Producing music and DJing belong to the same project for me. In the studio, I can spend a long time on one phrase. Behind the decks, that phrase becomes part of a longer movement between records. I want DRIGUO to make sense in both settings.
My productions explore melodic, progressive and Afro house. My interests as a DJ reach into deep and darker house, with room for disco touches too. A set gives me space to connect those interests through selection and pacing.
Listening to a track as a producer
When I am producing, I tend to ask what a part contributes. Does the bass support the main idea? Does a vocal need another phrase? Is a new layer helping the arrangement, or competing with what is already there?
That close attention can be useful, but it can also make it difficult to hear the whole track. I can become attached to a sound because I have spent time making it. Thinking about a wider listening journey gives me another way to assess its role.
Thinking beyond one record
A DJ set asks a different question: what should happen after this? The answer involves more than matching a tempo. A change in density, mood or vocal presence can affect how the next record feels.
This is a perspective I want to bring into my arrangements. I can ask whether an entrance gives the listener enough time, whether a return feels earned and whether a section needs another element at all. These are questions to explore through listening and practice.
Giving my own music some context
One useful experiment would be to place a production between two records in a practice mix. That would let me hear how it enters, what energy it carries and how it leaves. I would listen to the sequence before making another round of changes.
A practice mix cannot tell me how a room will respond. It can still reveal whether the arrangement behaves as I intended. If I later play the track publicly, that experience can become a separate part of the story, with its own observations.
Getting back behind the decks
Now that I am based in Geneva, I want to rebuild connections in Europe and find opportunities to play again. Releasing music and returning to DJing are both part of that direction.
I want this journal to follow the relationship as it develops: a studio question, a musical decision and, when there is something real to share, what I learn by putting records together. Herebia is a starting point for hearing my own music within that wider project.
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