying to figure out where I would get energy and emotions from, and analysing which sounds I liked and didn’t in productions.

DJ-wise, it all started at Time Bar in Hornstull, Stockholm, where I had my first gig thanks to a dear friend of mine who unfortunately passed away a few years ago. He was a booker there back then and gave me a slot one evening. My curiosity is probably what kept me coming back. How events work, how people gather around sound, how they socialise, and how the energy gives something back to you. It’s quite therapeutic.

What is the best album you discovered recently?
I got introduced to the album ‘Open’ by The Necks, an Australian trio improvising minimal jazz. It’s amazing to listen through.

What was the mood when you created this mix?
It was very much a Berlin mood, haha, strolling in the streets while listening to some of these tracks and processing life events. I created this mix in my living room in Neukölln. I feel it tells a bit about a daydream, yet reminds me of being present in the moment, if that makes sense?

Is there a specific drink you prefer when dj-ing?
Pure vodka in a glass, no ice. No, I’m joking. I don’t drink too much alcohol nowadays, maybe one or two shots of something fun before playing, like an Italian liqueur or a classic Berliner Luft. During a set, I’d probably go for an Amaretto sour or something I haven’t tried from the house cocktail menu, but honestly, I’m just as happy with water or juice. If anything, no vodka in my drink, haha.

Is there one track in this set that holds a special story or that you would like to highlight and why?

There are two:

Cobblestone Jazz - Who’s Future?
First of all, great production, chords and melodies. This track gives me pure pleasure and it makes me think of positive things. It marks Berlin spring for me, when the weather turns warmer, the sun is out and there is more life on the streets. I took many walks after my work and classes just listening to this track and observing my environment.

DJ Spinna - All Niter
Same reason when it comes to the melody and the chords here, as well as the selected sounds. It gives room for dreaming a bit and to go along with the melodies when listening to this one. It tells a story and gives me an old school Berlin vibe, haha. I bet this one has been played a lot at clubs. I played it at Golden Gate once during my after-hours set; it was a lot of fun.

What are your favourite clubs in your new home, Berlin?
Sisyphos, Heideglühen, Berghain and Tresor. What I love most is the energy, the people, and how uniquely different each place feels. Sisyphos and Heideglühen both have that open, festival-like vibe, where people feel free and genuinely happy. Sisyphos is amazing because of its multiple dance floors and outdoor areas. You can move between completely different moods during the night and never get bored.

Heideglühen has this pure, old-school Chicago house vibe and a lovely atmosphere. It’s a great venue with a lot of nice decorations and details. There is always good music and I just love being there. The outdoor spaces are such a vibe in the summer, as well as they have great food in the kiosk!

Berghain is, of course, iconic, and it’s a very impressive venue. It’s a huge space and always fun to hang out in. The sound is great, the variety with the 2 different floors and the Garten is lovely too, and people are nice.

Tresor and the concert venue Kraftwerk are also amazing. I love the bunker downstairs at Tresor. And the Globus floor has amazing sound, for real. Kraftwerk is a large former power plant, which makes it a super interesting place to be around. It has this raw, industrial feeling, similar to Berghain, that I really like.

What would you like to do differently in the music industry?
Make sure that new and upcoming artists are treated better by major labels, and most importantly, paid fairly for their work and given proper credit. I’d definitely change how streaming platforms operate and create better regulations for what major labels are allowed to do.

Many independent artists grow by building audiences on social platforms, and that independent distribution is much easier today. At the same time, it forces some people onto those platforms, which can rob them of their time and creativity. I believe it can have a devastating effect when you put too much effort into the wrong thing and don’t enjoy it - when you have to chase crazy algorithms to succeed in the business instead of actually making music, progressing and developing your art. For some, though, it’s not a problem.

I also want to highlight that we always need to work towards a safer club culture, and create new experiences and creative concepts where people involved or attending can contribute somehow. Clubs should not only be spaces for consumption, but also places for people to experiment, connect through new ideas and interactive activities, and have new experiences.

Some clubs are still keeping full these days, and I’ve seen what makes them work so well. It’s the way the venue is built, the details, the entertainment, and what else you can do there. It’s also the people from the community who come together in these places and create a unique environment. The reputation, the word of mouth, a place that lets you be in the music and connect with others. The quality of the music matters too. You know what you get when you go there. The same goes for the sound, especially when people spend time and effort on creating a good soundsystem and a beautiful design. When a place is built with heart and passion, it shows in the result. I believe these are the main reasons why some places stay full.

We see many clubs becoming emptier these days. Beyond the economic conditions, we might also be lacking some of the original mentality and purpose behind club culture. Looking back historically, scenes have grown through experimentation, community and people organising around a shared vision. Even if times are different today, many of the same challenges remain.

Where can we experiment with new solutions? What resources are needed? What is interesting to us?

Personally, I try to make sure that the art I create and release makes a positive difference in our surrounding environment. I’m still figuring out how I can have a positive effect and what I can do or contribute - alone or with a community - while taking my own limitations into consideration for now. Either way, I make sure to stay involved and up to date, supporting other artists and cultural projects as much as I can.

Tracklist

Kenneth Graham - Sunburn
Kings of Brazil - Dig a Dub
RDS - Slappy Whappy Dub
Earth Deuley - Black House
Cobblestone Jazz - Who’s Future?
zvukbroda - wozy
Luna Ludmila - Vibe Thang
Electronic Data Processing - Dancing In The Woods
D’Julz - Dusty Groove
Falko Brocksieper - Covert Action
DJ Spinna - All Niter
Route 8 - Modify Your Music
2D.NAME - RMBL
Shadowpeople - Intimacy
Len Lewis - King Kong
stbr x Davy - Hello [at]

Can you introduce yourself?

I’m David (35) - and the second David on here. Born in Costa Rica, I grew up in Rotterdam from the age of 4 and moved to Amsterdam (16 years ago) for theater school at the Amsterdam University of the Arts. As a side project/hobby, I am running a small community radio station from a wine shop Chenin Chenin, called Radio Chenin. Mainly focused on listening music, not club related. There are so many people with great taste in music who aren’t necessarily DJs. This is a kind of radio by friends and acquaintances for friends and acquaintances.

Where are you currently based?
Amsterdam.

Which record or moment started your musical journey?

I wish I could tell you some romantic story about the one record or magical club moment that started it all… but honestly, it just kind of happened naturally. I started going out when I was 16 and went through a lot of different music genres over the years, from cheesy dirty house at 17 and cringy jumpstyle to the electronic music I love today. When I was 18, I went to the festival I Love Techno in Ghent with a lineup featuring electro house DJs like Boys Noize, Justice, Crookers, but also artists like Underworld, Dave Clarke, and Marcel Dettmann. Maybe that gave me the first real glimpse but I was too high on pills to fully realize it at the time, lol. But moving to Amsterdam and discovering Trouw was really defining for my 'musical journey’.

Funny story: The first time I heard Shanti Celeste live was at her first performance at school, hosted by Elias Mazian, this was back in 2016, before she blew up. I was so impressed seeing her play only vinyl that I bought my first Technics turntables two weeks later from a hardstyle-hardcore guy in the south of the Netherlands. It took another eight years before I finally did something with them, lol.

How would you describe your relationship with music right now?

Funny enough, I asked myself this exact question a few weeks ago. It made me reflect on my own musical journey, and honestly, it’s a pretty personal answer. Since reshaping my life after turning 30, my connection with music feels more genuine. It’s less about just going out and more about discovery, deep-diving, and collecting. Back in the day, I mostly cared about the party. Sure, I loved the music and there were certain artists I liked, but sometimes it was also just a side thing, I wasn’t exactly curating or collecting a personal library of music or exploring it deeply.

NTS has played a huge role in all of this during corona, when clubs were closed, I’m not joking when I say it’s basically part of my identity now, haha. I listen to it every day. The morning shows by Spirit Blue, Jack Rollo, and Maria Somerville on NTS, for example, took me on proper ambient and alternative music journeys, and that calm, slow-morning energy shaped the music I like to listen to daily. It’s the vibe I look for in most of the records I collect and buy as well. By listening to and discovering other kinds of music, I’ve also started to re-approach club music differently and more authentically.

What was the specific mood or environment you were in when you created this mix?

I went to Empordà (Catalonia) in December to visit a winemaker I work with (I run a wineshop), mostly just to chill out and escape the pre-Christmas chaos at work. His vineyard sits on the slopes of the Pyrenees, an incredible, peaceful setting. I went on a four-day hike on the Spanish side of the mountains and brought a selection of ambient music with me. I wanted the hike itself to inspire the set, letting the landscapes, surrounding the walking pace, the climate and the quiet of the mountains guide the mood. I only encountered four people during the whole hike so yeah, it was peaceful, introspective and meditative.

Is there one track in this set that holds a special story or that you would like to highlight and why?

Antarctica by Windy & Carl is the track I’d highlight. The first time I heard it, time seemed to slow, and it’s the perfect tune for introspection; it’s meditative. You can get completely absorbed in it or even zone out entirely, and then it gently pulls you back into the present. It’s a bit like hiking: a slow, immersive journey. The track itself is 22 minutes long, and I used about 15 minutes of it in the set.. haha, it’s a proper ride. It floats somewhere between space-rock, drone, and ambient music, with most of its sounds coming from guitar.

What is your favourite soundsystem, and why?

I’m not really an expert when it comes to sound systems, but it’s always nice to see something like Kantorian Sound or Addit Audio in a space. At the end of the day, as long as it sounds good, I’m happy.

What defines the underground music scene right now for you?

Honestly, I’m not sure there’s really an underground scene left in Amsterdam. The city has a huge electronic music scene and consumption, which is great in some ways, but it also means people often stick to the more popular parties and clubs. A lot of events that started underground, even as raves, are now fully established. So is it really underground anymore? I went to a Club Cohesie party at the end of January just for 2 hours (it was from 1 PM to 11 PM), and for the first time in a while, it gave me those true underground vibes. Kind of what no.clubs used to feel like before they became more popular. Pos.Studio is another one which brings interesting initiatives and focuses on sounds that are less represented, like dub. And Kantorian Sound does cool listening sessions and occasional parties that I’d still call reasonably underground.

What would you like to do differently in the music industry?

Diversity is and will always be important on the dancefloor, in the organization and in line-ups! A lot of progress has been made, but there’s still room for improvement. Affordability is another big one. Going out is becoming a luxury, and unfortunately, that makes the scene less diverse. Club music originally came from resistance, pushing back against the (political) establishment, so it’s a shame when it starts to feel exclusive. I’d also love to see more cultural programs around club culture and its history, helping people connect with where the music comes from and why it matters.

What does ‘slow dance’ mean to you?

Slow dance, for me, is all about connection, with the music, the people, the moment and yourself. It’s literally about slowing down, reflecting, forgetting and just letting the music guide you. No rushing to the next thing, sometimes you just sit with it, like a 22-minute track, taking the time to really observe and absorb. And on the dance floor? It’s about lowering the BPM sometimes and feeling just how sexy it can be.

Tracklist

Elijah Jamal Asani - Goodnight in Muav
Enotea - Move
Windy & Carl - Forest Trails
Porya Tatami - Field
Sean McCann - Our days of generosity are over/arden
Aaron Martin & Machinefabriek - Cello Drowning
BJ Nilsen - Finisterre
Biosphere - Uva-Ursi
Windy & Carl - Antartica
Biosphere - Kyle
Biosphere - Sphere of No-Form
Demdike Stare - Matilda’s Dream

Could you introduce yourself? Where are you currently based?
I’m Stan, 34 and based in Den Bosch.

What is your go-to holiday country?
I wouldn’t say there’s a go-to country per se, but it has to be Asia. I knew the minute I set foot in Bangkok Airport it was love at first sight. And it indeed endured. But if I’d have to pick: Japan takes the crown.

Which record or moment started your musical journey?
The real start was probably listening to Sum 41 and Blink 182 on my mp3-player while skateboarding. I guess this started somewhere at the end of primary school. Halfway through high-school I gradually shifted towards electronic music. Vato Gonzalez’ Dirty House Mixtapes really kicked things off.

Any albums you discovered recently?
Blue Music by Jamie Anderson; broad spectrum tech-house from the early 2000s. Listening to albums (and pretty much anything non-electronic) isn’t really my thing. It’s always sets and stuff from machines that’s playing. Although I do think I’d make a good jazz enthusiast. There’s just too much good music.

What was the mood and environment you were in when you created this mix?
Playing always means navigating a tightrope between thinking and feeling the music. I can’t really work with playlists, genre tags or star ratings (trying notes on Post-its as we speak). Although I might group tracks that really do work well together, it feels forced most of the time. The spontaneity evaporates - especially with no crowd to bounce off of. At least, that’s what I presume (said Mr. no-gigs here). What follows is something that to me is as predictable as it is unavoidable: I cascade into getting in my head, overanalyze, and with a bit of bad luck, I’ll start trying my hardest to emulate others. It never works. The groove is not in the mind. It’s in the heart. Pun not really intended.

Trying to plan out this mix - I quite quickly found myself hitting a wall. I texted one of slow dance’s conceivers (Rik) asking him: “would it be okay if I write some words to accompany the set”’ That became the starting point for this mix. The cerebral part was condemned to paper - and what was left was applied to the turntables. In the end, writing and playing music are both about storytelling. Laying down the foundation for the set on paper, allowed me to really just be there with the music when I pressed the record button.

I knew I wanted the set to convey something about myself and cherished memories. I also take pride in being able to blend a large variety of genres. But if I’m being honest, 9 times out of 1, I end up taking a very maximalist approach which just makes things incoherent and dodgy. It makes me appreciate the absolute craftsmanship of the likes of Lord Joseph Richmond-Seaton and Sir Benjamin Thomson all the more.

For some years, the minimal bug has started to grab hold of me. I know, quite late to the (after)party, right? Though at times I can still find it boring-ish, it has taught me a lot about the common denominator in great sets. What is it that enthralls me in these sets that are really BIG or feel quite small? I think it’s not so much about playing the right records. It’s about the records you don’t play. In the end, I’m very happy with the selection. It’s music that means a lot to me, but I feel I’ve managed to not pick the most obvious cuts.

Is there one track in this set that holds a special story or that you would like to highlight?
This set is a reflection of my full music journey and all kinds of memories connected to it. If I had to pick one record, it’s the record that I’m most unlikely to play: the Tale of Us remix that defines my first party and festival experiences. But even moreso, it’s a tribute to a friend that tragically lost his life way too young. There’s music by those who started the music journey off for me, meaning Surgeon definitely got a play. Konduku couldn’t be left out, seeing as we worked behind the same bar for years. We even played some records at my place a couple of times. I don’t think I could even beatmatch back then. I remember thinking: damn, this guy is good. He even played me some of his own productions. Honestly, I didn’t quite get them (at all).

Turns out he already had a full release schedule laid out on a soon-to-be-born Nous’Klaer sublabel. There’s Moodymann - the man responsible for me meeting two of my best friends (shout out Noir & Haze - Around [Solomun Vox Mix] for those who know). I think this recording is also the first time I played one of my Traumprinz records. Although some friends are trusted Giegling devotees, I simply just sharked those records for Discogs gains back in the day. It wasn’t until I saw Dustin (b2b Fred P) for the first time at Dekmantel ’25 that it hit me: these guys were onto something all along. There’s a Chez & Trent white label that Antal put in my hands at the Utrecht Record Fair. And of course the ID I got from PLO Man after sending him a fangirl love letter after his Dekmantel set in ’23.

What is your favourite festival?
Any guesses based on the above? Right, it’s Dekmantel. I’ve been to the Amsterdamse Bos every year since its conception (alright, maybe I just missed 1, including the most legendary set ever (BS x PSS)). It’s a yearly gathering of friends. A group that has grown each year through the love of music. It’s the line-ups. It’s the best stage in the world (Selectors). That tree will never not be etched into my mind. It’s cycling through the rain. It’s the feeling of coming home.

What would you like to do differently in the music industry?
I guess I’d love for everyone to experience music more as a continuous experience than singular dopamine rushes. Less hype, more slow dance. Less talking on the floor, more talking about music with your friends off the floor. More finds. More sharing. More collective joy in the silly simple perfection that electronic music can be.

What does slow dance mean to you?
Slow dance for me doesn’t mean delving into an archive of jazz, acoustic music or drawing inspiration from my dad’s huge classical music collection. To me, it’s been a chance to connect musical memories, genres and friends in a set that challenged me to condense some 15 odd years in just a bit over 2.5 hours. But mostly… It’s an absolute honor to have been asked by these friends to contribute the first mix to this series.

Tracklist

Mammo - Absorb
Savvas Ysatis - Alright (Surgeon’s Keith 4 Nat Mix)
Konduku - Kenar
Noah Pred - Converge
Point G - Land 2
Moodymann - On My Way Home
DJ QU - In Trance
Audri - Background Radiation
Routine - RTN-01 B1
Detroit Grand Pubahs - Dr. Bootygrabber
Truss feat. MPIA3 - Auden
Simple Elements - R-E-C
MBC - Quality
Gemini - Where Do I Go (1997 Mix)
Calibre - Break That
Pinch - Qawwali
Mano Le Tough - Primative People (Tale Of Us Remix)
No Photosynthesis - Just Wanna
Chez N Trent - Morning Factory
Argy - Love Dose
Steve O’Sullivan - Interchangeable Patterns II (B2)
Exos - Áttfalt (ft. Octal)
Franco Cangelli - Taking The Next Cloud (Sven’s Taking Back Mix)
Ricardo Villalobos - Que Bel Epoque 2006 (Original Mix)
Marco Zenker - Woble (Original Mix)
A_A (Satoshi Tomiie) - Vert
Yaleesa Hall x Malin Genie - Coronal Loop
Boris Werner - Whooos In Control
Chris Sattinger - Patience Is The Antidote
Mental Overdrive - You Gotta Believe (Original Mix)
Circulation - Green (Mix B)
Ralph Session - I Know You Can
Burnski - The Way (Original Mix)
Jamie Anderson - Rebel Sound
Objekt - Unglued
Traumprinz - Say Or Do
Kraftwerk - Tour De France (2009 Remastered Version)
M.I.S.T. - Outer Space