Interview

Interview
IRADA – I KNOW TRACK IS READY WHEN IT FEELS RIGHT EMOTIONALLY

For Azerbaijani producer and DJ Irada, music isn’t just about a rhythm, it’s about finding the perfect sweet spot between emotion and identity.

In her Artist Spotlight for Tibetania Records, Irada talks about her musical beginnings, returning to her roots, learning to embrace simplicity, and why flow and crowd connection are everything for the perfect DJ set.

Do you remember the exact moment (or person) that made you think: “I want to produce my own music”? What was it?

I don’t think it was one exact moment or one more person. It was more than a feeling that kept growing inside me.

Who or what shaped your sound in the beginning and what influences you now that might surprise people?

Music was always part of my life. But as some point, I realized I didn’t want just to listen. I want to create my own music, my own history. My roots come from electronic music and Azerbaijan traditions. Now I blend ethnic elements with modern club energy. That contrast defines me.

What’s one mistake you made while producing or mixing that taught you the biggest lesson?

One of my biggest mistakes was overcomplicating my tracks,adding too much layers and sounds, adding too much elements in order to fill the space. It taught me that sometimes less is more, and space in music is as important as the sound.

Be honest, how do you personally know when a track is finished? And how many exports usually come before that moment?

Honestly, a track is never 100% finished, but I know it’s ready when it feels right emotionally. And yes, there are always many exports, sometimes way too many.

In your opinion, what separates a good song from a forgettable one?

Emotions and identity. A good song makes you feel something, but a memorable one has a unique character, something you’ll recognize instantly. For me, it is a balance.

What makes a DJ set truly great for you, track selection, flow, crowd connection, or something else?

Track selection is important, but flow and energy are everything. And of course, connected with the crowd. When you feel them and they feel you, that’s when magic happens.

Was there a specific night, event, or person that pushed you to step behind the decks and start DJing seriously?

Yes, I have experienced it with DJing few years ago, but life took me in a different direction for a while. Coming back, it felt something natural that I returning to something that always was mine. That’s when I decided to take it seriously again.

What’s one unexpected or unforgettable moment you’ve had while playing live?

One of the most unforgettable moments is when you play track and see how people react exactly how you felt while creating it. This connection, it’s something very special and hard to describe.

August 27, 2026

Indiano
Artist  ·  Interview
INDIANO – WHEN A SONG IS FINISHED, I FEEL IT ON AN INTERNAL LEVEL

In this Artist Spotlight for Tibetania Records, Indiano opens up about moving past his early days of rushed production, how a powerful “internal vibration” tells him a track is truly finished, and why a haunting melody is the secret to capturing a listener’s heart forever.

For Indiano sharing his musical soul means pushing boundaries. He infuses his sound with Middle Eastern textures and deep tribal rhythms.

As an Italian producer and DJ, Indiano realized that DJing was the moment he knew he wanted to make and produce his own music. Driven by a lifelong passion sparked by his close friend “DJ Cat”, Indiano was named Italy’s best DJ talent in a major national contest.

Do you remember the exact moment (or person) that made you think: “I want to produce my own music”? What was it?

The moment I started DJing, I immediately thought that in the future it would be great to produce my own music.

Who or what shaped your sound in the beginning and what influences you now that might surprise people?

When I began to share my musical soul with the public, I immediately let them listen to my influences, made up of Middle Eastern sounds and tribal rhythms. I think Italy still needs to
open up a lot in this regard; there’s still little room for these musical influences in Italy.

What’s one mistake you made while producing or mixing that taught you the biggest lesson?

English – Initially, during the production phase, my mistakes were due to inexperience, but above all to haste. Today, this problem no longer exists.

Be honest, how do you personally know when a track is finished? And how many exports usually come before that moment?

Today, honestly, when a song is finished, I feel it on an internal level, I feel a strong vibration when I listen to the song, obviously I do several exports, before finally finishing it, but:
when the vibration is strong then I am sure that the song is finished.

In your opinion, what separates a good song from a forgettable one?

In my opinion, the difference between a good song, a good track, and an unforgettable track, is all in the melody, the melody is what stays in your heart.

What makes a DJ set truly great for you: track selection, flow, crowd connection, or something else?

A DJ/Set to be defined as truly special in my opinion, is based on the musical selection, and this is what, based on my experience in the field, creates the connection with the audience.

Was there a specific night, event, or person that pushed you to step behind the decks and start DJing seriously?

The person who pushed me to get behind the turntables and think that this would be my job for life was “Dj Cat”, a very dear friend of mine who I had the pleasure of meeting on my first
night at the disco as a customer, he was truly excellent and it was he who gave me the push to start this job.

What’s one unexpected or unforgettable moment you’ve had while playing live?

There have been many beautiful and unexpected moments in my career, those of connecting with the public, of compliments, but: the most beautiful one, which I will always
remember and which I carry in my heart, dates back to 2006 when I was awarded by an Italian National Contest as the best DJ talent in Italy.

Namastè

July 10, 2026

Interview
ALEX DONOFRIO: STARS KIND OF ALIGNED

Alex Donofrio, is an American music producer from New Jersey. Since 2020, Alex has been shaping a sound that sits between the club and the beach, mixing house rhythms with Balearic melodies. But Alex’s roots aren’t in the booth—they’re on the stage. Starting his career as a singer and guitarist, he brings a songwriter’s ear to his every electronic production.

In this Artist Spotlight for M-Sol Records, Alex discusses his journey from frontman to producer. He opens up about his love for Balearic chillout, and why the right melody is the key to connecting with listeners.

Do you remember the exact moment (or person) that made you think: “I want to produce my own music”. What was it?

When I was younger, I played in a few different bands in which I sang, screamed a lot, and sometimes I played guitar, but mostly singing. And I noticed that I was doing a lot of the songwriting as well and arranging and producing the music. So I guess that’s when I realized that I like producing and directing.

Who or what shaped your sound in the beginning and what influences you now that might surprise people?

As a realy young child, having record players in the house my dad actually had a pretty nice collection of records my brother started playing the drums and little by little we got more into rock n roll music, progressive rock In my later teenage years, I discovered electronic music through trance artists like Paul Van Dyk and Armin Van Buuren. and chillout and baleric sounds so i really got into The Cafe Del Mar compilations and I fell in love with electronic music probably from age 16, 17.

What’s one mistake you made while producing or mixing that taught you the biggest lesson?

I remember early on as a producer, I wasn’t really in, I wasn’t, I didn’t really know about sidechain compression. So if you want to get that pumping sound and duck the different frequencies and get that pumping bass, if you’re producing electronic music, like I like, then you definitely want to use sidechain compression.

Be honest, how do you personally know when a track is finished? And how many exports usually come before that moment?

I try not to cut too many mixes now. Sometimes I’ll end up with four or five mixes of the same song, which could be cool because then you can have, I like, I kind of like the style back in the day when somebody would release a single and there would be a radio mix, a piano mix, an ambient mix, a chill out mix, a club mix. I thought that format was pretty cool.

In your opinion, what separates a good song from a forgettable one?

For me, I’m a melody guy, so the melody is what sticks with me. A melody that evokes some kind of emotion, usually like a melancholic emotion, an uplifting emotion, whatever it is. But for me, it’s the melody. I just think in melodies.

What makes a DJ set truly great for you, track selection, flow, crowd connection, or something else?

This sounds pretty cliche, but I would say it’s the whole experience. It’s everything. It’s the trip. It’s the set. It’s the setting. It’s the people who are with you. Are people having fun? Are they dancing? Are you having fun? Are you dancing? Because that’s what it’s all about at the end of the day.

Was there a specific night, event, or person that pushed you to step behind the decks and start DJing seriously?

When I started traveling to Latin America specifically I realized that people like the music that I’m playing. And that was a big confidence booster, and it was almost… It’s very validating where, you know, people aren’t coming up to the decks and asking, requesting for you to play pop songs and things like that.

What’s one unexpected or unforgettable moment you’ve had while playing live?

There was this one night in Colombia in Medellín where the stars kind of aligned. Now it was this small little rooftop lounge bar, maybe there was 50 people there. I remembered I played maybe for four hours to the point where there was another dude, my friend, who was, he was supposed to play after me, and he was like, yo, bro, he’s just like, just keep going. And I kept going, and I just went on this journey with the people that were there, and it was just an amazing experience. I don’t know how to describe it, but the stars kind of just aligned, and it felt really good, and the people, I just, We were together in this thing for a long time.

Happy to be working again with M-Sol Records. They are a genuine label and group of people passionate about the music.

April 24, 2026

Interview
SUNSHINE RACKET: FROM SOLE ACOUSTIC GUITAR TO CAFE DEL MAR

Tomek Mossakowski, performing under the name Sunshine Racket, is a Warsaw-based DJ and producer whose musical trajectory began with a sole acoustic guitar. In the beginning he was mentored by his father, a former band musician. Later he transitioned from early string compositions to electronic production, citing the influence of house pioneers such as Marshall Jefferson and Roger Sanchez.

His discography is characterized by a fusion of disco, soul, jazz, and afro-house. Tomek describes his creative process as one of rigorous iteration, often involving hundreds of exports and thousands of listens before a track reaches its final form.

Beyond the studio, his career is defined by a decade-long international tenure as the primary musical provider for Oriflame Cosmetics. In addition to this work, his live performances have reached global stages, most notably at the legendary Café del Mar in Abu Dhabi, a milestone he identifies as a definitive moment in his professional life.

Do you remember the exact moment (or person) that made you think: “I want to produce my own music”? What was it?

When I was young, we had an acoustic guitar at home. My dad used to play in the band. He taught me to play the first songs on this guitar. Then I started to make my own songs.
After that, later, when I saw stars like Marshall Jefferson, Roger Sanchez, I knew that I wanted to produce music like that.

SUNSHINE RACKET on The House of Essenza Launch Event

Photo: SUNSHINE RACKET on The House of Essenza Launch Event

Who or what shaped your sound in the beginning and what influences you now that might surprise people?

At the beginning, my dad, my brother, my cousin, showed me a lot of great music, a lot of great tracks, and they shaped my sound. Right now, I think journeys and trips around the world that I have, influence me a lot.

What’s one mistake you made while producing or mixing that taught you the biggest lesson?

I’m making a lot of mistakes. Every mistake is a lesson. You have to make mistakes to be better. That’s the process.

Be honest, how do you personally know when a track is finished? And how many exports usually come before that moment?

I don’t know exactly when my track is finished. When I listen to it like thousands of times, when I export it hundreds of times, and tweaking it happy to be here, happy to be here. That is the sign for me to stop, and then I know the track is finished.

In your opinion, what separates a good song from a forgettable one?

I think great song is when you love to listen to it over and over again. When you have great memories with the song, when you feel really great when you’re listening to it.

What makes a DJ set truly great for you, track selection, flow, crowd connection, or something else?

All the things make a DJ set great, but I think when you feel it in the air, when you feel it inside your body, when you want to move, when you want to dance, when you feel good, then it’s a great DJ set.

Photo: SUNSHINE RACKET on The House of Essenza Launch Event

Photo: SUNSHINE RACKET on The House of Essenza Launch Event

Was there a specific night, event, or person that pushed you to step behind the decks and start DJing seriously?

The moment that pushed me to step behind the decks was in the early 2000, when I was listening to Hauserka and The Radio Stasia. There were two legends Seb Skalski, owner of Specula Records, and DJ Klasse, who had great parties at that time, import in Picarnia.

When I was listening to them, I knew that I want to be like that. I want to be a DJ and I want to play at the parties.

What’s one unexpected or unforgettable moment you’ve had while playing live?

My unforgettable moment was when I was playing legendary Café del Mar in Abu Dhabi. The atmosphere there, this place, and people, and everything was fantastic. That was, the unforgettable moment of my life.

March 12, 2026

Interview
INTERVIEW WITH FLEANGER: AI CAN’T REPLACE EMOTION OR INTENTION

Fleanger is the stage name of the Tel Aviv born, Berlin based music producer and DJ. Fleanger musical story is interesting one. He started with drawing and graffiti. He is classily trained pianist, whos curiosity and desire to experiment with music led him to electronic music production.

When you first started producing music, what initially sparked your interest, and what pushed you to take that first step into music production?

Music was always there for me before it was “production.” I started with drawing, graffiti, and piano, ways to express things I couldn’t really explain in words. At some point, I realized music could hold emotion, movement, and story all at once. The first real push into production came from curiosity and solitude: sitting alone, experimenting with sounds, and discovering that I could build entire worlds from a blank project.

Which artists, genres, or moments influenced your sound early on, and how have those influences evolved into your current Deep House style?

Early on, I was influenced by melodic electronic music, deep house, progressive, and artists who focused more on feeling than function. I was drawn to long journeys, emotional chord progressions, and subtle grooves. Over time, those influences became more refined, less about complexity and more about intention. Today, my Deep House sound is slower, deeper, and more introspective, shaped by space, restraint, and emotional honesty.

Where do you usually find inspiration today, does it come from everyday life, travel, emotions, or from within the studio itself?

Mostly from life itself. Travel, cities, quiet moments, conversations, memories, even uncertainty. Berlin, Tel Aviv, and in-between places have all left their mark on my sound. Sometimes inspiration hits in the studio, but usually it starts outside, the studio is where I translate it into sound.

 

Can you share a bit about your production setup? What software and tools do you mainly work with, and how important are they in shaping your sound?

I mainly work with Cubase and FL Studio, alongside a small, carefully chosen selection of synths and plugins. I don’t believe gear defines the sound, decisions do. Tools are important, but they’re just instruments. The real shaping comes from how you listen, when you stop, and what you choose not to add.

Looking back so far, are there any releases, milestones, or accomplishments in your career that feel especially meaningful to you?

Releasing music on my own label and seeing people connect emotionally to tracks means a lot. Also, building long-term collaborations, receiving support from artists I admire, and slowly shaping a clear artistic identity, those moments matter more to me than numbers.

As a DJ, are there any performances or moments behind the decks that stand out as particularly special or memorable for you?

The most special moments are when the room goes quiet in its own way, when people stop talking and just feel. Small, intimate floors often leave the deepest impact. It’s not about peak time energy, but about shared presence.

What would you say is the most challenging part of the music production process, and how do you usually work through those moments?

Knowing when a track is finished. Letting go is hard. When I’m stuck, I step away. Time, distance, and silence are often the best tools to regain perspective.

On the flip side, what is the most enjoyable or rewarding part of producing music for you?

That moment when everything suddenly aligns, when a melody feels honest and the groove breathes naturally. It feels like uncovering something that already existed, rather than forcing it into being.

What is your perspective on the growing role of AI in music production, and where do you see its place within electronic and Deep House music?

AI can be a powerful tool for exploration, workflow, and inspiration, but not for replacing emotion or intention. In Deep House especially, the human element is essential. AI should support creativity, not define it.

M-Sol DEEP represents a refined side of the Deep House scene. What does being part of this label mean to you as an artist?

Being part of M-Sol DEEP feels like being understood. It represents depth, quality, and musical maturity, values I strongly connect with. I’m grateful to be part of a label that respects the emotional side of Deep House and gives space for artists to express themselves authentically.

February 13, 2026