Mike Isai [Interview]

Hailing from the United States, Mike Isai has been a rising force in the global progressive house scene since first emerging in 2020. On the strength of his first release 'Pillars to Butterflies' via Nick Warren's Hope Recordings, the Brooklyn resident was immediately tipped as a rising talent to watch. Drawing inspiration from New York City's legendary nightlife, including venues like Twilo, Tunnel, and Sound Factory, Mike's groovy club-effective sound would quickly find a home on trendsetting imprints in Meanwhile and Mango Alley, while progressive music tastemakers Hernan Cattaneo and Nick Warren continued to be steadfast with support. Now, five years on in his production journey, Mike continues to choose his projects wisely, with a quality over quantity mentality. With 2024 highlighted by his Sudbeat debut 'Exit', Mike now opens the new year with his Musique de Lune debut 'Bridge', alongside remixes from Zankee Gulati and Weird Sounding Dude.

Progressive Astronaut caught up with Mike to learn more about the release of 'Bridge', 2024 highlights, growing up in the USA, DJing, and much more. Enjoy.

Hi Mike, thanks for talking to us today. Now that we’ve started the new year, how was 2024 for you?

Thank you for having me. 2024 was something else. I’m really proud of myself and what I accomplished. I honestly couldn’t have asked for a better year.

Let’s look back on the year, what gig of yours has stood out the most and why?

I’d have to say Sri Lanka. It was my first time in Asia, and it was incredible to experience firsthand just how passionate and connected people are to the music there. The energy and enthusiasm from the crowd made it such a memorable and special moment for me.

Now let’s look at tracks, what is a track or tracks which have come out this year that has impressed you the most and why?

Architectural - Bad-Tempered Drumming. It’s a lovely blend of different genres that I personally love and it’s a serious tool when used well on the dancefloor. The drums are heavy.

What is a song/track you’ve never stopped listening to since childhood? And why has it stuck with you this long?

Needin U - David Morales, the pianos are so damn catchy and always put me in a good mood

You’ve been releasing music as Mike Isai for around five years I believe, when you look back on your releases up to now what would be some pivotal moments to the success you’ve achieved today? If you had to single out a release or two which really helped your propel career what would they be?

Without a doubt Sumeria on Hope Recordings and Exit on Sudbeat have been pivotal releases in my career. Sumeria helped me hit the ground running and establish myself within the progressive house scene. Then Exit took things to another level, introducing my music to a whole new audience. I’m incredibly grateful to those labels and the teams behind them for believing in my work and helping me reach new heights.

For most artists, originality is first preceded by a phase of learning and, often, emulating others. What was this like for you?

Absolutely, originality often comes after a phase of learning and emulating, and that was definitely true for me. I’ve been making music steadily for 16 years, starting out in trance under the name Mike Squillo. Those were incredible times, I even had the honor of playing at Tomorrowland. Over time, though, I began to draw deeper inspiration from my own city, New York, and that led me to craft the sound I’m creating today. It’s been a journey of growth and discovery, shaped by both my roots and the experiences along the way.

How do you feel about the current state of progressive house? In terms of the quality and creativity, or originality of music and the labels committed to pushing the genre, do you think the music is in a good place at the moment?

I have a deep love for progressive house and appreciate the space it offers for creativity and experimentation. That said, I think there’s room for artists to push their boundaries more, both in their productions and their sets. The genre thrives on innovation, and relying on the same sounds or approaches can lead to monotony, with tracks and DJ sets starting to sound too similar. What excites me about progressive house is its potential to evolve and surprise. Will from Super Progressive captured this perfectly when he said it’s not just about playing progressive tracks but playing in a progressive manner. It’s about the journey and how you craft it, no matter the style of the tracks themselves.

Your bio states you draw inspiration from New York’s club scene and more notably Twilo, amongst other venues, were you going clubbing at the time of Sasha & Digweed’s residency there? And if so, please tell us about one or two of the more memorable nights there.

I wasn’t able to attend those events, I was about six years old, and even a fake ID wouldn’t have cut it at those joints 🤣 My siblings, though, were regulars, and I got my first taste of that scene through them. I’d listen to their CD compilations and catch the times when radio stations like KTU would broadcast live from inside the club. Even from a distance, the energy and magic of those dancefloors left a lasting impression on me.

You’ve accomplished a lot across your career with releases via Mango Alley and Sudbeat highlighting your discography. What goals do you have going forward? Or a better question might be do you think about the future?

Definitely to release more mixes. I approach mixes like they’re full compilations, putting a lot of time and care into crafting them to ensure they’re something truly special for the listener. For me, it’s all about creating an experience that resonates deeply and stands out.

You have a new single ‘Bridge’ out now via Musique de Lune, tell us a bit about the track and what sort of vibe you were going for on it.

It all started with a kick and bass groove as the foundation. The vibe I was aiming for was something that keeps people moving and swinging on the dancefloor, while also incorporating beautiful, melodic moments that enhance the experience without disrupting the flow of their dancing. Hope that makes sense!

How much play has the track gotten in your sets and to what reaction? And who else has been playing it?

The track has been getting amazing reactions in every set I’ve played it in. I was playing it heavily from 2022 through 2023, and it always delivered the energy I envisioned while making it. I also passed it on to Hernán Cattáneo, and he supported it in his sets for a few months. The reactions ooof they were exactly what I hoped for.

There are two well crafted remixes from Zankee Gulati and Weird Sounding Dude as well, how involved in the remixer selection process were you? And why were Zankee and WSD good choices to re-imagine ‘Bridge’?

They both absolutely crushed it with their remixes. I wasn’t heavily involved in the selection process, to be honest, I just heard they were remixing Bridge and was thrilled. I’ve had tons of their tracks on my USBs for a while, they’re both legends in their own right. What I really love is how these remixes not only reimagined the track but also connected me more with Zankee and Weird Sounding Dude as musicians and as people. They’re incredibly talented and genuinely great guys.

Let our readers inside your studio for a moment, what is your current setup and what studio tools are featured heavily in your recent productions and more specifically on ‘Bridge’?

I work all in the box! Not a lot outboard gear. For the creation of Bridge it relays heavily on pigments and percussion samples I tuned and distorted. There’s a ton of one hit percussion samples that give it that overall movement. Having them all within the key of the track playing off one another is really the sauce of the track.

You’re quite selective with who you release with and the amount of music you put out as well, why was Musique de Lune a good choice for ‘Bridge’?

I love Jordy and his vision for the label. I was introduced to him during his time in NYC, I felt that this would be the right place to bring Bridge.

Staying on the topic of release volume, we’re in an age where people consume music and information incredibly quickly, so there is some sort of underlying pressure to create content and stay at the forefront of everyone’s attention, yet at the same time leave them wanting more, what are your thoughts on this and how do you manage to find a balance you’re happy with?

To put it plainly, I think this fast paced cycle definitely impacts the art. It can feel like a rat race at times, but I firmly believe in taking the time to create something truly special. For me, less is more, I’d rather focus on quality over quantity. It’s about staying true to my craft, and I’m always happier with the end results when I take that approach.

Shifting to DJing for a moment, you are a regular across New York’s nightlife and have performed alongside Hernan Cattaneo and other electronic luminaries, so please tell us your approach to DJing and how you approach programming your sets.

My approach to DJing is all about being prepared for different moments on the dancefloor. Sometimes the crowd needs a gentle nudge to get moving, while other times they’re ready for high energy tracks to keep them on their toes. To keep things dynamic, I organize my playlists based on different vibes and scenarios I might encounter, like dub, dub opening, buildup, buildup groove, deep energy, high energy, and so on. This way, every set feels unique and spontaneous while staying cohesive. It allows me to adapt to the energy of the room and create a journey that resonates with the crowd.

What is it about DJing, compared to producing your own music, that makes it interesting for you?

DJing is all about being in the moment, making quick decisions, and feeling the energy of the crowd. There’s a unique charm to it, whether it’s warming people up, getting them into a groove, building the hype, or pushing them to go absolutely wild. I love watching how the music affects people in real time and being part of creating those unforgettable moments on the dancefloor.

Can you tell me a bit about how your work as a DJ has influenced your view of music, your way of listening to tracks and perhaps also, your work as a producer?

My journey started as a listener, then as a producer, and finally as a DJ. Honestly, being a listener has shaped me the most. I’ve always loved the dancefloor and truly appreciate the magic of experiencing a set live, I’ve been going to events since I was 16. That connection to the dancefloor informs everything I do as a DJ and producer. Danny Tenaglia once said (paraphrasing) that a good DJ has one foot in the booth and the other on the dancefloor, and that resonates deeply with me. It’s about understanding both perspectives, the art of crafting a moment and the joy of living it.

How important is it for you to have gigs to be able to test your own unreleased music?

I love it cause I get to see the crowds reaction in real time. I always try to sneak in an unreleased track or two to in any of my performances

If you are not DJing, producing or socializing at clubs, where do we find you? And doing what?

Fire department headquarters in Brooklyn keeping New York safe or in my bed sleeping ☺️

If you could set up an event with a line-up of five artists of your choice, who would you book and what set times would you ascribe to the artists?

It would have to be Danny Tenaglia, Victor Calderone, John Digweed, John Creamer, and Stephane K. With set times, ooof, I feel like any one of these guys are masters in an open to close set. 24 hour set at Stereo, I’ll be the first one on line.

If you were not a DJ/Producer what do you think you’d be doing with your life?

I’d still be involved in the arts in some way shape or form, before I was fully devoted to music at 16, I was devoted to painting and sketching.

What’s something people do not know about you?

I got an artificial disc C5C6 in my neck holding it up 🦾

What TV series have you been enjoying recently and what are some of your all time favourites?

Dragon Ball Daima, Dune Prophecy, and Dan Da Dan. My all time favorite show would have to be The Sopranos

What can we look forward to from you in 2025? Any releases or gigs you are looking forward to?

I’m truly excited to continue traveling and playing shows in different countries in 2025. It’s such a privilege, and I’m incredibly grateful for the opportunity. 2024 was my first year really experiencing this on a larger scale, and it was an absolute joy not just performing, but also connecting with the people and immersing myself in their cultures. Those moments are unforgettable, and I wouldn’t have had them without the support of the listeners and communities who welcomed me. It’s an experience that’s hard to put into words, but I’m looking forward to more of it this year.

'Bridge' is available now via Musique de Lune: https://tinyurl.com/bamb398t