We first encountered him on the shores of Singapore around 2018, where his genre-defying set turned heads at Upstairs (Headquarters). What struck us then was his ability to navigate between groove-heavy rhythms and obscure beats, drawing threads between continents. Since then, we’ve followed his musical trajectory through his long-standing residency at Lisbon’s legendary Lux Frágil, boundary-pushing appearances at Boom Festival, and even the unexpected detour into samosa-making during the pandemic, a tale as humorous as it is heartfelt.

Based in Oslo, Norway for the past couple of years (now soon to return to Lisbon), Marco opens up to City Nomads as we speak about the roots of his sonic palette, from his father’s vinyl collection to the influence of skateboarding culture; his views on the over-commercialisation of DJ culture; and why Boom Festival’s Gardens stage in 2023 marked a milestone in his artistic life.

What emerges is a portrait of an artist deeply attuned to the vibrations of place, memory, and community, a DJ whose work refuses to be boxed into easy categories. Whether channeling the psychedelic drones of Tangerine Dream or the raw physicality of New Wave, Switchdance dances between timelines, geographies, and energies with an ethos that is both rebellious and reflective.

Ahead of his return to Boom Festival this year, where he’ll be playing an extended set to open the Gardens stage, we caught up with Marco for a conversation that traverses music, migration, identity, and what it means to remain true to one’s stance in a scene that’s constantly shifting.

From Goa to Lisbon: On Heritage and the Sonic Archive

City Nomads (CN): Let’s begin with your roots. You’ve mentioned a mix of Portuguese and Goan heritage, has this cultural duality shaped your relationship with music?

Switchdance (SD): Definitely. My father’s side is from Goa, and he was the one who got me into music. Not electronic music at first, he played a lot of classical, some pop, and rock like Pink Floyd or Elvis on his stereo. But those early moments, playing vinyl as a child, made music feel physical, almost sacred.

CN: And when did electronic music enter the picture?

SD: Around 12. I got really into digging music online, Napster, AudioGalaxy, all of it. I’d rack up internet bills that got me grounded, but I couldn’t stop. That curiosity drove everything. I think that’s where the idea of “familiar past, alien future” comes in, drawing from cultural memories, but twisting them into something new.

Skateboarding, Switch Stance, and Sound Experiments

CN: Your DJ name, Switchdance, is a nod to your skateboarding past. Can you tell us more about that?

SD: Yeah, originally it was “SwitchSt(d)ance”, a bit of a wordplay. [In skateboarding, a “switch stance” refers to riding in the opposite of your natural stance, an apt metaphor for Marco’s musical approach.] But people couldn’t pronounce it. I dropped the parenthesis. Skateboarding was huge for me, not just as a sport, but as culture. It opened me up musically. I went from metal to goth, to hip-hop, punk, and eventually electronic. I used to participate a lot in national skate contests, and at night there were always parties. I started to DJ at those events too. Those gigs in small towns, in local bars, that’s where it all started.

Lisbon’s Sound: Eclecticism and Emotional Frequency

CN: Your sets at Boom Festival are famous for being dynamic and deeply curated. How do you prepare for such festivals?

SD: I prepare a wide palette, maybe 100 to 200 tracks, but sometimes only play 20 haha. It depends on the moment. At Boom 2023, for instance, I played the Gardens Stage, starting at 70 BPM. It was mind-energy, not body-energy. That was special. It let me build a slow journey, more psychedelic in a cerebral way.

CN: That hypnotic vibe is something you’re known for. How conscious is that approach?

SD: It’s intuitive. I don’t like being boxed into genres. During my 14 years at Lux Fragil, I played all kinds of rooms, time slots, and crowds. That flexibility taught me to read a space. I enjoy crafting a journey. Something unpredictable, something that reveals itself slowly.

“I believe music should be without rules, free from expectations or structure. The moment you let go of control is when magic happens.”

Amolador, Samosas & Sonic Memory

CN: Your track “Amolador” resonated with many. It captures a slice of Portuguese street life.

SD: That one took years. The sound of the knife-sharpener’s whistle, it’s part of Lisbon’s soundscape. I made several versions, tested them live, and wasn’t satisfied until I finally reworked it. When Innervisions released it, it really opened doors internationally.

CN: And during the pandemic, you famously pivoted from music to samosas?

SD: (laughs) Yeah! I was home, everything stopped. So I learned how to make samosas from my mother. I posted a photo as a joke on my instagram, “No gigs, just samosas now.” It went viral. I had to turn off notifications. Suddenly people wanted to buy them. It even got press coverage, tv talkshow invitations, it was becoming quite insane. Finally it became a real side hustle until music came back.

Clubbing vs Festivals: A Post-Pandemic Reflection

CN: How has the electronic music scene changed post-pandemic?

SD: It’s bigger, but more focused on image. DJs now are judged by their persona, not their music. Clubs are closing, and festivals are thriving through sponsorships and brand partnerships. That’s why Boom really stands out, it’s not about brands, it’s about experience. There’s still space for real journeys there.

CN: You’re playing the opening Gardens set at Boom 2025. What can people expect?

SD: I’m really looking forward to this gig and to playing a 5-hour b2b set with Vladimir Ivkovic, whom I really admire. It’s a long daytime slot, possibly around 40°C so I’ll need to adapt to the weather conditions haha. But I’m excited. It’s a special moment before the other stages open. The time when the portal opens. I want it to be gentle, deep, yet still immersive.

 

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Looking Ahead: Albums, Collaborations, and New Directions

CN: You’re based in Oslo now. Has that affected your sound?

SD: Yes. More studio time, more reflection. I’m currently working on three albums simultaneously. One is with Carlos Maria Trindade from Heróis do Mar and Madredeus, another with Vaague, a Belgian jazz drummer, from an artist residency I did a few months ago hosted by the MIL Festival. It’s a more organic project, with more live instrumentation

CN: Any final thoughts?

SD: I’ve always gone against the grain. That’s what Switchdance means, changing direction. I’m still figuring out where the next turn is, but that’s what keeps it exciting.

To experience his sonic alchemy firsthand, listen to Switchdance’s exclusive mix on our Mixcloud. For more genre-defying grooves and glimpses into his evolving journey, follow him on Instagram and SoundCloud.

The post Switching Stances: A Conversation with Switchdance on Roots, Rituals, and the Rhythms of Change appeared first on City Nomads.

With roots in Indonesia’s punk and experimental scenes and a groove-focused approach that spans house, hip-hop, and beyond, Archie Dennis has become a vital voice in Southeast Asia’s music community. Known for his unpolished, soulful sets and collaborative ethos, he’s equally at home jamming in a band, running underground parties, or dropping stripped-back gems behind the decks. As part of City Nomads Radio, our ongoing series spotlighting regional DJs and musicians, we caught up with Archie ahead of his solo debut at Sunda Festival 2025 to talk about his journey, musical philosophy, and why Southeast Asia is having a moment.

While you’re here, hit play below to catch an exclusive mixtape Archie recorded just for City Nomads.

Let’s start simple: How would you introduce yourself? Both as a person and as an artist?

That’s always an interesting question, because I’ve never really separated the two. My personal and artistic selves are very much the same. I’ve been collecting music since I was really young (records, tapes, whatever I could find) and I guess it just evolved into this. Being a DJ was never a “plan.” In fact, growing up in Indonesia, there’s this general belief that it’s tough, even unrealistic, to live as a musician. So it’s not something I polished or consciously pursued at first. It happened really naturally, just step by step. And over time, I found myself in this position, playing regularly, getting more involved, and realising this is what I do now.

What were those early steps like? When did you know it was more than a hobby?

It honestly started with DJing, even though I didn’t see it as that in the beginning. I used to be in a punk band and spent a lot of time around experimental gigs, noise shows, things like that. But at the same time, I was already collecting records. A friend of mine had one turntable, I had the other. We started messing around, just trying to mix things for fun. It wasn’t like, “I want to be a DJ.” We didn’t even know the genres properly. I was just curious about how sounds could connect.

Then over time, you start recognising the sounds. Like, oh, this is deep house, this is jungle, this is boom bap. And eventually, I realised, I’ve been playing a lot. I’m playing parties, I’m building something with this. That’s when I thought, yeah, maybe it’s time to take this more seriously.

You’ve gone from punk gigs and underground house parties to becoming a mainstay in Southeast Asia’s club and festival circuits. How has that journey shaped your identity as an artist?

Massively. Back in the day, being part of those raw, underground house parties really shaped who I am now. Those gritty, unfiltered spaces helped me figure out what kind of sound I was drawn to. I wasn’t into the commercial stuff. I wanted something deeper, more soulful. And being immersed in that scene taught me a lot. It built endurance. Playing late, adapting to unpredictable crowds, and staying grounded in the energy of the moment. All of that carried through to the way I DJ today.

Your mixes go beyond genres, from soul and hip-hop to experimental and house. In a scene where DJs often stick to one lane, you seem to do the opposite. How do you define your approach to sound?

I still describe myself as an open-format DJ, but my approach is specific. I gravitate toward the stripped-down versions of things. For example, if it’s hip-hop, I want that raw boom bap—not the glossy, over-produced stuff. If it’s house, I focus on grooves with strong basslines and not too many layers. I avoid what we call in Indonesia “ramai” which means crowded or noisy. I think the more I listen to music, the more I crave simplicity. I don’t see genres, I just hear music that feels good to me. That’s what I go after.

You’ve been involved in several collectives, from SCRUBS! in Jakarta to Fraktal and Tantra in Bali. What draws you to these kinds of projects?

For me, music has always been about community. SCRUBS! was a baby project we started in Jakarta. A mix of older DJs, younger heads, just people who wanted to share interesting music with no ego. We weren’t chasing trends; we were just playing sounds we liked. When I moved to Bali in 2016, I met the Tantra crew, and they had a similar vibe. They were throwing parties, building venues, running a radio station called Paddygrooves Radio. We just clicked. It kept me grounded and gave me new energy to create.

I also formed a band called Fraktal with some friends from different collectives. It started as a jam session, then someone offered us a gig, and it just grew. Now we’re putting out our first vinyl release, a remix on an Australian (Melbourne) label l called Lunatic Music. Even though it’s a remix, it’s meaningful because it’s our first physical release.

You mentioned earlier that you were a drummer. How does that influence your DJ sets?

Being a drummer taught me to listen differently. I naturally hone in on rhythm first. The drums, the groove. That’s the anchor for me. But I’m careful not to overdo it. I want the drums to be interesting, not overwhelming. That mindset of stripping things down, of letting each element breathe, definitely comes from my time as a musician. And that influences how I structure my sets too. I don’t plan every track. I just group tracks by mood: low energy, high energy, closing moments. Then I read the room and go from there.

You’ve shared stages with legends like DJ Harvey, Lefto, and Onra. Any gigs that left a lasting impression?

Yeah last year, I opened for Wata Igarashi. I never really knew techno could sound like that — his set completely blew my mind. It was groovy, not hard or industrial, just this hypnotic flow. I remember thinking, “If I ever play techno, this is how I’d want to play it.” That night really expanded my musical horizons. It reminded me that even within a genre you don’t usually vibe with, there’s always something new to discover if it’s done right.

Let’s talk Southeast Asia. How do you see the regional scene evolving?

It’s an exciting time right now. There’s so much talent across Southeast Asia. Indonesia, Singapore, Vietnam, the Philippines. And people are starting to pay attention. The growth is organic but also powerful. You’ve got collectives, DJs, producers, all doing their thing with their own distinct voices. In Indonesia, you have the GMO crew doing a lot of experimental projects, you’ve got experimental projects, live bands fusing traditional instruments with electronic music. It feels like the perfect time to harvest everything we’ve been planting.

You’ve lived in Malaysia, Jakarta, and Bali. How have those places shaped your sound?

Each place added a new layer. In Malaysia, I lived in a quiet town called Cyberjaya—there wasn’t much going on except one 7-Eleven and a gas station. That’s when I was deep into progressive and psychedelic rock. It was a time of introspection. Then I moved to Jakarta, and boom, urban life, hip-hop, fast pace. Bali gave me something else entirely. It’s a blend of both. I like to say the sound in Bali is “cosmic.” You can play downtempo and also play something more of high energy, yet still sound cosmic. It lets you merge different influences, and that’s really special.

You played at Sunda Festival last year with Fraktal, and now you’re back solo. What does it mean to be part of the festival again?

Sunda is different. It’s not just about music. It’s about community, creativity, wellness, and cultural expression. That really resonates with me. My first set there was with Fraktal, which was super organic and personal. This year, I’ll be DJing solo, but I still want to keep that same vibe, intentional and organic. That’s how Sunda feels to me.

This year you’ll be playing the Fred Perry Nomad Stage, designed in collaboration with Vietnamese studio Culm-Innate. Do those kinds of stage elements influence your performance?

Absolutely. Visuals, design, the physical environment. It all affects the energy. The Nomad Stage being made from bamboo, designed so intentionally, it connects with the natural setting, and that influences how I’ll play. I want to respond to the space, not just play over it.

Sunda is also family-friendly. How do you adapt your set when the crowd includes kids and first-timers?

I think of it as an experiment in connection. The goal is still celebration, still fun. But I want to be present with the crowd and see how we can vibe together. So I’ll keep it playful, rhythmic, and warm.

What’s coming up after Sunda? Any releases we should look out for?

Yes! Fraktal’s remix drops in June on Lunatic Music. It’ll be our first physical release. And I’m also working on my own solo music. That’s been more challenging because you’re basically debating with yourself, wondering if a track is “good enough.” But I’m committed to pushing it out this year.

Catch him at Sunda Festival, happening on 18-19 April. And if you loved his interview, don’t miss the exclusive City Nomads Radio mix. Stream it above and let it soundtrack your day. Use our promo code “CITYNOMADS” to get a 10% off your tickets. To stay updated on Archie Dennis’ upcoming gigs or music, follow him on Instagram, Resident Advisor, Bandcamp or Soundcloud. 

The post Indonesian DJ Archie Dennis Talks Grooves, Community, and His Return to Sunda Festival 2025 appeared first on City Nomads.

Born in Porto but shaped by the streets of London, DJ and producer Nuno da Cruz has carved out a unique musical identity that bridges cultures, genres, and decades. Known for his genre-defying sets and raw approach to artistry, Nuno’s story is as eclectic as his sound. In this edition of City Nomads Radio we caught up with him for a candid conversation that took us from his early days in Portugal’s underground scene to his immersive experiences in London’s iconic clubs including Fabric, Dalston superstore, and south London Diggers Heaven The Gowlett Arms.

“Everything Starts with Silliness”

City Nomads (CN): Hey Nuno, how’s everything? Ready for this?

Nuno: I haven’t had time to prepare—I’m so sorry! (laughs) Honestly, I’ve been anxious for the last two days about this.

CN: We should’ve sent you the questions ahead of time!

Nuno: Yeah, I thought about that. But you know what? Maybe it’s better this way. Everything starts with silliness, right? And anyway, isn’t that what being an artist is all about? Not being prepared? LOL

Finding His Sound: Porto to London, and the Spaces In Between

CN: You were born in Porto but spent most of your life in London. How do you think these two cities have shaped you, both personally and musically?

Nuno: There are so many ways you can approach this question. Porto and London have this cultural bridge. Portugal has always been massively influenced by British music, and that comes from geography. Since the 1920s, even during World War II, we were picking up British radio waves. By the 1980s, Porto had this boom in underground and alternative music because kids were tuning into British radio and spreading what they heard.

I grew up during that time—the first generation born into freedom after the dictatorship ended in 1974. Music was the first thing people used to express themselves. My dad played a huge role too. He was a businessman working with a British company, flying to London all the time. He brought back so much culture—my first silver t-shirt, my first single, my first portable console. But more than that, he brought back 8mm films in Camden Town, Soho, even early Carnaby Street. I was like six years old, watching these raw, gritty images while living in the middle of austerity in this tiny suburb outside Porto. That became my playground, my escape.

Moving to London: The Reality Check

CN: When you finally moved to London in the late ’90s, was there a culture shock?

Nuno: Oh, definitely. I thought I knew everything about London’s music scene because I’d been obsessing over it for years—reading The Face, ID and Wraygun, trying to replicate the culture from afar. But when I arrived, I realised even a six-year-old in London probably knew more about music than I did. There’s just too many things to do in London. That was my culture shock. I’d been so in my bubble, thinking I had it all figured out. But London is so vast, musically. It humbled me real quick. 

CN: Were you a raver before you became a DJ? What’s your first memorable experience in the club scene?

Nuno: I became a raver out of necessity, I think. It wasn’t like, “Oh, I’m going to be a raver now.” Things in my life just happen naturally, and I decide to embrace them. My background was in rock—I studied classical piano as a kid, was in bands, wrote poetry, all that. But when I started writing for a ska band called Sloppy Joe, that’s when I realised I wanted to explore dance music more deeply.

The first real “wow” moment I had in a club was seeing Kruder and Dorfmeister in 96 promoting the now classic DJ-kicks. They were throwing in Bossa Nova elements—it wasn’t even fully electronic—and it blew my mind. I walked out of that set thinking, There’s so much you can do as a DJ that I never even considered. And then I saw Rockers Hi-Fi, and I was like, What the fuck is this? I wanna do that! That kind of stuff opened my eyes to the possibilities within the art of mixing.

DJing as a Learning Process

CN: So DJing wasn’t the original plan?

Nuno: Not at all. But once I started DJing, I realised it was the best way to learn about music composition. You’re learning from other people’s processes—figuring out how tracks are structured, how to mix them into other songs, how to create momentum. I learned so much more about composing through DJing than I ever did in school. It made me hyper-aware of the intricacies in song structures, and that became a big part of how I approached my own music.

CN: When you’re in the studio, do you have a particular creative process, or is it all about improvisation?

Nuno: I wish I could say I had a process, but honestly, it’s mostly improvisation and making the most of the tools available to you. I struggled with the transition to digital production in the ’90s. My first experience with computers in music was traumatising—I hated it. I recorded an album with my band Driving Under Influence, in 97 that goes unpublished to this day but introducing computers into the process to time the drums felt like a total failure, we lost hours over it

It wasn’t until much later, around 2003, that I started experimenting again. Even then, it was more about playing around with sequencers and synths. During COVID, I finally had the time and space to dive back into production seriously. But even now, I don’t see myself as both a DJ and a producer at the same time. When I’m DJing, I’m analysing; when I’m producing, I’m creating. They’re two different mindsets for me.

Vinyl Obsession: Analog vs. Digital

CN: Technology in DJing and production has evolved massively. Where do you stand on the analog vs. digital debate?

Nuno: Ah, the eternal question! (laughs) I come from the old school, mixing vinyl obsessively for years. At one point, I had over 8,000 records—I thought I was a collector, but really, I was just hoarding vinyl like a lunatic. Eventually, I had to confront that. I listened to every record, decided which ones to keep, and gave away or sold the rest. I’m down to around 5,000 now, but each one means something.

That said, I’ve embraced digital too. When I first tried to transition to digital in the ’90s, both in graphics and music production I failed miserably. But later, especially in London, I learned to adapt. Mixing with CDJs, USBs, or even software like Traktor became part of the process. It’s not about being purist for me—it’s about using whatever tools help you express your sound best.

CN: You’ve played in clubs in both Porto, Portugal and London. Do you adapt your sets based on the city and its crowd, or do you stick to your core style?

Nuno: I definitely adapt. My sets are never the same because I’m always in a different phase of discovery. Sometimes I’m deep into Italian library music, other times it’s Nigerian funk or early ’80s Greek pop. I source music from friends, favorite labels, and even political soundbites or obscure vocals. I like to throw in elements that aren’t necessarily “me” but add a layer to the story I’m telling.

CN: How do you plan a set? Do you have a narrative in mind, or is it more instinctual?

Nuno: I don’t pre-plan the sequence of tracks. Instead, I listen to everything I’ve gathered, learn the structures, and figure out where I can break or cut them. The real magic happens live. That’s when I discover how different sounds interact and how the crowd responds.

CN: What’s next for you? Any upcoming projects or plans we should keep an eye on?

Nuno: The good news is that, after a period of enforced hiatus due to the COVID-19 pandemic, I’ll be resuming my DJing career with a residency at OpenBox in Porto’s Art District Miguel Bombarda in 2025. This residency will build upon the spirit and work done for 8 years with Club Return to Forever at the Gowlett Arms in Peckham, South London, exploring a diverse range of funk and experimental sounds.

I’m currently working on new productions, including enough material for an LP tentatively titled “The NuAge is an Ape * The Artist is no wonder.” I’m also experimenting with incorporating more live elements into my sets, blending DJing with live performance and musicians. And while I’ve been sitting on an unreleased album for a while, I’m primarily focused on staying inspired and seeing where this musical journey takes me.”

CN: Thanks for the chat, Nuno. This was a wild ride!

Nuno: Thank you! This was a trip down memory lane. I hope it all makes sense once you edit it! (laughs)

Listen to the mix he created for City Nomads via our mixcloud or click play below:

Follow Nuno and stay updated on his latest happenings at his channels:
@nuageape on Instagram | Soundcloud | Resident Advisor

The post Exploring Nuno da Cruz’s DJ Journey: Musical Roots and Evolution appeared first on City Nomads.

Give PARTYWITHJAY’s mix a listen as you read along!

Answering the Call of Curiosity

Jitendra’s foray into DJing was sparked by curiosity. At just 18 years old, he was mesmerised by how DJs seamlessly blended his favourite Hip-Hop and R&B tracks. “It was something so impressive, a mix that couldn’t be replicated on an iPod or Discman,” he shares.

The turning point came while watching legendary The X-Ecutioners on MTV, scratching vocals acappella in their iconic track It’s Goin’ Down. “It was rhythmic and funky. That piqued my curiosity,” he recalls. This fascination led him to seek guidance from DJ Rattle, a Polytechnic instructor who laid the foundation for his craft. With determination and the right mentor, Jitendra’s journey into music began to flourish.

What’s In His Name?

 

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As his musical journey soared to greater heights, Jitendra’s original stage name, Styluxtakut, proved a challenge for emcees to pronounce. “They kept butchering my name,” he recalls his performance during his trip to the Amsterdam Dance Event. To embrace a name that was not only catchy but also reflective of his persona, he made a strategic pivot to his current moniker, PARTYWITHJAY.

“I needed something easy to pronounce yet memorable,” he explains. The name ‘JAY’ stems from his initials, while ‘party’ encapsulates the vibrant energy he infuses into every performance. “It’s always a party when you’re partying with me,” he quips, encapsulating his ethos perfectly.

Residency at Marquee’s CIRQUE and Avenue Lounge’s VYBE

 

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As the resident DJ at Marquee Singapore and Avenue Lounge, PARTYWITHJAY delivers tailored experiences at each venue. At Marquee’s CIRQUE nights, he champions House, Afro House, Bass House, and Tech House, while Avenue’s vibe is all about Hip-Hop and R&B.

“I respect the audience, the craft, and guest DJs,” he shares. This commitment shines through in his meticulously curated sets, designed to complement both the mood and the music of the night. From mixing to scratching to live mashups, every set is crafted with precision.

Among his career highlights, PARTYWITHJAY fondly remembers opening for the legendary Tiesto during Marquee’s anniversary celebrations and sharing the stage with global superstars like J Balvin, Masked Wolf, and Jay Sean. “It’s a dream come true, made possible by my role as a resident DJ,” he reflects.

Music Scene in Singapore

His passion for music doesn’t stop at scratching and spinning tracks. PARTYWITHJAY is passionate about pushing Singapore’s music boundaries. At Avenue, he spearheads VYBE Thursdays, a night dedicated to Afro-Latin beats, meeting a rising demand for these genres. Meanwhile, CIRQUE at Marquee introduces audiences to House music, an effort to establish its commercial foothold – something he feels that’s lacking in the scene. His ultimate party atmosphere? “A night where phones are banned,” he says. “Let’s bring back the era where people came to experience the moment and the music.”

Beyond the Music

Off-duties, PARTYWITHJAY recharges in solitude. “I’m a homebody,” he laughs, using quiet moments to prep for the week ahead. Few know that he was once a youth footballer for S-League clubs, before injuries like an ankle injury and a torn ACL steered him away from the pitch and into the music scene.

Life throws curveballs, but they’re opportunities in disguise. It’s this resilience that makes PARTYWITHJAY not just a DJ, but a force in Singapore’s music scene.

Keep up with PARTYWITHJAY at Marquee and Avenue Lounge located at Marina Bay Sands.

The post City Nomads Radio: PARTYWITHJAY The Man Behind Iconic Nights At Marquee And Avenue Lounge appeared first on City Nomads.

Give CHIDA’s mix a listen as you read along!

A Glimpse into Road to Sunda

 

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Get ready for a one-day-only dance music extravaganza as Road to Sunda hits Singapore on October 5, 2024, bringing the electrifying vibes of Sunda Festival to Haw Par Villa’s Former Villa site. Created by the brains behind Sunda Festival—Ice Cream Sundays and Hong Kong-based creative agency, FuFu Creative’s Florian Melinette—this event is a sneak peek into the magic of Sunda Festival 2025. Expect a killer lineup of Asia-Pacific’s most exciting DJs and live acts, from Jakarta’s experimental Precious Bloom to Tokyo’s legendary DJ CHIDA, plus local heroes like Ramesh, Jenn Chunes and many more. More than just music, Road to Sunda promises a full sensory experience with creative art installations, wellness activities, and a food and drinks menu inspired by bold Asian flavours.

Arrive before 4pm to snag free oat coffees and delicious soft serve, made with Oatly’s 100% plant-based oat drink products! And from 12pm–1pm, catch Silver Hour where the first 100 punters will get a complimentary can of refreshing Heineken Silver. Oh, and the first 500 beers will be served with a free collaborative Heineken Silver beer sleeve designed by Natasha Hassan!

And if you’re not ready for the party to end, the official afterparty at Tuff Club will keep the beats going till 4am. With limited tickets starting at S$73, this is the festival you don’t want to miss—grab yours now here. Get 10% off using code [NOMADS10] for Advance and Last Chance tickets (not including bundles).

“I Have No Idea How To Live Without Music”

Music, for CHIDA, is deeply ingrained in his identity. His love for music began when he was just 18, frequenting clubs and collecting house music records. What began as a hobby quickly evolved into a passion for DJing, particularly during his university years in Tokyo, where he teamed up with college mate DJ KENT (aka The Backwoods/Force of Nature). Together, they honed their skills, playing in the buzzing nightlife of Shibuya. For CHIDA, the early days of Tokyo’s house and techno movement were special. Back in the ’90s, DJs didn’t have the convenience of USBs or streaming platforms. Each DJ set was built on a unique collection of records, painstakingly curated through regular trips to record stores. As CHIDA puts it, “Collecting records was more important than paying for an apartment.” It was a time when DJs’ individual styles were defined by their crates of vinyl and mixing skills—a period that deeply shaped CHIDA’s approach to music.

Despite the rapid mainstreaming of house and techno in recent years, CHIDA has remained rooted in the underground scene. He acknowledges the seismic shifts that have occurred since his early days, noting how technology has made it easier for aspiring DJs to break into the industry.

“Since 1992 when I got into this industry, everything has changed so quickly. The biggest difference is that everything is getting easier. Everyone can start DJing with USB, and produce music with an iphone, laptop. That makes everyone can be a DJ/producer so quickly and easily. But I still enjoy digging records and also checking new stuff online. Easy to find what I really want on bandcamp.”

The Marathon DJ Sets That Made Him a Legend

One of the most fascinating aspects of CHIDA’s career is his ability to perform marathon DJ sets. Since 2013, he has played seven-hour sets in Japan and Berlin, and these lengthy sessions are a true test of endurance, both for the DJ and the audience. However, for CHIDA, the energy of the crowd is what sustains him. His selection process is highly intuitive, driven by the mood of the room and what the dancers need at any given moment. The blend of genres in his sets, ranging from house to disco, funk, and even rock, adds an element of surprise that keeps his performances fresh and unpredictable.

“I’ve been playing for many kinds of venues and diverse people. So, I’m always playing different DJ sets. I always love surprising people with unexpected music choices and mixing. For example, playing dark techno after old disco.”

CHIDA’s adventurous spirit also comes through in his work with Ene Records, the label he founded in 2009. He started the imprint to provide a platform for new artists and help disseminate cutting-edge music. Over the years, Ene has released tracks by an eclectic mix of talents, including Psychogem, Lord Of The Isles, Tiago, and The Backwoods. Although the label has been quieter in recent years, CHIDA is preparing to relaunch with new material from his circle of collaborators. His vision for the label remains as strong as ever—supporting artists and keeping the underground scene alive.

What to Expect at ‘Road to Sunda’

CHIDA believes that festivals like Road to Sunda play a vital role in fostering community within the music scene. These in-person festivals are where the shared experience of music can forge meaningful relationships and energise the scene. He loves the challenge of playing for diverse crowds in different settings and using these gatherings as an opportunity to surprise the audience with unexpected musical moments. For his upcoming performance at Road to Sunda, CHIDA is excited to showcase both his favourite new tracks and timeless classics.

“I think local events like Sunda Festival play an important role in revitalizing the scene & connecting people / DJs / musicians. And It is much more important to connect and empathize with people at a real party than it is to have virtual relationships.”

Lessons From the Decks: Reflections and Advice

Looking back on his career, CHIDA is clear about one thing: music can change lives. Whether through his DJ sets or his work with Ene Records, CHIDA understands the power of a shared musical experience to uplift and transform. For younger DJs and producers entering the industry, his advice is simple but profound: “Life is very short. Keep doing your own thing.” It’s a mantra that has guided him through decades of change and continues to drive his creative journey today.

Keep up with CHIDA here.

All images courtesy of CHIDA.

The post City Nomads Radio: DJ CHIDA Talks 30 Years in the Tokyo’s Underground Scene & His Upcoming Set at ‘Road to Sunda’ appeared first on City Nomads.

Give Batik Boy’s mix a listen as you read along!

A Glimpse into Suara Festival

 

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The Suara Festival, held from 26-28 July 2024, is Bali’s premier multi-sensory event, and this year it took place in the stunning, newly unveiled Nuanu City. Spanning 44 hectares of lush jungle, rivers, and breathtaking ocean views, Nuanu City is a visionary creative hub. The festival featured sustainable architecture, modern amenities, and larger-than-life art installations, making it a truly immersive experience. Suara, meaning ‘voice’ in Indonesian, blends international talent, local culture, and the natural beauty of Bali, offering attendees more than just music. Workshops, market stalls, and culinary delights were also part of the mix, all set within an eco-conscious and state-of-the-art environment.

A Musical Odyssey

Batik Boy’s journey from Indonesia to the Netherlands and back is a tale of cultural immersion and musical evolution. Moving to the Netherlands at 10 years old, he faced the challenge of adjusting to a new language and culture. Fortunately, a diverse school environment and supportive friends helped him adapt. “Holland became my second home, even though I knew I would move back eventually,” he shares. Nine years ago, he returned to Indonesia, bringing with him a wealth of musical influences from his time in Europe.

Growing up, Batik Boy was surrounded by the sounds of Bob Marley, Michael Jackson, and traditional Indonesian music. His time in the Netherlands expanded his musical horizons further. “In Holland, I was introduced to James Brown, Fela Kuti, but also Dutch hip hop artists like Opgezwolle,” he says, highlighting the blend of genres that would later define his own style.

Crafting a Unique Sound

Batik Boy’s music is a vibrant mix of Afrobeat, Amapiano, 3step, Baile Funk, and Latin Rhythm. His approach to creating this diverse sound is rooted in intuition. The challenge of mixing genres is one he embraces, even when it requires experimentation and adaptability.

“From gut feeling. I literally feel when something hits different, a feeling of inspiration and curiosity. What happens when I blend this new sound? Can I make it flow and turn it into a story, take you on a journey through sound.”

Batik Boy Radio was born during the Covid-19 pandemic, driven by a desire to stay connected with music. “I launched Batik Boy Radio during Covid, so actually to stay busy and stay focused on music,” he says. The platform has since become a space for sharing and discovering new music, with Batik Boy constantly on the lookout for fresh sounds.

“I’m searching and finding new music every day from anywhere and everywhere. From browsing Bandcamp to Soundcloud, music sent by producers, or diving deep into music from different cultures and understanding why and how they made this music. So sometimes its not only about the sound, but also the cultural idea behind the music that makes it super interesting.”

Suara Festival: A Vibe to Remember

Looking back on his performance at Suara Festival, Batik Boy fondly remembers opening for Disko Afrika. “I was the opening DJ for Disko Afrika which I always love, because you can introduce and start the journey,” he says. Among the tracks he was excited to share were “A Train To Soweto” by Vusinator and “East and South 2.0” by Kelvin Momo. The audience’s energy was palpable, underscoring the festival’s role in fostering a sense of community through music. “I think the Disko Afrika showcase at Suara Festival showed how you can bring a community together through sound,” he notes.

Looking Ahead: Advice and Aspirations

Batik Boy’s future is full of exciting projects, including the Kitchen Series, an intimate showcase that combines music and culinary arts. “Both music and food have so many layers, with DJs cooking with sound, and a chef cooking food for everyone to enjoy,” he explains. He also plans to expand his international presence with upcoming performances in Paris, The Hague, and Australia. For aspiring DJs and music producers, Batik Boy offers this advice:

“Follow your feeling, and not the hype or what anybody expects you to play. Your feeling signals what music to follow, nothing else.”

Keep up with Batik Boy here.

All images courtesy of Batik Boy. 

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As always, hit the play button to groove as you dig deeper into Mantravine’s Rhythmic Tapestry.

In the realm of music where genres blend and new sounds are constantly emerging, Mantravine is pushing creativity and fostering community vibes through various shows, workshops and sound baths. In this edition of City Nomads Radio, we speak with the band about their diverse influences, audience connection, integration of wellness and more.

A Symphony of Diverse Influences

Mantravine’s journey began in 2012, inspired by the eclectic energies of psychedelic world music at Australia’s Rainbow Serpent Festival. Upon returning, Rupak George, the band’s music producer, collaborated with Starlight Alchemy to create their debut album, ‘Dream of Dragons,’ for the Flipside festival at the Esplanade. Since then, their evolution has been marked by a passionate drive to radiate love and joy through music, creating a unique musical experience that captivates audiences worldwide, including in Morocco, Germany, Thailand, Italy, New Zealand, Netherlands, Sri Lanka, Hawaii, France, Japan, Australia, and Singapore.

Over the years, this ensemble has created a formula that allows them to evolve gracefully, much like the organic beings they liken themselves to. Their approach to music is dynamic and ever-changing, driven by a mutual passion for exploration and expression. Each member brings a unique cultural and musical background, contributing to a cohesive sound that’s both unified and wonderfully diverse. The band also uses their music as a platform for social and political commentary. “Mantravine stands for social and political liberation, for joy, for musical empowerment, and for creativity,” the band assert, highlighting the intrinsic link between their artistic expression and their advocacy for a better society.

“We kind of think of Mantravine as a very special kind of organism. Like most organisms, there are different parts which make a whole. We are petals, leaves, branches and roots, all different and yet necessary. We each have our role to play in our ultimate function: to make magical music… This organism matures and becomes wiser over time.”

The Art of Improvisation

Improvisation is a cornerstone of their live performances, allowing them to weave spontaneous musical narratives that are both unpredictable and deeply engaging. A memorable instance of this was during a festival in Sri Lanka, where what started as a duo performance evolved into a six-piece ensemble show, completely improvised with newly-made friends at the festival. This ability to adapt and innovate on the fly is a defining trait of Mantravine, reflecting their deep musical synergy and ability to connect and create under spontaneous circumstances.

“We have a hybrid formula of using structured improvisation. It’s all about listening and responding.

With the relationship we have now, sometimes we improvise songs and whole sets without people knowing. That being said, it has taken years. Most of what you will hear us play publicly is very developed material, even if it did start as a complete surprise!”

Mantravine places a heavy emphasis on audience interaction, transforming each performance into a collective experience, a shared journey of emotional and energetic exchange. Their performances are interactive, inviting audience participation that ranges from contributing lyrics to becoming part of the live sound. A standout moment of audience interaction occurred in New Zealand in 2018 when a friend’s daughter sang on stage with the band, stepping out of her comfort zone and into the light, guided by the supportive energy of Mantravine.

Wellness in Music

The global disruptions brought about by the COVID-19 pandemic, while challenging, provided unexpected opportunities for Mantravine to delve into the realm of wellness music. They produced seven albums during this period, incorporating healing frequencies into producing wellness albums for yoga, meditation and they now conduct sound baths, enriching the audience’s experience with ancient, nurturing energies.

Looking Ahead

As Mantravine prepares for their international tour across Germany, the Netherlands, and Morocco, they continue to explore new musical landscapes. Their upcoming projects include a tribal Middle Eastern show at a party called “WEAVE: A Multidisciplinary Playground”, intertwined with storytelling, promising yet another layer of cultural synthesis and creative expression. Catch them at Blackbox of Aliwal Arts Centre on Saturday July 6, 2024, from 7-11pm.

For aspiring musicians who wish to fuse different cultural sounds into their music, the band leaves this advice:

“The world of sound is massive, so set some limitations on what you want to work with and look for a show or an event to share your sonic exploration. That will help you to be productive in creating.” For more advice, check out Rupak’s collab with Tracy Joy Phillips from deeplycurious.

Keep up with Mantravine here , and check out their latest song Saraswati on Spotify. 

All images courtesy of Mantravine.

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Give Sarayu’s mix a listen as you read along!

UK Influences and Musical Beginnings

 

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Reflecting on his formative years, Sarayu recalls a rich tapestry of musical influences that ignited his passion for music, spanning across various genres. His time studying in the UK from ages 9 to 22 exposed him to an array of sounds and cultures, particularly immersing him in the electronic music scene that would later shape his career as a DJ. Embracing this newfound passion at 18, Sarayu embarked on a journey that would take his career in the trajectory he’d always hoped for.

Beyond simply admiring artists, Sarayu draws inspiration from immersive experiences and ongoing exploration. Attending events, delving into mixes, and experimenting with a diverse range of genres serve as constant sources of fuel for his creativity. Today he can be seen regularly touring the region as well as other parts of the world bringing his craft beyond the streets of Bangkok.

“It can get frustrating in the studio when you get stuck creatively. When I get stuck I try to learn new techniques or find new music. It’s very important for me to not get frustrated when I’m unable to finish tracks for a while, as it will only get worse, so I’ve learnt to try to do different things in the studio to spark my creativity again.”

More Rice Records & The Evolution of Bangkok’s Nightlife

Since launching his career, Sarayu has released his debut EP “Pridi 303” on his label More Rice Records, and other releases on labels such as Boiled Wonderland. His ability to blend various subgenres has earned him respect as a “DJ’s DJ”, infusing different subgenres with his UK-driven sound, rooted in House, Techno, Breakbeat, and beyond.

For Sarayu, founding More Rice Records marks a pivotal achievement in establishing a label that provided a platform for Asian artists to showcase their talent. Looking ahead, his vision remains steadfast—to nurture emerging talent and expand collaborations. The label’s first collaboration in 2023 with Walls And Pals and the establishment of a physical record store exemplify Sarayu’s commitment to growing the electronic music community and connect with electronic music lovers from all over the world. Furthering other aspects of the label, Sarayu would like to exploring avenues like merchandise, as even now,  when he sees people wearing their current merchandise all over the world is like a high like no other.

Sarayu reflects on the positive shifts in Bangkok’s nightlife, highlighting increased solidarity among artists and the rise of new talents post-Covid. He envisions a future where the region’s electronic music scene flourishes, strengthening the sense of community across Asia.

“Bangkok’s nightlife scene has become much tighter as a whole, we’re supporting each other and working towards the same goal, which is great to see. Post covid there’s a lot more DJs, dancers and new collectives. I feel like Asia / South-East Asia as a whole has become much closer, with everyone reaching out to each other a lot more. “

Looking Forward

Teasing upcoming releases, Sarayu shares his enthusiasm, particularly towards a highly anticipated split EP with More Rice’s co-founder, DOTT. This collaboration marks a significant milestone in their journey, showcasing the label’s evolving sound and the strength of their collaborative spirit. With numerous exciting projects in the pipeline for 2024, Sarayu’s enthusiasm is palpable.

Offering advice to emerging artists, Sarayu stresses the importance of perseverance and experimentation. He emphasises the abundance of resources available online and encourages budding artists to pursue their passions relentlessly and experiment fearlessly.

Through his endeavours with More Rice Records and his individual artistic pursuits, Sarayu is not just a part of Bangkok’s dance music scene; he is a pivotal force propelling it towards a brighter and more inclusive future. His dedication and passion serve as a guiding light for aspiring musicians around the world, embodying the spirit of innovation and community that defines Thailand’s dance music scene.

Keep up with DJ Sarayu here. 

All images courtesy of Sarayu.

The post City Nomads Radio: DJ Sarayu Talks Thailand’s Dance Music Scene & The Ignited Collaborative Spirit of Asia appeared first on City Nomads.

Give YetPet’s mix a listen while you read along!

The Fusion of Design and Music 

As both a designer and DJ, Gen experiences the contrast between these two creative roles. The role of a designer comes with clear goals and guidelines, while DJ-ing requires a leap of faith and trust in one’s instincts. Yet, it’s precisely this dichotomy that keeps her creatively engaged in both pursuits. Gen’s first foray into the world of music was at Home Club, where she landed her first job fresh out of school. Although her official role was in design and marketing, working at this alternative club laid the foundation for her enduring love for music. Immersed in the vibrant music community, Gen had the opportunity to explore various music genres, which led to where she is, even though she didn’t think she’d be “playing for real.” Her unconventional artist name, YetPet, is a delightful enigma (for us) but an inside joke that became her music persona today.

Music’s really helped open me up as a person. It’s helped me connect with and talk to people which is something i sometimes struggle with.

Music and Strange Weather

For Gen, music is a universal language transcending communication barriers, helping her connect and talk with people. Music is much more than just sounds and beats; it also conveys messages of rebellion, history, and influence. Not only does it help her connect with others, but it also has the ability to make her cry and dance! As a reflection of her music tastes, she chooses to play what she is drawn to, darker and more bass-centric music, rather than keeping to the confines of specific genres.

Her passion for music has led her to be part of the local music collective Strange Weather, a group known for its collaborative spirit. Roles are fluid within the group; everyone just chips in with what they are good at. As YetPet, she is part of the resident selector crew that includes veterans like A’alely, Kindergarchy, RTJ and Yadin Moha. As Gen, she focuses on the artistic aspects, including set design and visuals. It’s her creative touch that gives Strange Weather events their distinctive look and style. 

When it comes to parties, she loves and hates them for various reasons. But Gen recalled one as her favourite – It was Strange Weather’s first collaboration with Mama Magnet in the ‘Mysteries in Meatspace,’ held at Gillman Barracks. She found it intriguing that they could transform a non-club space into a vibrant club experience.

What Lies Ahead

Gen recognises the transformative potential of electronic music to foster cultural exchange and unity, particularly in Asia’s diverse landscape. She highlights the exciting fusion of traditional and cultural themes in electronic music emerging from countries like China and Indonesia, which can pique the curiosity of those not typically exposed to such sounds.

When asked about upcoming plans, Gen hints at cross-pollinations with other collectives, so keep a lookout for what she has in store. In the meantime, enjoy the exclusive mix by DJ YetPet for City Nomads, featuring a compilation of new and older favourites that starts bright and get a little darker; something deeper with more downtempo. 

Keep up with DJ YetPet here. 

Top Image: @ordinary_rice

The post City Nomads Radio: Strange Weather’s DJ YetPet Uniquely Blends Artistic Finesse With Music appeared first on City Nomads.

After a three-year hiatus due to the global pandemic, the eclectic house and techno festival is ready to rekindle the magic at the idyllic water-front Sai Yuen Farm in Cheung Chau Island. This year, the sixth edition of the festival returns from 27 to 29 October 2023, and is expected to host over 4,000 people from all over the region. In this edition of City Nomads Radio, we speak with Florian Melinette, one of the festival’s founders and organisers, for insights to the festival’s evolution and what goes behind creating an immersive experience that goes beyond music.

Give Florian’s mix a listen while you read along!

A Complete Festival Experience

Inspired by the best festivals across Europe like Dekmantel, Love International and Asia like Rainbow Disco Club and Wonderfruit, Florian, along with his partners, sought to create a distinct new ambiance in Hong Kong with Shi Fu Miz Festival. The goal? To converge a diverse musical line-up of local and international artists with entertaining daytime activities alongside delectable food options and enjoyment of the island’s pristine beaches.

Over the years, the festival’s core music curation remains unchanged, but with growing support, the organisers are now even more motivated to bring a diverse range of artists to Hong Kong. 2023’s line-up sees international acts like Octave One Live, Antal from Netherlands, Esa from South Africa & U.K, Gigi Testa from Italy, and Japanese wizard Soichi Terada. Regional and local acts set to grace the stages include Singapore’s Bongo, Muto & Toppings, Emel & Katsu from Manila, Mogwaa from Seoul as well as Hong Kong’s Abyss Takeover, Sticky Fried Vibes Takeover and Casey Anderson & Misty.

“We have amazing talents in Asia to put ahead and a great synergy in between the different artists/promoters of the region. We can see incredible DJs and producers emerging from the scene and already touring in Europe.” 

However, Shi Fu Miz stands out not only for its music but also for its myriad of various activities like the wellness-oriented workshops spanning yoga, meditation, breath work, and sound healing. Art and culture is another pillar here, with installations by Amsterdam’s creative Studio Raito, which has also previously worked with festivals like Dekmantel, Waking Life and Horst. Attendees can expect to catch several other Hong Kong-based art studios as well. 

The cherry on top, however, is that the festival welcomes kids under 12 for free and offers various activities and workshops to keep them engaged. 

“We want to be inclusive, there is no age to start appreciating good music. On top of that, we have a unique venue with luxury glamping in nature bringing the necessary comfort for families, our daytime activities and workshops will entertain parents and kids.”

Set on a serene island accessible only by ferries and boats, Shi Fu Miz has always committed to giving back to its surrounding natural environment. Some examples of the festival’s commitment to sustainability include banning single-use plastic on-site, using biodegradable alternatives, using recycled and upcycled materials for stages, constructions and decorations. Additionally, this year Shi Fu Miz is partnering with One Tree Planted – one tree will be planted in the Philippines for each ticket sold in contribution to reforestation efforts.

Catch Florian On Stage 

In addition to being a mission organiser for Shi Fu Miz, you’ll find Florian on stage. Operating under the alias MLCH, at the festival, Florian switches hats and connects with festival-goers through some groovy beats of his own curation. Having already played along international artists such as Pablo Valentino, Trus’me, Soichi Terada, and Jus-Ed, he’s known for experimenting with deep house tunes, and percussive rhythms to get the crowd tapping along to the beat. Catch a preview of his performance with a specially curated mix Florian did for City Nomads, here. 

If you’re making your way to Hong Kong, Florian encourages you to escape the intensity of the city with a long weekend in a natural, music-filled setting at Shi Fu Miz 2023 (and discover a new artist or two while you’re at it!)

Shi Fu Miz Festival runs 27 to 29 October 2023, at Saiyuen Camping & Adventure Park, Sai Yuen, Dd Cc Lot 12, Cheung Chau, Hong Kong. Tickets range from HK$580 (S$101.30) to HK$1,280.00 (S$224) for 3 days. Free entry for kids under 12 years. Camping tickets do not include the festival tickets and are non-refundable. Keep up with Florian here. 

All images courtesy of Florian Melinette

The post City Nomads Radio: Florian Melinette Talks Shi Fu Miz Festival 2023, Family-Oriented Musical Discoveries & More appeared first on City Nomads.