Updated: May 22


Ferenc E. van der Sluijs aka I-F © Wikipedia

A prolific DJ and producer since the early 90's, I-F runs the Viewlexx and Murder Capital record labels, scored massive underground hits with his "Space Invaders Are Smoking Grass", "I Do Cause I Coudn't Care Less", and "Playstation #2", and was part of Unit Moebius and Parallax Corporation among others, and is also one of the main figures in the Dutch West Coast scene.


Having a pirate radio background, he also started the Cybernetic Broadcasting System online stream which "developed" into Intergalactic FM in 2008, and since then streams 24/7 with three different main programs and TV.


One of our European correspondents, Jacek Janiszewski, had the honour of chatting with him on the phone about the Intergalactic Festival, which was planned to be taking place for the third time in The Hague this weekend, featuring among others, Cosmic Force, Nukubus and Drug Culture, but because of a well known global incident, the party will come to you as a stream instead. Let's get started with the interview!



Jacek: Hi Ferenc, you're super busy with preparations I guess?


Ferenc: Yes, with videos. It got out of hand...again!



It's 97 artists, isn't it? That's a lot.


Yes we're just about South of one hundred. Some artists had to cancel because they couldn't record or didn't have time. Other ones came along instead. We recorded a couple more at the Panama Racing Club today. We're still kind of bummed out that we can't do this year's festival for real, because it was going to get really good. We had amazing artists, and also our organization got a bit more improved, compared to last year. We learn from the mistakes we make. Last year was already pretty good and this year would have been great I think. We're absolutely not going to change any of the feel of the festival or its idea, but things like organization for example. Each stage was getting its own floor manager because I can’t do everything on my own.


The hard core of the team is Igor and me. We both do the videos, the streaming and editing.

Someone else did all the graphical stuff, the overlays. Fancy animated name things with the location of the artist playing, so people can see who it is they’re watching. That will appear a couple of times on the screen. Another person did a lot of conversion for us and helped out with those tags.


With the overall radio activities there are usually about four people continuously around, and then some extra people are doing graphics and server stuff. For the festival stream we rented some extra computer power, because our own server will not cut this. So when you tune in in Japan, you tune into a server in Asia and the same for USA, and so on.


Our own dedicated server is not the newest one, but for our day to day struggle it's all fine for the television and radio. Everything is hosted elsewhere. Website is a separate server, we have a server for the chat, one for the downloads. It's all pretty solid. But if we get heavy loads on the TV server, I'm pretty sure it's gonna crap out. We expect a lot of viewers, especially in the beginning, and it would be really silly if the server blew up within a minute.


Last year's Top100 stream, I actually don't know how many people were there, but at a certain point it starts to sweat and we want to avoid that.



Do you remember the very first track that was played on CBS back then? The one that started everything.


No, but I do remember it was at my old ghetto flat in Delft, and I also remember that there were ten listeners or something like that and I had a direct line with Marco Passarani back then, he did also some stuff. It started off very small from one day to the next. I don't remember which track it was, but it must have been something Italo. We came a long way from there.


I-F live at the Intergalactic Festival © Discogs

Having the three separate streams on Intergalactic FM compared to one single stream of Cybernetic Broadcasting System you had before, the music style stayed basically the same, only now it's split over three separate streams. So it doesn't appear to be a huge alteration to the concept, still you went for it. And in hindsight, did it make a big difference ?


It is a difference, because we can concentrate better on certain styles of music. The styles we play on the three stations. We also had four stations at a certain point. We've always been working on getting it better in the end. I'm not afraid of changing, you know, because you can always do better and add a bit more oversight. And on top of that our database with tracks grew enormously. We have so much music here that is on rotation, if we put that all on one stream, you would never hear anything basically. So that's why we had to divide it.


But CBS (one of the three Intergalactic FM streams still carries the name) sometimes does its old style thing. I mean we had for a couple of months what I call Classic CBS, there was also the disco and the soundtracks playing in the stream. And now it's a bit more back to the electronics: Dark Wave, Electro, Techno, Chicago. Concentrating more on that, I think that fits all very well. And Dream Machine is all the soundtracks and obscure electronics. It does also very well.


It seems that people absolutely love that concept. And Disco Fetish is of course disco fetish, there's still really good stuff being discovered. The whole 7" scene and obscure album stuff, you know like a track 3 on a B side that really rocked, we don't want to miss out on that.



What I also like about your radio is that the track ID's are all there for anyone who listens.


Yes. By the way, Intergalactic FM is not mine anymore, we made it a non-profit organization, so that it is an entity of its own. This way it's also easier sometimes to get funding. I mean the festival, we get help from the city council, they sponsor us a bit.


Where there's people, there's stimula. It is as old as people are. They are all doing something. You will never ever get rid of that. There's always something.

Nice that there's a bit of recognition and support from official places. Has Intergalactic FM ever been approached by Dutch radio to do something on the ether?


No, not recently. I used to play heavy Acid and Techno at night on national radio in 94/95. It was still possible back then. Now the national radio here is all sold out. It's so bad. There is a bit more now regarding public radio stations and local stations of course. And there's stations for young people, but there's too many rules involved with that, and I absolutely do not like that, because it messes up our concept and it will get in the way of playing good music.


There's too much politics involved. If there's one thing not an issue on Intergalactic FM it is politics. I mean, I don't need to like you to play your track if it's really good. You know what I mean? We don't care about that sort of thing, and that's why we call it Robots for Robots, so we don't have issues like gender and race and all those things that get people silly.



Makes sense, especially if we take into account the background of it all, where you and the people around the radio come from, the alternative scene, squatters and all. Which reminds me of the Acid Planet parties. Apparently there was homemade LSD distributed at the parties. Did that always go well ? I mean people tripping having those harsh sounds and dark atmosphere surround them. No freak outs ?


Everything went well, you know as long as you don't have enforcement gorillas all around. Those are always the aggressors. If you just have public and good music and not too many rules, shit goes. I've been DJ'ing for, well, forever I guess, and the festivals and clubs where I play, the really nice places, there's never any problems. I mean, never say never, some shit was perhaps going on that I don't know about, but the atmosphere has been great for the last thirty years.


If you go back in time, hundreds or thousands of years, all the people, from the Mayas to well you name them, all kinds of tribes and they all had their thingy. One tribe was chewing on something, the other one was smoking, the third one made an elixir and drank it, the forth one ate mushrooms.


Where there's people, there's stimula. It is as old as people are. They are all doing something. You will never ever get rid of that. There's always something.



A human thing: the desire to alter the consciousness or perspective on the world.


Yeah, nothing is as fake as reality. Reality sucks. Watch the news and get depressed.



Just another interface, reality, isn't it?


Totally another interface!



Also the drugs have changed a bit.


Yeah, Holland is getting Crystal Meth distributors, I read in the papers today. That's bad shit, really.



When you think of the Electro revival in the 90's, is it comparable to what's happening nowadays?


For me it has never been away or hip or not hip, because I grew up with that stuff. The Rap, the Electro from the early 80's, that went hand in hand for me with Italo and some Wave stuff, electronic stuff and the hardcore disco sounds of the 70's.


For me that was like one thing. The whole philosophy is: A good record is a good record, and that's why I'm a bit weary of thinking in styles. It's all Techno to me. When I grew up at school, you had people actually really looking like wavers, others looked like discos, you had the punks, you had the rockers. You could often tell the music somebody listened to by their appearance. And that is a bit less now and I don't know if that's good or bad. That's not really important, but what I do like and which I think we managed, is to break through all the squares of styles, and that people started to appreciate music for music. A good track is a good track. It's as simple as that, really.



Thank for your time, good luck with the stream!




Updated: Apr 10


© Luxus Varta official/Facebook

Luxus Varta has become one of the most sought after names in the Electro scene over the last few years. With releases on international labels such as TRUST, brokntoys, or Shipwrec to name a few, Emeric Di Paolo's refined yet elusive Electro project is easily one of the most refreshing to come in a long time. Dreamy, melancholic, and profound, his music transcends time and space in a way that leaves you spellbound, reflecting on some of your deeper and perhaps least understood feelings as you drift away into his mystifying and brooding atmospheres.


In this interview, we take some time to speak to this amazing French artist, who tells us about his early beginnings in music and life, his approach in studio, and how he came about meeting his most trusted ally, the one and only Paris The Black Fu of Detroit Grand Pubahs, with whom he shares a rather profound musical journey and passion with, as witnessed in the most recent works by their duo Techmarine Bottom Feeders. Let's begin!



Welcome Emeric! We really appreciate you taking the time for this interview, I absolutely love your music! Let's talk about where that all began for you...what was the catalyst for you starting your path in music? Who would be your main influences?

Thanks for your interest, it’s always a pleasure to talk about music! It was just a good feeling, music was the most suitable artform to satisfy my brain, and it came at the right moment: I’d been invited by a Punk-Rock band in the early 90’s to be the drum machine guy. Then a friend of mine bought a drum set and started playing with them. Unfortunately, he had a serious accident and was not able to play drums anymore, so he asked me to replace him. I became a musician by a cruel hazard!


At the beginning, I was really into Punk-Rock and hardcore stuff. The Dead Kennedys and Nomeansno were my favorite bands at this time, but the Pixies came to my ears a bit later, and I must say that it was one of the most pleasant slaps in my face ever!

So when did your passion for Electro begin?

In '99, when I bought my first gear (MC-303). I thought that this groovebox should be useful to record my own ideas. It was not exactly a passion for Electro, it was more something funny to complement the works with my band.


I remember when the Grooveboxes came out! Great times, that was the height of the Rave scene for me. Were you a part of that culture at all in Europe back in the 90's, maybe early 2000's by the way?

Not really, I found Electronic Music interesting to experiment with drugs, that’s all. It was like a recreation after an intensive punk week. As a drummer, I remember that Jungle was one of the best surprises of the 90’s!


What do you see as the main differences between the European Electro scene, and the American?

Hard to say since I don’t listen to Electro so much…to not listen to the style you are playing is the best way to keep your own signature IMO.


I absolutely agree! Haven't met too many other artists that seem to feel that way, usually scenes tend to be rather purist. So what's the state of Electro these days in your view? Does it really seem to be on the rise?

I guess that Electro is still in a constant state, strongly supported by a community of passioned people. It’s such an “open genre” to bring a renewal around there. But nothing is really on the rise today (apart from human stupidity). We are experiencing a period of stagnation where we try to reproduce all the things that have been already made in the last century. It’s quite depressing but exciting as well, because we must reset what we know and start again from scratch.

Paris The Black Fu and Luxus Varta aka Techmarine Bottom Feeders © EPM Music

You have a close musical relationship with Paris The Black Fu of Detroit Grand Pubahs, how did that come about? Where did you guys meet?

I met Paris in 2005, I was working in a records shop where he used to come often. He was looking for a drummer for the next DGP album, so we went in the studio, and we found that our vision of music was close. I learned a lot from him about Detroit and Electro, it was a very inspiring time. I remember when he gave me a CD of Dopplereffekt, and I thought after the first listening: "OK fine, I don’t need to have more Electro background than this!". Then I finally joined DGP, and we started to work on TBF in parallel.


Speaking of Techmarine Bottom Feeders, I am really enjoying this new collaboration with you and Paris. I know for Paris this has been a long time in the making, and a milestone in his own personal musical evolution. How did this personally come about for you, and do feel as if this is also an evolution for you as an artist?

Of course it’s an evolution, because it’s the first time I collaborate with an electronic artist on a whole album. I like to think of TBF as a complement of Luxus Varta. I mean, I couldn’t get this specific atmosphere alone, and the two projects are sounding very different. TBF brings me some fresh air when needed.


...we try to reproduce all the things that have been already made in the last century. It’s quite depressing but exciting as well, because we must reset what we know and start again from scratch.


Let's talk studio techniques. Are you more software oriented, or perhaps hardware? Tell us about your process in-studio and how a track begins in your personal process.

Definitely hardware! I feel like a sterile grain with softwares…I never heard one sounding as deep as my analog gears. I only use EQ plugins, and sometimes a few FX as post-recording adjustments.


I usually begin with drum and bass, it’s a classic way to do it from the time I was practicing with my bassist friend. Any subsequent inspiration will depend on the drum sounds. I could spend a week working on them. It’s a long process because I’m never satisfied at 100% obviously. Then comes the bassline which is often revisited later after having found the right melody.


Your music to me has this gloomy, often dreamy atmosphere that is in many ways, a common undercurrent in your songs. Where do you draw inspiration from to write the way you do?

It’s all around me, around us. There’s no reason to be happy when you look at the world today! Music helps me to live in a daydream state to fight reality, trying to find the right balance between joy and sadness. It’s a natural temperament for me, I was born melancholic.

Luxus Varta - Everything Is Nothing (Solar One Music, 2015)

Who are your favorite Electro artists at the moment?

Gerald Donald, Maelstrom, Djedjotronic, The Exaltics, Umwelt, Morah, Privacy, SC-164, Lost SoundBytes…



What about your favorite non-Electro artists?

Pixies, Sonic Youth, Yo La Tengo, Ween, The Stranglers, Talk Talk, Giacinto Scelsi, Morton Feldman, Arvo Pärt…Well I know, they are all old or dead ☺


What's in store for the future? What releases do you have planned?

I just launched my own label, "In Abstracto", to release my most personal works. The first EP "Born Sad" is out now. Then I have two vinyls on the way for June and October.



Sounds wonderful, can;t wait to hear those. Thanks for your time, and best of luck with your projects.



Listen to Luxus Varta's newest release, "Born Sad", out now on In Abstracto and available for preview below:




Updated: Feb 7


Johan Sebastian Bot aka DVS NME © DVS NME

Over the years, DVS NME is a name that we have all come to know. As a tireless supporter of all things Electro music, whether it be through his various social media outlets, his weekly radio show Dark Science Electro, or his timeless (and absolutely alluring) musical adventures through many of the best labels out there, this is one artist you simply listen to...through and through! He knows his stuff, and we are here to let him speak about how it all started for him, how he sees the growing Electro scene these days, and what he has been doing about all this great new gear coming out recently.


In this in-depth interview, we get to learn all about the man behind the iconic artist, and one of the few people that can truly hold the title of ambassador of Electro music. Let's get started!



Welcome! Lovely to get to do this interview with you, it's well overdue. I am a huge fan of your music, and I think everyone will agree that we all want to know where this all comes from, how it all started. When would you say music first became a thing for you?


As far back as I can recall I’ve always been drawn to music in one way or another, whether it was playing with a random instrument any time I was in the same room as one, or soaking up influence from the music my parents played. Both of my parents were into some great music in the 80’s, and that impact on my interest in music couldn’t be overstated. David Bowie, Duran Duran, Fleetwood Mac, Depeche Mode, Blondie, Billy Idol, and others really helped to shape my initial interest in music at an early age.


I didn’t really become an individual consumer of music until about the 5th grade. That was when I had the ability to buy things with the money I made from mowing lawns in the neighborhoods of Southern California. First CD I ever bought was ‘Memorabilia’ by Soft Cell, and it kind of snowballed from there. Just a few years later (by way of my older brother and his friends), I would be introduced to Industrial, Goth, and EBM, which would also help to shape my sound as a musician as well as my direction in deejaying.



Sounds like Electronic Music was an eventual progression for you then?


It was only really around the time that I started collecting my own music that a different kind of Electronic sound came into focus for me around the age of 11. I was lucky enough to have had Los Angeles public radio to help in shaping my opinions on music. Pioneering Hip Hop artist Kurtis Blow used to have a show every Sunday night called ‘The Old School Show", and that is really where it all started in terms of my obsession with Electro music.


My first glances came in the form of Egyptian Lover, Afrika Bambaataa, Kraftwerk, Art Of Noise, George Clinton, T La Rock, etc. I absolutely owe a massive debt of gratitude to Kurtis Blow (and Power 106 FM) for that, as I believe that his show helped to change my musical life more than any other person. This time also represented my first interaction with the idea of deejaying. Listening to this show, I would make pause/play tapes of my favorite tracks, and sell them to kids at school, or give them away to my friends. I can pinpoint that time in my life as the moment that I decided that I wanted to influence the music taste of every single person I came into contact with for the rest of my life.



Interesting to think Kurtis Blow was such an influence to you. He's a great man, and a great musician and pioneer for sure!


Switching gears a little, were you a part of the Rave scene at all by any chance? Ever attend one?


Not even once. I’ve never been a fan of Techno, House, Jungle, Trance, D&B or 98% of what was being played at those events, so I opted out and lived vicariously through my friends instead. By the time I came of age to attend shows, my focus was more on Industrial/EBM and Post Punk. I spent my teens at Goth clubs in Hollywood like Coven 13, and Dungeon. From about the age of about 15 through 19, I was obsessed with bands like Bauhaus, Front 242, Joy Division, Front Line Assembly, Siouxsie & The Banshees, and the like. It wasn’t until the emergence of "Electroclash" that I started to take interest in the idea of returning to the funkier Electronic side of my established music taste.



Considering you are perhaps one of the most tireless supporters of the Electro sound I know, when would you say your love affair with this particular sound began?


There are two answers to that question. The first one is the one I like to tell more. I would say that my love affair with Electro music started before I even knew that I was listening to Electro. The first track I was obsessed with that, in hindsight, was clearly an Electro beat was "Tootsee Roll" by the 69 Boyz. I got the CD single and listened to the instrumental until my older brother wanted to murder me because of the repetition. I didn’t know why I liked it but I knew there was something. That is the first time I can recall loving an Electro beat to the point of obsession, however, my current level of obsession with Electro started in early 2000 after Electroclash made itself known to me.


The release of Miss Kittin & The Hacker’s "First Album" really tipped the scale for my tastes away from the Goth/Industrial dance stuff, to a never-ending quest to know everything about Electro music. Here we are 26 years later, and I love it every bit as much as I did when I had "Tootsee Roll" on repeat for months in the summer of 1994.


DVS NME - Trans-Asia Express (2019) © DVS NME

You have a new album that just came out a few months ago, and it is quite a masterpiece I must say. Your love for Electro comes through quite strongly on this one. But what I really appreciated was not just the music or even the concept of Nyotaimori, but the usage of Japanese and Chinese musical scales.


Did you find it difficult to work with non-traditional scales?


The entire concept actually happened by accident. I have been using an iPad to make music for years, and I acquired an app called "Gadget" by Korg. Not only is this application an extremely powerful digital audio workstation, but it had a functionality that I had never experimented with, which was isolating a key scale in a way that removed all non-applicable notes from the keyboard roll on the screen. I found myself immediately drawn to Japanese, Chinese, Gypsy, Arabic, and Egyptian. Something just clicked in my brain when I walked up and down the scales. It led me to my most productive year in producing music in 2018.


Many of the tracks on the album were made during that initial exploration phase of the feature. Many more in 2019 would follow in that same spirit, and lead to my second most productive year. By the middle of 2019, I thought it was about time that I put something out officially, as I was collecting tracks at an alarming rate and hadn’t attempted to sell my new original music since 2013. "Trans Asia Express" was born out of that after I picked out my favorite tracks written using Chinese or Japanese scales. I kind of felt like I was hoarding my tracks and it was getting to be a bit unhealthy, so I just self-released the album on Bandcamp as an act of catharsis.



Talk about your process in-studio. How does a song begin for you? Where do you draw your inspiration from to write?


My process changes regularly. I make a habit of rearranging the synths in my studio to ensure I don’t get stuck using the same machines for certain sounds just based on sense memory. The same thing for applications on the iPad. I am constantly downloading new apps to trigger a different creative response as every app has a new impact on the way I will approach the production of a song. I draw inspiration from everything in my life. My 5-year-old son, my friends, family, the weather, disappointment, anxiety, hope, successes, and anything in between.


Naturally, I would be lying if I said that the Electro music I spend my time promoting through Dark Science Electro doesn’t have an influence on my music as DVS NME. I think it is fair to say that it would be impossible for me not to be influenced, given the sheer amount of Electro promos I listen to on a weekly basis. I write my best music when I don’t push myself or force time in the studio regardless of the initial inspiration trigger.



I agree 100%, let the creative process flow on its own! So tell me, you have been getting quite a bit into some of the latest hardware releases like the boutiques from Roland. Which instruments have you acquired, and which are you eyeing lately for the future? Do you find hardware more inspiring than using plug-ins and such?


Correct! I have acquired the TR-08, SH-01, JP-08, TB-03, JU-06, SE-02, JX-03 on the Roland Boutique front. The other machines I use are the Arturia MicroFreak, MicroKorg, Roland TR-8S, and Yamaha Rm1x. All of those synths are controlled by an external hardware sequencer called "Engine", made by a Texas company called "Social Entropy".


The synths on my wishlist right now are the OB6, Prophet 6, and the Deepmind 12D. I mean of course, the list goes deeper than that, but those are the only three that I am seriously considering without selling any of the ones I currently use, which I have no intention of doing.


From a production perspective, I don’t find hardware to be any more inspiring than what I would do inside of Reason or with the iPad. My creative brain is really engaged by the architecture of the synthesizer as well as presets that come loaded. I’ve never been that asshole that thinks that using presets is an indication that you are somehow less creative than someone who would sculpt every single sound from the ground up.


The biggest difference between the hardware and software for me personally is how much fun I have when I am creating a track. If I’m using a DAW, I tend to be laser-focused on making a song. When I sit down in front of my machines I don’t necessarily have an endgame every time. I’m content to tinker and just have fun jamming/making strange noises. Something about the tactile nature of touching sliders and knobs has a unique impact on the way I approach music production.


I draw inspiration from everything in my life. My 5-year-old son, my friends, family, the weather, disappointment, anxiety, hope, successes...

What is the state of Electro music in your opinion? Are you really feeling the upswing in popularity via your show and releases?


I feel like we are in a better place than we have ever been as far as overall optics for the genre are concerned. More and more people are trying their hand at making the music which I love to see. Digital platforms like Bandcamp allow for consumption to be easier than it has ever been, while at the same time compensating artists as fairly as possible. Additionally, I’ve never seen so many gig flyers circulating online I think ever in the ten years I’ve been watching closely. There are a lot of signs that point to a healthy subculture, and my outlook is positive overall.


As far as if I am personally feeling that upswing, this year was the most listened to year ever for the DVS NME page on Soundcloud coming in at 850,000 plays, which includes my personal tracks, premieres, Dark Science Electro weekly show, as well as my Post Punk Affiliated series. Additionally, all of the social media accounts that are related to the DSE outlet grew by thousands. People are seemingly more interested and increasingly engaged in what is happening than I have ever seen. On the flip side, there are obvious concerns about how little financial return on investment 97% of labels/artists are seeing, but that is a tale as old as time within Electro.


As far as I’m concerned, you either accept it as a passion that you can’t live without regardless of financial gain, or you fuck right off and save yourself the frustration and self-loathing. Expectations of making a solid living off this genre are reserved for maybe 3% of those who participate in it. Maybe. Anyone who has ever approached me about making Electro music and asks if they should, I always ask them if they are okay with never making a penny with their music. If they say “No, my intention is to make a living”, I wouldn’t be able to tell them fast enough to look elsewhere.


This music is and will probably always be underground and will only ever subsist off the backs of people that grind tirelessly and selflessly to get this music heard. I’m proud to be one of those people and will continue to scream Electro from the rooftops until I run out of breath.


At the end of the day, he's just as big a fan of this as you! © DVS NME

Who would you say are your top 3 biggest influences as far as Electro music is concerned?


Gerald Donald, Anthony Rother, & Morphology



What about non-Electro artists. Who would you say have been your biggest influences?


From a contemporary pool of non-Electro artists, I would say Drab Majesty, Part Time, & Black Marble are my 3 biggest influences. People can check out my "Post Punk Affiliated" series of mixes on Soundcloud if they are interested in the New Wave, Goth, Minimal Synth, and Shoegaze feel.



Let's talk about the Electro chart you have been doing. What goes into it to keep it transparent and what has been the overall response?


The Dark Science Electro monthly chart started in the middle of 2019 as an attempt to measure the most popular tracks, and organize them into an easy to digest chart with links for easy purchase by the casual consumer. In addition, the chart has a non-stop mixed version that takes the place of my weekly podcast once a month.


The transparency aspect of the chart goes like this: It is compiled using publicly available data from sources like weekly podcast plays, personal charts, one-off playlists from leading Electro DJ's, as well as sales data and media coverage. Each of those categories is given different weight as to how they will impact the chart calculation. So ultimately I comb through a ton of data and aggregate that info into an easy-to-consume ranking of the 10 hottest tracks of that month. I’ve always been open to the idea of including as many viable sources for the data as possible. In fact, I spent a good amount of time engaging with fans before I decided to move forward with the idea, just to ensure I didn’t miss any sources that would skew the results.


The key to the transparency aspect is publicly available data being used. My personal opinion doesn’t inform the chart any more than the DJ's that are respectful enough to publish the playlists that I get my data from. The overall response has been great outside of some initial pushback from a small handful of folks within the industry, but never from the fans.


The mix and the chart page itself get decent traffic, and I know for a fact (from feedback) that this process has led to the consumption of the music promoted on the chart. Ultimately my main goal is to remove all purchasing barriers for the consumer to make the music as easy to consume as possible. I understand that not everyone has the time to listen to the amount of Electro that I do, and that some people rely on my output as Dark Science Electro to inform their purchasing decisions. This is just an extension of DSE to get Electro music into the right ears, and to get the artists paid for their work.



Sounds like a huge responsibility! I know your efforts all around are greatly appreciated though. Before we finish, what's in store for the future? Any upcoming releases or remixes?


No immediate plans for releasing anything in 2020 quite yet, though I did produce 47 unreleased tracks in 2019, so I definitely have some songs ready to go if the right label was to approach me.


Great to hear. Best of luck with all your endeavors! Thanks for all your time with doing this interview.





Also, in case you missed it, here is DVS NME's feature for Electric Kingdom's archive series:



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