Contributing WriterBastian Bux was hugely busy in 2023 with standout cuts on his own Neverendz label, having already impressed on Eats Everything’s Edible, elrow Music and Cuartero’s Sanity. He hails from Barcelona and has shown himself to be endlessly creative in the studio – each new tune shows an evolution in his sound, whether vocal, deep, tech or beyond. We sat down with Bastian to discuss his latest release, his sound and more.
Hi Bastian, thanks for speaking to us today. How has your 2024 been so far?
Hi everyone! It’s a pleasure to be here; thank you for having me. 2024 kicked off in Australia at the tail end of an amazing 40-day-long world tour across eight countries. Following this, I spent three weeks off the road, tucked away in my studio, creating new music. Right now, I’m starting to tour again, but it felt great to have some time to create and sleep in my own bed!
Was there a specific moment in your career when you felt electronic music would become a full-time career?
When I was around 19 years old, I played in small bars in my hometown and worked as a ghost producer, in addition to producing small audio projects for advertising and similar tasks. I was earning enough money to live solely off my music, so I was quite confident I could make a career out of it. However, I truly convinced myself of this possibility around the age of 21 when I sold a track to a couple of guys, and it became a massive radio hit. I thought to myself, “Okay, if I did this once, I can probably do it again for myself.” That experience boosted my confidence significantly.
Tell us about your exciting new release on Jamie Jones’ Hottrax, ‘Dunns’?
Being able to sign my music with any of Jamie’s labels has been a lifelong goal for me. I admire every single aspect of JJ’s career; he’s a tremendous inspiration to me. I make it a point to send him only what I consider to be my best projects, and I’m always thrilled when I see that he has played any of them. When I finished ‘Dunns’ and listened to it, I knew it was special, so I sent it to him. You can’t imagine how happy I was when I woke up to his email saying he wanted to sign it. That very morning, fueled by excitement, I created ‘Dat Beat’ in just 2 hours. I sent it along with ‘howyalldoin’, and the EP was completed. I still can’t fully express the joy I feel about it.
Your sound seems to evolve with each new tune. Over time, how has your creative process altered to allow this to occur?
I’ve spent enough time playing and making music to understand that becoming a niche artist can lead to rapid growth but also to a swift decline. Your name becomes tied to a genre wave, experiencing both its peak and its fade. I learned this lesson early on, so when I created Bastian Bux, I decided not to make the same mistake again. Additionally, I get bored quickly; the idea of producing the same tune repeatedly is unappealing to me. These two factors motivate me to push my boundaries in music production. I realize that this approach might make it challenging for the audience to pinpoint my sound, but that doesn’t concern me. Look at artists like Jamie—he’s a prime example. Jamie has managed to create a sonic universe around himself that is incredibly diverse, encompassing piano house, minimal, techno, and more, yet it always distinctly feels like Jamie. That’s my ultimate goal as an artist.
During the production process, are you thinking about the setting, clubs and dancers, or do you just let it flow?
I’d say it’s a mix of both. My process begins with a flow, experimenting randomly and hoping to catch those sparks that appear by accident. I often describe my music creation as fueled by happy accidents—I never know what’s going to happen. However, once I stumble upon something interesting, the dance floor immediately comes to mind. My DJ side heavily influences me, and I continuously ask myself, ‘Would I play this? Would people dance to it? Is it easy to mix?’
Over the past decade, you have played at some of the world’s biggest stages. Which has been your favourite and why?
Answering that question is always tough, as I seldom know how to respond honestly. I’m not sure if it’s my favourite, but a recent incident in Chile while playing for The Klan stands out. The lighting system failed, and I found myself playing in complete darkness for 3,500 people for 90 minutes as they worked to fix the issue. The electricity was limited to the sound system alone. You can imagine the concern in a vast venue filled with people and absolutely no light—no flashlights, no screens, nothing. The only sources of light were from the CDJs and the glow of people’s mobile screens. Despite the challenge, I continued to play, adapting to the situation and trying to read the crowd in the pitch black. It turned out to be one of my most memorable DJ experiences. When the lights finally came back on, the energy in the room was explosive. I still get goosebumps thinking about that moment.
What’s next in the pipeline for you?
In 2024, my primary focus is on continuing to release the best music I can while constantly learning and evolving together with my incredible team. We’ve secured some exciting releases and have a fantastic lineup of gigs scheduled for the upcoming months, including a particularly special date in my city, Barcelona. I don’t get to play there as often as I’d like, but we’re determined to change that this year!
Thanks so much for joining us today! Lastly, are there any up-and-coming producers that have caught your eye lately?
Staying updated with all the incredible new artists emerging is challenging, but recently, I find myself playing almost every track sent by the Spaniard Jairo Delli. He crafts exciting, groovy house music that I absolutely love. Additionally, the young Argentinian talents Discip and Jay De Lys are truly gifted and definitely deserve a listen if you haven’t checked them out yet.
Bastian Bux’s ‘Dunns EP’ is out on Hottrax now! BUY HERE
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