A Sit Down With DJ Technoboy

  Cristiano’s not only busy DJ-ing, most of the time he’s managing as well as producing for ‘The Saifam Group’ (Italy) which is a reputable record company. He began in 1992 as A&R manager at ‘RECORD 66 Music Market for DJ’s’, which he still manages today. He then started in 1996 as Producer and A&R at ‘Arsenic Sound’ until 1998, when he became a producer at ‘ The Saifam Group’ and ever since 1999 he’s A&R at the ‘Alternative Sound Planet’ label.

 As an A&R manager, he supervises several well known labels such as Dance Pollution, Red Alert, Titanic Records, Green Force, BLQ, Bonzai Records Italy, Bonzai, Trance Progressive Italy and XTC Italy. He also produced numerous well known acts such as DJ Gius, Nitro, Klone, Pacific Link, The Hose, Spiritual Project, Giada, The KGB’s, K-Traxx, Citizen, 2 Best Enemies, Hardstyle Masterz, Hunter, The Raiders, DJ Stardust, Droid, Atlantic Wave, Vector Two, Q-Zar, Ruff, Speedwave, Builder, and Psy man.


“Hardstyle is dance music build to move crowds, making dance floors the ultimate place to be.”


Why did you choose Technoboy as your DJ name and not one of the other names you produce under?

A lot of people think that it’s something that has to do with techno and a lot of people still ask me why I call myself Technoboy because I don’t play techno. It’s actually fairly simple why I chose this name. The answer is much more simple then the question. It sounded good. But to go into a little more detail; we were producing a lot of stuff, a lot of tracks and of course we needed a different name, a different alias for our various productions. Techno and boy together sounded good and so I said ‘let’s use it’. Basically this is why.

Do you listen a lot to requests and the opinion of people on Internet?

For me there is one opinion that counts; the reaction of the crowd. After every event, performance or release there are a lot of people that make comments, but in comparison this is always a minority of people. When a stadium filled with people is completely going to the roof on a record I don’t care what a few people say afterwards, let’s not forget how we do this for eventually. For me it is really important to perform everywhere in the world to see this reaction with my own eyes; you have to be a DJ in order to produce the right records.

What do you think happened in the life of the hardstyle in the last years?

We like to think about this question in regards to the United States, because they now have hardstyle. Fans can go back and get passionate about the way the music and scene developed first, let’s say.

Who are you most musically inspired by?

When you listen to my tracks you hear a lot of influences. This is of course the period in which I started with music. Sample wise, I watch a lot of movies and try to find really funny one-liners. We laugh our asses off in the studio all the time.

Are you happy?

The life of an artist can be lonely; I certainly had my share of that. But yes, I am a happy man and not just because I have the best job in the world. I have had the chance to tell the world what I thought about music while I encounter so many people who did not have the same opportunity. I live from one height to another and it is important to enjoy the moments in between as well.

As a producer you are responsible for practically all Italian hardstyle labels. Red Alert, Green Force, Dance Pollution, Bonzai Italy en BLQ are the biggest and they all fall under your The Saifam Group. 30 aliases, 14 labels and hundreds of releases under the name Cristiano Giusberti. What’s the use and difference between all the different names?

First of all, it depends on which people are involved in the project. We try to give the right sound to every alias. But sometimes it is difficult to give a real personality to one alias. It’s also a matter of creativity and you never really know what the end product is going to be. But the goal is to make sure that people recognize the sound and know what name is connected to it.

Why is fashion so important to you, and how do you feel about getting dressed up in costume for events like Qlimax?

Well for Qlimax I understand there is some involvement into the whole concept, that is why I accept the costumes; but that is the only exception! I never wear the t-shirts that are offered to us; the way you look is important for your confidence and when I am on stage I would like to be occupied with other things than the fit of my t-shirt.

You were the first foreign dj to have a member account on Partyflock. Do you have a message for you fellow community members?

I love Partyflock! I remember surfing on the net, finding Partyflock and then thinking ‘what’s this all about?’. I wrote an email to the founder and they created a dj profile for me. I learn a lot from Partyflock. I find out whether people liked my performance and I discover what to do better or different.


Technoboy gave a name and face to a musical style that took the dance scene by storm. Hard, energetic and banging dance music, but always supplied with a touch of Italian class and style: there couldn’t be a better name for it than hardstyle. He injected his beats into the crowd and within a couple of years, the whole country was infected by the Italian hardstyle virus. And not only Holland: Technoboy made people in countries like Germany, France, Italy, South-Africa and Australia shake their hips, stomp their feet and clap their hands. He was a headliner at every major hardstyle event on the globe: famous Dutch parties like Mystery Land, (45,000 visitors), Hard Bass (12,000 visitors), Decibel Outdoor (20,000 visitors), Qlimax (25,000 visitors), Defqon.1 Festival (30,000 visitors) and Sensation Black (40.000) and parties like Tomorrowland (Belgium), Sonic (Switzerland), Planetlove (Ireland) and Airbeat One (Germany) are on his resumé.

A Sit Down With DJ Stanton Warriors

Stanton Warriors make bass music; intentionally vague and un-pigeonholable bass music. The Bristolian only constant is unbridled heavy low frequencies. Whether that be house, electro or anything between depends on what side of the bed they get out of. They’re also one of the most envied remix outfits having reworked M.I.A., Basement Jaxx, Fatboy Slim, The Streets, Gorillaz, and Daft Punk to name a few.

 Like so many other innovative UK acts, the duo took recognisable templates such as house, breakbeat and techno and crafted something unique, a sound of their own and one that was undeniably British. Over four such compilations and countless remixes they have not so much honed their style as they have explored the furthest reaches of its brash, party-fuelled possibilities. Their music has been called big beat, breaks, garage and UK bass. They have influenced many of today’s biggest UK bass contributors and high profile genres leaders such as Disclosure are very vocal in their indebtedness to the West Country duo.  

“…dance music industry of late has become more about brands, cliques, money and who you know pushing it further from its acid house roots based on music not marketing.”


 How did you guys get in touch with electronic dance music in the first place, how did you meet and what made you team up?

I was working as A & R at an early garage label called 51st recordings and Mark was the in house engineer. I had some ideas and we went in the studio there one night and Stanton warriors was born! It was always our intention to have our own sound and from 1997 to today we still strive to keep that ethos.

Who are your musical influences?

Funk, Soul, Jazz, Electro, Disco and all things that came from these sounds.

What do you prefer making, remixes or originals?

Remixes are certainly easier to do but nothing gives you more satisfaction than dropping an original tune for the first time and the crowd going off. We have done a shed load of remixes saying that. It was nice to get recognised by Mixmag in their top 20 remixers of all time list as well.

Where do you guys dig to find most of your music these days?

A lot of digging! The tracks that make it into our sets come from such a wide range of sources from labels like dirtybird through to Black Butter. It’s a great time for broken beats and bass music. There is a lot of cookie cutter type music out there at the mo’ so finding and playing tunes like these loud keeps us engaged. We also have our label Punks Music where we try and sign and support a lot of these tracks.

What was the best and the worst gig you ever played and what was the funniest thing ever occurred during any of your performances? 

Best gig in recent memory was burning man a few years back with a huge crowd of people going crazy in the Nevada desert. The worst has to be a festival in Australia where someone stole my record bag from the back stage dressing room!

What has been your most memorable experience while touring?

Playing at Shambhalla in Cananda one year. The show was outdoors under a meteor shower, illuminated by some kind of northern lights light show up in the sky!

Has experimentation been important?

Yeah, just for our own sanity. You don’t want to sit down in the studio and go, “What’s everyone else doing?” We like making tunes that we wanna hear, try to originate and not duplicate.

 At times, next generation dance music that comes from other parts of the world can sound like updated, but still remarkably similar versions to what’s gone before. What you can say  about the next generation dance music from the UK?

So, for me, dance music has always been about stuff that was really different and not just a drummer and a guitarist moaning about his life or whatever. It’s got radical sounds and the different feel that comes with that. So I’ve always taken that into the studio with me whenever I’m making tunes, let’s try and make something a bit different. When everything went electro-house we were called electro-house, oh look, this dubstep thing’s happening, let’s make some dubstep. We’ve avoided that by going, what do we want to hear today? We can only really talk for ourselves really for the fact that, if you’re gonna try and make some music, you’ve got to try and make something that no-one’s heard before. You might not always hit it, it might not always be the right thing, but at least you’re not just making a sanitised version of something that has already gone before. So I think it’s always important to aim towards that feeling, whether you get there or not. That is the essence of dance music, in my opinion.

And what would you like to get up to outside of the shows?

See some of the sharks… Go to the beach… Drink beer… Put some shrimp on the barbie… Get some sun… Compare my pasty body to all the ripped dudes on Bondi Beach… In reality, it’s probably all about DJing, eating and sleeping, because when you do these tours and you’ve got a gig at night, sleep’s a premium. You’ve got to keep your energy levels up for the gig, so everything does revolve around them, but the gigs are amazing.

 What advice would you give to other young people looking to succeed in the industry?

Be original and you are more likely to get recognised. There is too much of the same out there.

A Sit Down With DJ Carlo Lio

If music is the Universal language then Toronto Native, Carlo Lio is surely multilingual. It is this universal appeal that has allowed Carlo to speak to so many people without ever having to say a word. His ability to capture sounds and emit them so expressively is a gift. Music has always been a priority in Carlo’s life; anyone who witnesses him gracing the decks can attest to this. Carlo can turn a careful observer into a dancer through the raw emotion and passion in his music. Music is a language; it is a means of connectivity, intimacy and communication.

 Originally known for leading the pack of prodigiously talented Toronto producers, Carlo has utilized his trademark cosmic house and techno sound to cement his status among today’s prodigiously talented world-renowned producers.


“There’s nothing worse than living with “what ifs” in your head”.

Картинки по запросу photo dj carlo lio

At what age did you decide that you wanted to make music your career?

Well I’ve never decided this. I’ve always loved music, and it has always been a part of my life. After my time was up being a regular partier in the club/rave scene, I still wanted that part of me in my life. I bought DJ equipment when I was about 20 yrs old. It was all supposed to be a pass time hobby, and I thank god it escalated much further.

How has Barcelona influenced your music? 

 Barcelona has definitely had an influence, but its more being in Europe itself. It’s such a different world then what I’m used to here in North America. The people, the culture and the music have all played a big part in influencing my music. It’s amazing to see how DJs play in one place vs. another as well as how people listen and react to the music in each location. Europe has opened my eyes, and made me aware of the difference, which has then in turn opened my mind musically.

Do you find life on the road to be inspiring for your music? What in particular about the DJ lifestyle can one see imprinted in your songs?

 Absolutely!! How can it not be? New place everyday, meeting new people, eating great foods, experiencing new cultures. It doesn’t end! My music has a lot to do with where I have been and what I’ve seen and experienced. According to my fans, one element that is in all my tracks is “SOUL,” and I completely agree. Whether it’s a house track or a banging techno track; it all has soul and emotion.

Tell us about the new compilation you’ve mixed for SCI+TEC. Who is on it, what’s the theme of the mix, and how many tracks? 

 Ali and I did not want this to be a straight mixed CD. We were both aiming for more of a live feel, using a lot of loops, tools, and favourite parts of different tracks in the catalogue to create something more unique than your average mix-in-mix-out mix compilation without compromising my mixing style. The compilation contains a total of 26 full tracks between the two parts + 22 tools, loops, and effects throughout the mix running on top most of the tracks. The mix comp includes many names such as Paul RitchLuca BacchettiDavide SquillaceNic Fanciulli,SebrokDubfireSteve ParkerThe JunkiesReset Robot Zoo Brazil,MacromismDJ SimiSinisa Tamamovic, and of course – myself.

What is your favorite city or place to play in and why?

 What’s my favorite city is always a hard question to answer because there are so many amazing ones. If I had to narrow it down to a few, I’m really in love with Spain. It’s the reason why I choose to live there in the summers. You have Ibiza, and Barcelona too, which is an amazing place, so I’d have to say that.

What inspires you to make music? 
 Music inspires me to make music. There nothing more inspiring than hearing someone else’s productions that make you say “HEY!, I need to make a better track than this”. It’s a love/hate jealousy game that keeps me motivated to do better.

Where can we see your other productions coming up? 

 Obviously summer has been a bit slow, as I’ve been travelling like nuts and so haven’t released much. But I have a few remixes coming up. One for Stefano Noferini, another for Sian’s album and one more for The Basement Jaxx remix album.  As for original stuff, I have a new collaboration with Paul Rich coming on Quartz, a new EP on Suara, and an EP on This & That the label of Davide Squillace. Also you will see a new Sci+Tec EP, but that will be at the beginning of the new year. Oh and a single on InMotion so yeah there is a ton of stuff to keep your eyes open for! 

Techno, tech house and their surrounding genres have been gaining popularity stateside. In your opinion, what has been the catalyst for this change? 

 It’s known that EDM is still a very big part of the scene in the USA. It seems that the younger generation have caught onto this. But with more underground music being slowly introduced – opinions and tastes are changing gradually. Young people travel more now, they experience Europe and the music scene offered there which I think has opened up their minds, and its gaining momentum now in the US and Canada. Clubs are doing a great job bringing in new artists from the underground scene and showcasing some of the best music out there at the moment. So lets hope this continues!

If you could tour along with another fellow DJ, whom would you choose?

Well Loco Dice has always been on of my favorites for many reasons. His live sets are always top notch, his production and diversity is next level, and I really like him as a person.

Do you prefer smaller crowds or larger ones when preforming in general.

 I get asked this a lot. But they are 2 very different things. I like them both equally. Performing for a small crowd you get that intimate vibe you will never get from a festival. And from a big crowd you get this raging stadium feeling you won’t get from a small club. So each has something the other doesn’t.

What advice would you give to an up and coming DJ?

DONT STOP! Because you never know when your time will come. I’ve seen a lot of people give up and kick themselves for it. I’ve also seen some people grinding it out for years and years until it happens for them. There’s nothing worse than living with “what ifs” in your head.

A Sit Down With DJ Joris Voorn

Joris Voorn makes music and lets his life keep pace. The Dutch DJ gives new meaning to the word wanderlust, flying to different cities every week over festival season and playing to crowds of thousands. In June alone, the dance and techno maverick travelled to Manchester, Madrid, Barcelona, Sweden, Belgium, Amsterdam and Ibiza, updating his own Spectrum Radio show along the way too. Joris has seemingly mastered the art of hedonism with a clear head: he’s relax and affable – not sour and sleep deprived, as you would expect of such a die-hard professional who gives every set his absolute all. Joris remains grounded and focused: the 40-year old music producer sometimes takes his young son along to festivals (they wear matching headgear); he pretty much answers every tweet sent his way and he’s a stickler for sound perfection, often asking his fans for feedback as well as insights into new mixing equipment.

 “I make techno; I make ‘housey’ things. I’ve always done that because musically I find that interesting, I get bored if I just have to do the same thing all the time.”

How did you get into the type of music that you produce and DJ? 
 I just listened to guitar music all the time before I turned eighteen. I absolutely hated gabber, techno and house music. Bands like Chemical Brothers and Underworld were crossing over indie and electronic music. Those are the groups that really brought me into electronic music. In 1995, I started getting more into it, when I started catching onto techno music everything sounded new and fresh. I slowly began appreciating the music, and then I started collecting records which became part of the natural progression of getting into the lifestyle. Jeff Mills, Derrick May and all the techno pioneers were some of the influences for my passion that developed with electronic music. In 1996, I bought a Roland MC-303 Groove Box which allowed me to produce music. I made a lot of music with it but no one ever heard any of those tracks. I have a bunch of tapes sitting in a box. Believe it or not some of those productions are actually worth listening too.

How do you see the balance between giving the crowd what they want and treating them to something new?

I am there for the people, and I will always try to make them dance. Part of me likes to be an educator and show people something new, something inspiring or something they already know in a new form. It’s that interaction with the crowd that keeps me inspired.

This ADE, at the Awakenings Presents Joris Voorn & Friends night, you’ve got people like Agoria, Hot Since 82, Green Velvet playing with you…

Yeah, I think that’s also one of the things that’s so amazing. Over the years we’ve gotten so close, and we like working together, and they’re such good nights. I’m super happy. I think it’s gonna be a great one.

Your tracks have a unique feel to them. Can you tell us how you achieve that level of polish?

One of the things that has been very very important to me: I always wanted to create music that sounds good in the studio, the club and in the car, and that`s a really hard combination. Finding that balance is a real challenge, so I can get lost in a track EQing a drum or a melody line so its just right.

What were some of the main challenges when starting out as a DJ and how have they changed over time?

The main challenge was finding good music. Learning how to beat match was easy, it’s like learning how to ride a bike. After that you focus on mixing, creating your own style. For me it’s always been a big part of a DJ’s sound, besides the music. DJs like Derrick May and Jeff Mills had a unique technique, and of course I tried mimicking that. But then the music; being at the right moment at the right record store to get the good records, that was a real challenge and something not as easy to control.

You say you’re an underground DJ, but you still have half a million followers on Facebook. That’s pretty massive…

I know, it’s a relative thing now. I’m probably somewhere on the most commercial side of underground. Then there’s the real underground with the real, super obscure DJs. But yes, once you step in Ibiza, you won’t find the real, obscure DJs here. 

Techno music is a worldwide phenomenon and it is appreciated all over the world. In your opinion what city takes the music in the best? What city do you like playing in the most?
I can’t pinpoint an exact city that goes crazy over techno, but I would have to say Holland is very open and most interested in techno music than the rest of the world. Last weekend was the Awakenings Festival in Holland, the event had over 35,000 attendees. The DJ list included Trentemoller, DJ Rush, Green Velvet, Kevin Saunderson and a whole bunch of other guys. There are a lot of things happening in Holland as far as Techno music is concerned and it has a very vibrant scene there. I love playing New York City just because the scene is so small here it creates a challenge to get the crowd moving.

Have you got any big ambitions left on your bucket list?

Well, I don’t think I’ll be doing this forever, and of course I’m sometimes wondering what I’m gonna do afterwards. I used to be an interior designer. I don’t think I can go back to that because I haven’t been practising. It’s a bit like skating, if you don’t do it for 20 years, then you can be a but rusty. I would have to start all the way at the bottom, being an intern again. Although, maybe if I’ve made a name as a DJ people are like ‘oh yes! A DJ making furniture’. 

Your notoriety has grown with age too?

 Yeah, well a little bit. I was always into music. I started playing violin when I was a kid;  I played the guitar as well but then I discovered electronic music and I realised that it’s actually quite easy being a DJ. I mean, you don’t have to be in a band to perform electronic music. It’s a very DIY kind of thing, which I really loved, which is why I became a DJ. I just loved music. Even in the beginning of my DJ career, I played everything from Hip Hop to Jungle and Drum and Base – anything I could get my hands on. The only thing I didn’t get really into was proper trends. But for the rest, I tried everything. Then I just narrowed it down to house music and techno.

What advice can you offer to someone trying to create Techno music?

What I did was bring in a melodical sound, when techno was just about beats no one was really playing melodies. I brought in a danceable rhythm with some melodies. It was either monotonous beats or Detroit style. I was trying to get best of both worlds and that helped me become a better producer and DJ. People can listen to my music and can actually feel something with the music I produce. Creating music is quite easy it is not that difficult to make this type of sound. If you have a good feeling of what you are doing then you will not have a problem doing it.

Is accessibility something you think about when you’re making your own music?

 I think so, yeah, absolutely. It’s something that I do believe in. I’m someone that makes music more from the heart, rather than with my brain. It’s a different approach to music.

How’s 2017 looking for you? Do you have any new releases or remixes lined up?

 With 2017, I’ve been focusing a lot on producing some new music because its just such an important part of the process. There’s a lot of more releases coming: tracks, EPs, maybe even an album at the end of the year, so there’s a lot of new stuff to look out for!

What’s your first memory of live music?

That must have been going to a classical concert with my parents. My father was a composer and he had his pieces performed a lot, so he brought his whole family along and we all had to sit somewhere quiet in the audience listening to an experimental saxophone player or something.


As a producer he makes dance music with emotion and class, timeless tunes that will no doubt stand the test of time and defy stereo types and the short lived fads of the EDM hype machine.  Miami still has the power to create legends and Joris Voorn is on his way to becoming one of those legends. He is a true DJ in every way, from the craft of mixing to reading the crowd he is flawless in his execution.

A Sit Down with DJ Tom Swoon

Polish DJ and producer Swoon has not only performed at a wide variety of festivals throughout his career such as Ultra JapanSunrise Festival and the Amsterdam Dance Event (ADE) amongst so many others, but he has also released over 165 installments in his Lift Off mix series and has released countless globally successful productions ranging from EPs, albums, singles to remixes and collaborations.

Картинки по запросу photo tom swoon

Who are your musical influences?

Lately I’ve been not really relying on any particular name, but rather curiosity around the musical tastes of other people – and that element of discovering something new all the time is something influencing me a lot now.

Let’s talk about your release “Atom”! What led you to re-working that track?

“Atom” was one of the biggest club hits ever produced. So when Nari & Milani asked me personally to remake their big club anthem – it was a huge honor. And I knew that I was not going to be easy to come up with something as strong as the original. The new version I did with Teamworx, however, scored really well! It was the #1 most played track at the moment in the club scene and also still number 1 on Beatport Big Room chart.

You released your single “Phoenix,” which reached 3,000,000+ streams on Spotify. How does this massive success feel for you and what can you share with us about the creation of the track?

Back then when it came out, “Phoenix” was a bit of an experiment, since I never tried making a future house song before – but it worked like a charm! Seeing it get so many streams and love from people made me real happy. I decided to work on ‘Phoenix’ right after Dank showed me a demo back at UMF Miami and the main reason I did that, was because of the amazing vocal, which I think delivers a really beautiful message. I love when music can be something more than just a good beat and gives the listener a bit of self-reflection time. I think the ‘message’ was the main reason behind the success of “Phoenix”.

What was the creativity behind your powerful and euphoric edit of ‘Let’s Escape‘?

I love to remix tracks – because I can give them my own twist, feel. With my remix for ‘Let’s Escape,’ I wanted to give it that melodic – progressive touch. I am currently playing it in all my sets.

Who do you listen to in your spare time?

I hardly listen to just one artist to be honest. Thanks to Spotify, I am always loading up my phone with totally different types of stuff, from jazz to drum n bass and depending on the mood, I click play on an appropriate playlist.

 What was your first official remix, and how it came into your hands?

My first official remix was a remix for Gareth Emery’s “Tokyo” on Garuda Records. I did an unofficial bootleg for his previous single “Mansion” which he liked very much and he reached out if I could remix his new track. I was very excited about this and this is how it all started. In the meantime NERVO had reached out to me to also ask for an official remix of their new track. I couldn’t believe what was happening!


“… I believe that if that’s achieved, we won’t have to worry about the output of our work, because it will be something good for sure.”


What has been your proudest moment that you’ve had in your career so far?

Probably playing at one of the biggest festivals in Poland (Sunrise Festival) on MainStage while my parents were watching me from the backstage. It was a real great moment to show them finally what I am doing and why I am doing this. It was very emotional!

If you could play with any DJ who would you choose?

Not wanna sound selfish, but the only DJ I could trust behind the decks and know exactly his work is… myself! Therefore, I’d definitely wanna clone myself and put out a show twice as bigger and twice as better.

Where are you most excited to be playing? Any new venues or cities for you?

Perhaps the event that will be most exciting for me, is funny enough the event in my hometown. The local council is organizing a huge event on the main square of my city and they wanted to book me. It will be a special moment for sure – because most of the time I’m performing elsewhere in the world.

What’s your biggest interest outside of making music?

Gaming! Without a doubt. 


  • 2017: All I Ever Wanted (with Blasterjaxx)
  • 2017: Shingaling
  • 2017: Helter Skelter (with Maximals)
  • 2017: Atom (with Teamworx)
  • 2016: All The Way Down (with Kill The Buzz)
  • 2016: Phoenix (with Belle Humble and Dank)
  • 2016: Never Giving Up
  • 2016: I’m Leaving (with Quentin Mosimann feat. Ilang)
  • 2015: Stay Together (with Nari & Milani)
  • 2015: Alive (with Ale Q and Sonny Noto)