True Techno Podcast

© 2026 True Underground. All rights reserved. Pan-Pot discuss sub-bass physics, Minimoog Voyager sound design, and their dual-label evolution across SECOND STATE and HUMAN. Pan-Pot, the Berlin-based techno duo of Tassilo Ippenberger and Thomas Benedix, have detailed their production acoustics, sidechain mechanics, and label philosophy in an extensive exploration of modern club dynamics. The discussion accompanies their live recording for episode 111 of the True Techno mix series on SoundCloud and the dual-label release of Everytime. In the humid intensity of a Munich night, the dancefloor at Greenfields pulsed with a raw, collective force that Pan-Pot know intimately. Tassilo Ippenberger, one half of the duo and a native of the surrounding area, describes it as something close to a home game. Their recent live set for the True Techno mix series captured that energy from the first track, the crowd’s enthusiasm translating into an unrelenting momentum that leaps off the recording. “It was intense from the very beginning. The Munich crowd is always incredibly enthusiastic, and you can really hear that energy in the recording. It gave the set a strong momentum right from the opening track… That connection made the atmosphere even more special, and we think it translated very naturally into the recording.” That same drive for physical connection and hypnotic immersion runs through their latest single, Everytime. Released jointly across SECOND STATE and HUMAN, the track is built around a hyperdriving vocal sample that functions less like a traditional arrangement anchor and more like a mechanical centrifuge, spinning the listener deeper into the groove with each repetition. The spark came from a shared love of loopy, hypnotic house records. “We wanted to capture that same kind of energy, where a simple element repeats and gradually pulls you deeper into the groove. When we found this vocal phrase, it immediately did exactly that for us. It has this addictive quality and creates a relentless forward momentum without needing to say too much.” Processing the sample demanded careful restraint. The vocal itself remains direct and unadorned, while the space around it shifts through subtle filtering, effects and placement. Other elements drift in and out, ensuring the loop never settles into stasis. “The key was to keep the loop simple while constantly changing the space around it… That balance was important: it had to remain hypnotic and relentless, like the classic house loops that inspired us, without becoming static or exhausting.” Pan-Pot on Minimoog Synthesis and Low-End Control Beneath the vocal chaos sits a low end of precise weight and punch. Both the sub-bass and mid-bass layers were crafted entirely on a Minimoog Voyager, heavily sidechained to the kick, with frequencies below 30 Hz cut for control. The bass remains strictly mono, refined with EQ and iZotope Ozone’s Impact and Clarity modules, guided by a trusted co-producer whose critical ears proved essential. The result is a track that feels both heavy and agile, rooted in house yet unmistakably Pan-Pot. While the release bridges both of their platforms, the duo are clear about its true home. “Everytime is very clearly a HUMAN release. This track represents the direction in which we want to take HUMAN moving forward. It is direct and powerful, but also loopy, playful and strongly rooted in house music. That balance feels very true to where we are creatively right now.” Fans can stream and download it now on Beatport. HUMAN emerged as a deliberate response to the fragmentation of modern club culture. Sets have grown shorter, genres narrower, and attention often drifts from the collective experience on the floor. “Clubbing has become faster and more fragmented. With HUMAN, we wanted to create a space that brings attention back to the essential experience: people connecting through sound, losing themselves physically and trusting the full journey of a set. It is our response to

© 2026 True Underground. All rights reserved. True Techno 110: Introducing Praecox. Jerzy Przeździecki’s Thirty-Year Journey Through Industrial Electronics and Buchla Sound True Techno 110 arrives as both a mix and a map. Warsaw producer Jerzy Przeździecki, working across the names Praecox, Epi Centrum and his own, steps into the True Underground series with a recording that traces more than three decades of electronic music. Released in August 2026, the set gathers material from his principal projects and draws a clear line from the radical energy of 1990s Polish underground culture to the hardware-focused experimentation that defines his work today. Key Takeaways True Techno 110 was assembled by Jerzy Przeździecki as a purposeful passage through three production identities, successive eras of his career, and the shifting styles that formed his approach over thirty-plus years. Buchla modular instruments, the Triple Morphing Filter and carefully controlled acoustic feedback networks provided the core tools for the dense, unsettled textures heard on his Epi Centrum releases for Trapez and Affin. A new album under the name Jerzy Przeździecki, drawing on Detroit techno influences, is prepared for release on Poland’s IDO Records in autumn 2026. Picture Warsaw in the 1990s: the National Stadium market thick with residual tension, heroin a visible presence on the streets, organised crime simply part of the city’s fabric. At the same time, strobe lights cut through LSD fog in clubs, illegal parties flared in surrounding forests, and the Academy of Fine Arts operated as a permanent engine of rebellious ideas. Cassette players ran constantly in the studios. Students staged events that regularly escaped official oversight. From that charged atmosphere stepped Jerzy Przeździecki, a producer who has spent his career refusing simple labels, moving between the identities of Praecox, Epi Centrum and his given name. True Techno 110 captures that restless movement. The mix is not a standard selection of tracks but a carefully plotted route across thirty years of changing sound. I have to admit I spent quite a bit of time thinking about its concept, especially in the context of my work as a producer. In the end, I decided to create a musical journey through my three artistic identities, different periods of my career, and the styles that have shaped my sound over the years. In the mix you’ll hear tracks by Epi Centrum, Praecox, and Jurek Przeździecki. I hope this journey through more than 30 years of my musical evolution will be enjoyable both for you and for the listeners, while also giving them a chance to discover the different dimensions of my work. Post-communist Warsaw still carried the weight of the previous decades. Forest raves, specialist record shops and the Academy of Fine Arts together created an environment where radical thinking was everyday practice. Music filled every studio space. Inside that setting Przeździecki’s own direction took shape. Early listening had centred on punk and hardcore; those influences slowly opened onto Throbbing Gristle, Psychic TV, Nitzer Ebb and Cabaret Voltaire. The shift proved decisive. For the first time he felt compelled to produce original work and establish a personal voice. An Atari computer and a modest collection of machines became the tools for his first experiments. The Academy also housed Blue Velvet, a network of basement rooms that absorbed him for days at a stretch. Events ran throughout the week and drew overlapping communities. There he encountered Tromesa, already respected on the international psy-trance circuit. The partnership that followed produced Bigwigs and launched years of worldwide travel. Viewed from the present, the progression feels continuous rather than accidental. Punk, industrial, psy-trance and today’s experimental techno each added another stratum to a single ongoing narrative. He has never sought membership of any one scene. The search has always been for an

© 2026 True Underground. All rights reserved. Petru KSS: Raw, Hypnotic and Pure on True Techno Podcast 109 Corsican electronic music producer PETRU KSS delivers an expertly curated 33-track set for True Techno Podcast 109, released on 24 June 2026. The broadcast integrates his performance philosophy with material from his debut album, Kolibri Live LP, recorded during a continuous live take at sunrise on a remote Corsican hilltop. His long play anchors his hardware-centric framework developed under the mentorship of Richie Hawtin at the University of Huddersfield. Key Takeaways PETRU KSS developed the THRiPPS performance system while holding the Richie Hawtin PhD Scholarship in Electronic Music at the University of Huddersfield. The debut album Kolibri Live LP acts as the central proof of concept for this ongoing live performance research. True Techno Podcast 109 performance compresses a multi-hour club timeline into a focused 60-minute intense progression. His core aesthetic framework WYHWYT completely removes digital screens and mouse interaction from the live workflow. The album’s raw multi-track recordings were engineered by Hannes Bieger and mastered by the Calyx engineering team to preserve performance volatility. PETRU KSS anchors True Techno Podcast 109 with a performance that highlights his hardware-focused sonic philosophy. This broadcast represents his deep technical expertise into standard club environments. By prioritizing narrative flow over standard club trends, his curated selection creates a direct link between his live energy and club dynamics. The performance directly expands upon his debut long-player, Kolibri Live LP, which was recorded under extreme environmental constraints. For the album, PETRU KSS carried his production setup up a remote Corsican hillside in total darkness to capture a continuous sunrise take. Managing heavy equipment in shifting temperatures and high humidity introduced random variables that actively shaped the recorded material. “The whole set is alive because I felt alive. Past the preparation, physical effort, low error margin related to time and setup, when the set starts, it would just be ‘finally, it’s time to enjoy!'” The structural backbone of this project relies entirely on THRiPPS. This structural methodology stands for Techno Hardware-centric, Real-time, Improvisation, Production and Performance Study. PETRU KSS refines this practical framework at the University of Huddersfield as the inaugural recipient of the Richie Hawtin PhD Scholarship. PETRU KSS: Raw, Hypnotic and Pure on True Techno Podcast 109 The academic endorsement provides a structured platform to examine how professional touring acts interact with hardware instrumentation. His workflow prioritizes real-time decision-making, which intentionally opens the performance to technical risk. Rather than correcting unstable analogue oscillators or unexpected resonance spikes, these elements remain embedded within the arrangements. This rejection of digital optimization defines his primary performance motto, WYHWYT. The acronym translates directly to What You Hear Is What You Touch, establishing a firm boundary against screen-heavy workflows. His physical configuration relies on machines like the Analog Rytm, Moog Minitaur, and Dreadbox Typhon to construct a comprehensive club environment without a computer mouse. “Those perfectly imperfect moments, slightly drifting oscillators and unexpected resonances, these are part of a live performance DNA, and represent a human risk that AI-driven music simply cannot replicate.” Following the initial live tracking phase, PETRU KSS delivered the multi-track files directly to Hannes Bieger for mixing. The tracking stems then went to Calyx for final audio mastering to guarantee competitive club translation. The finished material stands as a clear alternative to the polished studio outputs and automated arrangements defining the 2026

© 2026 True Underground. All rights reserved. Kadric True Techno Podcast Edition Links Bern’s Raw Underground Scene Swiss techno producer and Solid Dark label co-owner Cédric Mokus, performing under his Kadric moniker, has delivered the latest edition of the Kadric True Techno podcast directly from the underground circuit of Bern, Switzerland. This hard-hitting audio presentation showcases his evolution from early minimal rhythms into a heavy, peak-time sonic blueprint. By positioning raw hypnotic power at the centre of the mix, the execution addresses a growing regional demand for immersive, compromise-free dancefloor movements. Music became a core element of the producer’s identity during his school years, spent composing original works and performing in traditional bands. A pivotal club night in Bern redirected that creative focus entirely toward electronic frequencies. His initial venture into production arrived via the minimal tech project Krafteck, capturing international attention with releases on prominent labels including Reload Records, Hungry Koala, DC10, and Doubsquare Records. The early track Madness climbed to number 98 in the Beatport Minimal Techno chart, establishing a technical foundation that would later undergo a radical transformation. In 2019, Mokus closed the minimal chapter to launch his current identity. The transition reflected a calculated shift toward a weightier, more menacing sonic territory, mirroring the hardening preferences of the broader European club scene. “The transition was less about leaving something behind and more about a natural evolution of my artistic vision,” Kadric explains. “Over time, my taste shifted more and more towards darker, hypnotic and high-energy sounds. At the same time, the Swiss underground scene evolved, creating a growing demand for intense, emotional and immersive dancefloor experiences. Kadric gave me the opportunity to fully embrace that direction and express my creativity without limitations.” This pursuit of creative freedom is evident in his role within Solid Dark, an autonomous imprint co-founded by Kevin Stäger (Kevqube) and David Kawka, with further input from Juan Vasquez (Dee Jota). The label has rapidly expanded its footprint, issuing the comprehensive 13-track Hypnosis 1 compilation. Kadric contributed the heavy composition Parallax to the release, a production designed explicitly to push club monitoring systems to their structural absolute limits. “With ‘Parallax’, the dancefloor impact was the main focus from day one,” Kadric says, breaking down his studio architecture. “The foundation of the track is the relationship between the kick and the bassline. The goal was to create a deep, powerful yet controlled low-end that works on any sound system. Every percussion layer, texture and sound was carefully placed to support the hypnotic flow of the track.” Managing such dense frequencies requires strict discipline during the mixdown process, ensuring that sharp synth stabs cut through highly compressed sub-bass lines without causing acoustic fatigue. “The most important aspect is balance,” Kadric notes. “It is not about making elements louder, but about giving each sound its own space within the frequency spectrum. At the same time, it is very important to me that my productions remain recognisable and that listeners immediately know there is a Kadric track behind the sound.” The success of this approach is validated by his chart history and industry backing. His single Pressure reached number 82 on the global Beatport Techno charts, and his studio output routinely receives performance support from high-tier industry mainstays including Adam Beyer, Chris Liebing, Charlotte de Witte, Amelie Lens, Pan-Pot, Spartaque, T78, and The YellowHeads. Preserving Counter-Culture Mechanics on the Physical Floor The curation on the new podcast functions as an extension of the programming principles utilized by the Solid Dark collective. The crew balance in

© 2026 True Underground. All rights reserved. DEAS on Resisting Industry Commercialisation In an exclusive interview for Change Underground Polish techno producer DEAS (Karol Mozgawa) addressed the commercialisation of modern club culture and discusses his hardware production methodology. In this exclusive feature for true techno podcast 107, broadcasting from his studio base in Krakow, Poland to the global underground community. Greek-born and Poland-based, DEAS has carved an uncompromising path from local residencies at Smolna and Tama to international stages including Awakenings, Extrema, and E1 London. With a sonic footprint spanning CLR, ARTS, and Planet Rhythm, his output remains fiercely rooted in hypnotic grooves, live hardware interaction, and an uncompromised artistic vision. We sat down with DEAS to talk analogue obsession, the evolution of his sound, the expansion and occasional dilution of the global techno scene, and why authenticity still matters more than follower counts. Hardware Journeys and One-of-a-Kind Grooves DEAS has long held a reputation as a dedicated hardware specialist, though his relationship with machinery is more collaborative than dogmatic. While software plays a functional role in his workflow, the driving energy of his music stems from the tactile, unpredictable feedback loops of physical gear. He approaches music production not as a rigid programming exercise, but as an unfolding journey where the final track acts essentially as a natural side effect of the physical process. This hands-on methodology yields tracks and DJ sets with a distinct, lived-in texture; hypnotic, precise, yet continually inventive. It is groove-focused techno built for long-form dancefloor immersion rather than instantaneous algorithmic satisfaction. His recent Drifted Off EP on ARTS showcases this ongoing structural evolution, weaving spoken-word elements and subtle melodic layers into his signature driving atmospheres without altering his core artistic trajectory. Rather than attempting to reinvent the wheel, his studio work focuses entirely on introducing sharp internal surprises while staying true to an idiosyncratic musical vision. The Scene: Growth, Spectacle, and Soul The global expansion of techno has undoubtedly broadened the audience for underground sounds, a reality DEAS acknowledges as a major benefit for emerging artists and independent labels. However, this mainstream saturation brings an inevitable compromise: the transformation of club culture into visual spectacle. Across international circuits, events increasingly prioritise sensory distraction over sonic depth, shifting the focus away from the music itself. This commercial transition forces electronic music figures into a compromise between performance and digital marketing optimization. DEAS rejects the contemporary pressure to treat music as an optimized commodity, drawing a clear line between the responsibilities of a creator and those of a digital marketer. “My approach to art in general is not focused on constantly trying to make it ‘sellable’,” he notes. “I am not a content creator; I see myself as an artist. An artist creates what they feel… they don’t ask the audience what they expect from them.” This strict boundary dictates how he reads crowd energy across different territories. While some international hubs lean heavily into the curated show, others preserve the raw musical connection that initially defined the subculture. Fake Things and Scene Authenticity This tension forms the thematic core of his Vibrations EP on Planet Rhythm, highlighted by the pointedly titled track “Fake Things.” Released in early 2026, the project lands amidst ongoing industry debates regarding inflated social metrics, bought followers, and the rise of the manufactured profile. While DEAS leaves the track open to individual interpretation, the critique of a scene dominated by artificial engagement remains apparent. Despite the distortion of booking ecosystems by

© 2026 True Underground. All rights reserved. The Psychology of the Reset: Juheun’s Mission for the Underground Juheun’s trajectory is a study in creative survival. After over a decade performing as DJ Tranzit in the American house scene, he faced a choice: continue playing tracks he didn’t like to satisfy a commercial bottle-service culture, or return to the “faceless” roots that originally defined his love for electronic music. His return to techno was a reclamation of mental health and artistic clarity, a move away from the “noise” of social media influencers and toward the raw, mechanical soul of the machine. “With so much noise these days coming at us from social media, influencers, and AI… it’s very easy to get lost and forget why we are here in the first place. It’s always been very important to stay grounded and focus on the music. Sometimes the easy way out is to follow trends, but that doesn’t do anything for you in the long run.” This grounding is maintained through a rigid discipline system. In an industry that demands constant output, Juheun relies on a “dialled-in schedule” to prevent the burnout that comes from constant comparison. He views the studio as a laboratory where he controls electricity—converting vibrations into futuristic frequencies. Yet, he is quick to identify the trap of repetition; for Juheun, innovation isn’t just about adding new sounds, but knowing when to strip everything back to its fundamentals. “Learning to become a good producer is knowing when to stop, and knowing when its time to shift gears or even give up on an idea. One of the best studio tips I’ve gotten is to start deleting parts and pieces when you hit a dead end. Even just muting channels and stripping it all back down to its fundamentals have done wonders.” Juheun’s perspective on the “business layer” of the industry is equally uncompromising. He views the current ecosystem as one that has devalued the art form through over-accessibility. From over-produced events with “a million lasers” to the “AI-generated slop” infiltrating playlists, he sees a desperate need to return value to the music itself. His solution is a structural reset: raising the cost of music to force a more curated, appreciative relationship between the listener and the artist. “We need to bring value back to music. I think its time to raise the prices on music a little. Even doubling the cost of a single song from $0.99 to $2.00 can make a huge difference… if we are not taking care of the musicians and producers who create the music, then we would be left with nothing but generic AI generated slop.” His mix for True Techno 106 is an extension of this mindset—a pursuit of “timeless techno” that stands apart from the peak-time trends. By weaving his own unreleased live IDs, like ‘Lets Dance’, with the deep, hypnotic selections of Phil Berg and Modeselektor, Juheun provides a glimpse into a future where the music—not the brand—is the catalyst for connection. It is a reminder that once the current bubble bursts, the underground will remain, sustained by those who were there for the right reasons all along. “Techno has always been a bit mysterious to me. Back in the day, it was a song title and an obscure name… it was really just about how hot the record was instead of the reverse. This is what makes it so special. Listen to the music first.” Tracklist Civil Servant – Into The Unknown (Juheun Remix) Troy – Ishi No Medama (Original Mix) Regent – Arcane (Original Mix) Toobris – Tomorrow is Gone (Original Mix) Modeselektor – Blockchain (Original Mix) Juheun – Lets Dance (Original Mix) Hertz, Oscar Escapa – Eternal Groove (Original Mix) Khabiar – It Depends ON (Original Mix) Oscar Sanchez – Selective Memory (Original Mix) Phil Berg – Sappho (Original Mix) Frank Biazzi – Open Your Eye

© 2026 True Underground. All rights reserved. Ilona Maras – True Techno 105: Discusses Her Hive Residency and Narrative Energy Ilona Maras anchors this edition of True Techno, showcasing the clinical technicality and raw emotional weight that have fuelled her trajectory through the underground. Based in Zürich and maintaining a residency at the influential Hive club, Maras provides an exclusive look into her creative process following her recent EP on MJA the Vision. Her sound – a sophisticated blend of Eastern melodies and raw acid textures – has earned her the backing of industry heavyweights like Richie Hawtin and positions her as a definitive voice in contemporary techno. For Maras, the evolution from a hobbyist to a central figure in the scene was a gradual realisation of purpose. The transition occurred as she noticed her focus shifting towards the minutiae of performance and the psychological impact of the booth. “It wasn’t one big moment, more a quiet realisation that kept getting louder over time,” she reflects. “I noticed how deeply I cared about every detail, every transition, every reaction from the crowd. At some point, it became clear this wasn’t something I did for fun after work; it was how I experience the world.” The Hive Residency: Illona Maras Technical Education The Hive in Zürich serves as both a creative anchor and a testing ground for Maras’ output. Her residency has required her to navigate diverse time slots and floors, a process that demands an acute level of crowd empathy and technical adaptability. This experience has shaped her ability to work a room without relying on cheap tropes or forced energy. “You can’t force energy in that space; you have to read the room and build it slowly, earn trust step by step. It taught me that sometimes less is more, and that people will go with you if you’re honest, not if you’re trying to impress them.” – Ilona Maras This grounded approach extends to her high-pressure performances, including playing a set at Street Parade while seven months pregnant – a moment she describes as a powerful convergence of her personal life and professional commitment. MJA the Vision and the 90s Techno Influence Her latest work on MJA the Vision, released on 06.03.2026, leans into the contrast between tension and release. Inspired by the industrial geometry of the Prague train station, the EP captures a specific 90s techno aesthetic while maintaining the modern clarity required for big-room impact. Maras describes the production as an exercise in intuition over calculation. “The EP is very much about contrast, tension and release, control and letting go. I got inspired while visiting Prague; I was in a room overlooking their beautiful train station, and something about that view gave me a strong 90s feeling. It made me want to recreate a bit of that 90s techno vibe in my own way.” – Ilona Maras Honesty as a Production Standard Since her debut on Get Physical with Existe, Maras has prioritised instinct over perfectionism. This philosophy has seen her tracks championed by Richie Hawtin and released on labels including Volta, We Are The Brave, and Filth On Acid. By refusing to “customise” music for specific labels, she has maintained a cohesive identity that bridges the gap between underground depth and peak-time function. Her focus now shifts towards her own imprint and a commitment to innovation that ignores the saturation of the modern trend cycle. “I’d love to push even more into innovation… and to ignore the noise around me as much as possible,” she says. “Every time I manage to do that, those tracks usually work the best.” As Ilona Maras continues her tour cycle, True Techno 105 serves as a testament to an artist who values real connection over fleeting metrics. Her sound is built for high-intensity immersion, striking the balance between visceral, dancef

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© 2026 True Underground. All rights reserved. Lola Kay’s relationship with music was never passive. It was lived, absorbed, and embodied long before she ever stood behind a booth. Growing up in Minsk, Belarus, Lola Kay‘s childhood unfolded inside theatres rather than classrooms, shaped by the backstage corridors where her mother worked and where atmosphere, tension, and emotion were constructed night after night. Drama, sound, and silence all had purpose. At the same time, she was already dancing, learning intuitively how rhythm moves the body and how music alters mood. That early immersion taught her something foundational: music is not decoration, it is architecture As a child, Lola Kay was introspective and self-directed, spending long stretches alone with records and artwork. Electronic music arrived early, not through trends but through curiosity. Digging became instinctive. The raw energy and strange aggression of The Prodigy left a lasting imprint, a first encounter with electronic music that felt unruly, physical, and alive. It was less about genre and more about sensation, something she would later return to again and again. Dance became her first profession, and with it came a deep study of musical cultures. Classical, jazz, swing, and the lineage of artists like Duke Ellington and Louis Armstrong were not abstract references but living histories she felt through movement. Each dance style demanded immersion into its cultural context, its era, its emotional code. Music was never separated from place, time, or identity. That obsession with understanding where sound comes from still underpins her approach today, whether she is producing or layering four decks into a single evolving narrative. Her DJ sets are built with the body in mind. Groove dictates structure. Energy dictates pacing. Tracks are not standalone moments but emotional blocks that create tension, release, and continuity. Theatre remains present in her work, not as spectacle, but as cohesion. One atmosphere runs through the entire set, a full-circle arc where nothing is accidental and nothing is wasted. Leaving Belarus was never romantic. Growing up in a post-Soviet environment as a free-spirited, open-minded young woman came with friction and constraint. Escape was not a desire but a necessity. Barcelona became her exit point almost by chance, following visits that revealed a city driven by openness and rhythm, and an unexpected opportunity to open a dance school. The city gave her space to exist, to experiment, and to begin carving out an artistic identity on her own terms Community became central to her rise. Collectives were not branding exercises but survival structures. House of (S)PUNK, founded by Perrine aka La Fraîcheur, was pivotal. It was the first time someone truly believed in her as a producer and pushed her to release music. That belief translated directly into action, resulting in her debut EP and a clearer sense of artistic direction. Alongside this, her involvement with YO-YO allowed her to exist unapologetically as a queer artist, prioritising FLINTA lineups, safety, and genuine community over industry optics. Stylistically, Lola Kay resists rigid definitions. Mental techno, hardgroove, Detroit, and 90s and 2000s references appear not because they are fashionable but because they carry the emotional weight she is searching for. Her mixing is architectural, using multiple decks to layer texture, rhythm, and atmosphere into something hypnotic and primal. Berlin looms large in this evolution. It was the first place where techno fully made sense to her, where intuition aligned with sound. The city did not teach her what to like, it confirmed what she already felt Her influences extend beyond records to the people who sustain the culture. Artists like DVS1, Luke Slater, and Efdemin matter not only for their sound but for their commitment to the scene. DJs such as Steffi, Lady Machine, Paula Koski, Bashkka, Philippa Pacho, and Isabel S