Gux Jimenez [Interview]

Hailing from Colombia, Gux Jimenez has been a fixture of his country's electronic music movement for over a decade. Best known for his emotive take on the progressive genre, the Cartagena resident has showcased his music via trendsetting landing spots such as Clubsonica, Juicebox Music, Mango Alley, Proton's Particles, Univack, UV and his own OzLand imprint, while earning support from world class DJs Above & Beyond and Armin Van Buuren. This week finds Gux launching his new Progresivo Records imprint alongside label partner, Italian artist Kurt Caesar. Together the cross-continental duo have crafted a three-track showcase 'Sunset Dreams' for the imprint's inaugural release.

Progressive Astronaut caught up with Gux to learn more about the release of 'Sunset Dreams', his new label Progresivo Records, growing up in Colombia, DJing, and much more. Enjoy.

Hi Gux, thank you for talking with us today. How has your 2025 been so far?

Thank you for having me. 2025 has started with a lot of energy, marked by new music and an incredible tour across Mexico in March. I had the opportunity to tour this country in 2022, visiting the Riviera Maya, but this time the tour covers more cities, making it an even more enriching experience, both musically and personally. Additionally, this year is very special for me as it kicks off with the launch of my own record label, a project I have high hopes for and will continue to work on with great passion.

Let’s take a look back at 2024. Which of your concerts stood out the most and why?

One of the highlights of my 2024 was my visit to Chile, thanks to an invitation from New Era and my good friend Fabián Argomedo. I had the opportunity to perform in Chiloé, an island with a fascinating culture, where I had an incredible experience both musically and personally. I was able to connect with new friends, enjoy their cuisine, and explore the local scene.

One of the most memorable shows was at OVO Club Chiloé, where I had the honor of meeting Carlos Garrido, who provided me with a space to express my art in an environment with great sound quality and professionalism. I also had the chance to play at Micro Club Santiago, where the audience stood out for their energy and receptiveness. Without a doubt, these two dates marked my 2024 and left a significant imprint on my career.

Now let’s talk about the songs. Which song or songs from 2024 impressed you the most and why?

If I had to highlight one song that really impressed me in 2024, it would be Alex O'Rion – Emergency, released in November through the Solis label. It’s a track that perfectly encapsulates the essence of progressive house, with an enveloping energy and a sound ideal for the dancefloor. Since I’ve incorporated it into my sets, it has had an incredible response in the club, working exceptionally well at different moments of the night. Without a doubt, it’s one of the standout releases of the year for me.

Is there a song or songs that you’ve never stopped listening to since childhood? And why has it stayed with you for so long?

A song that has been with me since childhood is Stardust – Music Sounds Better With You. I remember hearing it for the first time in 1998, when I was 10 years old, and to this day it remains one of my favorites. It’s impressive how a piece can withstand the test of time without losing relevance. I think that’s one of the biggest challenges in music: creating a work that transcends generations and continues to connect with audiences, regardless of the era.

This song has stayed with me for so long because it has a unique combination of elements that make it irresistible. Its hypnotic melodic sequence, that relaxing vocal, and the enveloping disco atmosphere create a sonic experience that remains just as captivating over the years. It’s one of those timeless pieces that, no matter how many times you listen to it, always manages to transport you to a state of connection and enjoyment.

Colombia has developed a strong progressive house scene over the last decade, thanks to artists like you, Kamilo Sanclemente, Juan Pablo Torrez, Dabeat, and many more. What was it like for you growing up there?

Colombia is a country with enormous talent in the progressive house scene, with standout artists like Kamilo Sanclemente, Juan Pablo Torrez, Dabeat, and many more. Additionally, there’s a new generation of producers doing great work, such as Armandhe, Jab Vix, Berdu, Leo Guerrero, and Paul Lennar, among others.

My case is particular because I come from Cartagena, a city where electronic music culture is still limited. While genres like tech house and house have had some presence, progressive house remains an underexplored sound. There are few DJs and producers working in this style, and opportunities to play in clubs are scarce. In fact, I’ve never had the chance to be a resident DJ in a club due to the lack of spaces for our sound.

However, this hasn’t stopped me. Over time, I managed to develop events through my collective Oz Land Music, a project I ran alongside veteran Javier Duque and Jab Vix, combining a record label and event production. Currently, I’m also collaborating with Atmosfera Cartagena, working alongside Orley Peñata, a DJ and producer with whom I share the same vision: to offer a different sonic experience in the city and open new doors for progressive house in Cartagena.

Who were some of the Colombian artists who inspired you when you first discovered electronic music and progressive house?

Without a doubt, Kamilo Sanclemente was one of the key figures who pushed the progressive house sound in Colombia. His work and career have been a great inspiration for many of us, marking a path we follow with admiration and respect. Thanks to his vision and talent, the genre began to gain recognition in the country, motivating new generations of producers and DJs to explore and develop this sound with their own identity.

Additionally, something that makes the progressive scene in Colombia special is the unity among artists. Both Kamilo and Juan Pablo Torrez, who runs the Clubsonica label, have been part of this growth, and together we’ve shared events, collaborated on remixes, and original productions. There’s a beautiful brotherhood within this community, which has allowed us to strengthen ourselves and continue expanding this sound globally.

What are some of your best memories from your first visits to clubs?

One of my best memories from my first visits to clubs was in 2018, in Cartagena. Up until that point, I had only played at friends’ parties, so this was my first experience in a club with a large audience. It was at Club Space, during an event organized by Atmosfera, which at the time was led by Erick Kantona, a highly respected DJ in the local scene, who gave me the opportunity and connection to debut in that space.

What made this event even more challenging was the musical context of the club. At the time, the predominant genre in Cartagena was Guaracha, with high BPMs (around 128) and a very different energy from my style, which is more melodic and emotive. I remember that when I started my set, I was overcome with nerves; my hands were shaking as I saw so many people waiting, especially considering they were coming from a high-energy sound very different from mine.

Despite the pressure, I decided to stay true to my musical identity. With the first three tracks, I started to gain confidence, gradually adjusting the energy and lowering the BPM from 128 to 125-124. To my surprise, the audience’s reaction was incredibly positive. Many people approached me at the end of the set to congratulate me, mentioning that they had heard something uncommon in the venue but that they had really enjoyed it. It was a pivotal moment for me, reaffirming my conviction to continue exploring and sharing my sound, no matter the context.

Were there any specific nights or sets that made you feel like you wanted to dedicate yourself to electronic music?

Cartagena had a golden era in the electronic music scene thanks to its iconic January parties, particularly the Ultramar Festival, which ran from 2004 to 2013. This event brought together over 130 renowned international artists, including Armin van Buuren, David Guetta, Tiësto, Paul van Dyk, Ferry Corsten, Roger Sánchez, Sasha, Deep Dish, Richie Hawtin, and Axwell, among others.

Although I never had the chance to attend any of its editions, as they were expensive events, I closely followed what they represented. I listened to sets and watched videos that captured the essence of those parties, and that was a huge source of inspiration for me. Seeing how electronic music could create such impactful experiences and connect so many people in one space awakened in me the desire to be part of this scene and contribute with my own sound.

You’ve been releasing music for just over five years and have worked on some notable projects for many high-quality labels, such as Nick Warren’s The Soundgarden. Looking back at your releases so far, which ones would you say were fundamental to the success you’ve achieved today?

My journey in music production started quite a while ago. Although I had tracks ready since 2002, my first official release on Beatport was in 2008 with an EP titled Strawberry Hot, released through the DO2Night label. This EP explored a fusion between tech house and progressive, marking my first foray into the music industry.

However, one of the releases I consider fundamental in my artistic evolution was The Final of Universe, an EP released in 2015 through OLD SQL Recordings, which included a remix by Matter. This work represented a turning point in my sound, as from there I began to develop a more club-oriented progressive house style, with a more underground focus. Up until then, my productions had been influenced by progressive trance, trance, and melodic progressive, but with this EP, I felt my sonic identity started to solidify more clearly within the scene.

If you had to highlight one or two releases that really helped boost your career, which would they be?

If I had to highlight two releases that really helped boost my career, I would definitely mention The Final of Universe and El Fin EP.

The Final of Universe, released in 2015 through OLD SQL Recordings, marked a turning point in my sound. With this EP, I adopted a more club-oriented and underground progressive house approach, leaving behind influences closer to trance and melodic progressive. Additionally, the remix by Matter added extra value, helping the release gain more exposure.

On the other hand, El Fin EP, released on Clubsonica, was another key step in my career. Releasing on such a respected label within the progressive house scene allowed me to connect with a broader audience and strengthen my presence in the scene. Both releases represented moments of growth and consolidation in my journey as a producer.

You have a new EP, 'Sunset Dreams', which you worked on with Italian artist Kurt Caesar, and it’s already available through your new label, Progresivo Records. It’s an EP with a variety of influences, so tell us a bit about it and what kind of atmosphere you were aiming for in the tracks.

Sunset Dreams is an EP I worked on alongside Italian artist Kurt Caesar, and it’s already available through my label, Progresivo Records. In this project, we aimed to create a sonic identity that not only reflected our influences but also offered music for every moment of a set.

Each track on the EP has a different focus, exploring various nuances within progressive house, from deep and melodic atmospheres to more energetic and enveloping moments. The idea was to capture the essence of a sunset, with transitions that transport you to different moods, from introspective calm to dancefloor intensity. This release represents a shared artistic vision with Kurt Caesar and an important step in the musical identity of Progresivo Records.

Let’s talk a bit more about your new label, 'Progresivo Records'. It was founded by you and Kurt Caesar. First of all, Kurt is from Italy, so how did you two meet and eventually decide to start the label together?

Kurt Caesar had known about my work for several years, and when we started talking, he expressed his admiration and respect for my music. Beyond being an old-school DJ, what really caught my attention was how he has managed to stay updated with the evolution of electronic music.

Something that impressed me was his long history of working with David Tord, which shows his experience and deep knowledge of the industry. Our connection began through Instagram, and since then, we’ve been working together. Our working dynamic is very fluid, and besides being a great professional, Kurt is an incredible person.

Over time, I’ve learned a lot from him, and this exchange of ideas and knowledge led us to create Progresivo Records. This project was born from our shared vision and passion for progressive house, with the goal of offering fresh and meaningful music to the scene.

You’ve released music on many high-quality labels over the years, such as Clubsonica, Patternized, Proton Music, Secret Feelings, The Soundgarden, and more. Why did you feel that now was the right time to create your own label?

Over the years, I’ve had the opportunity to release my music on prestigious labels like Clubsonica, Patternized, Proton Music, Secret Feelings, The Soundgarden, and many more. These experiences have been fundamental to my artistic and professional growth, allowing me to solidify my sound and expand my presence in the scene.

However, I felt it was time to take a step further and create my own label, Progresivo Records. More than just a platform to release my music, the vision behind the label is to create a culture around progressive house and build a movement that goes beyond just releases. We want to organize events in different parts of the world, connect with artists and audiences from various scenes, and offer unique experiences.

This project has taken shape alongside Kurt Caesar, whose extensive experience in the industry has been key to structuring and developing the label’s vision. His experience, combined with our working synergy, has allowed us to establish Progresivo Records not just as a platform for releases, but as a movement with its own identity. After working with renowned labels, we now have the projection and knowledge needed to make this label a reference within the progressive scene.

What advice would you give to artists hoping to sign with Progresivo Records?

At Progresivo Records, we’re looking for music that is emotional and has a clear identity, regardless of the intensity or the moment in a set where it might fit. The most important thing for us is that artists let themselves be guided by their emotions and capture that essence in their productions.

Music has the power to create deep connections, and our mission is to convey sensations that resonate both with the audience and the dancefloor. If a track manages to create that genuine connection, then it’s exactly what we’re looking for on the label. We invite artists to express themselves freely, without fear of exploring their creativity and developing their own sound within progressive house.

Now that you own a label, how do you decide which of your tracks you want to release there instead of offering them to other labels?

That’s a great question! There will definitely be moments when I compose a track and think, ‘Wow, this would fit perfectly on Anjunadeep or Sudbeat!’ However, it’s also crucial for me to give relevance and strength to Progresivo Records, so many of those tracks will end up being released on my own label.

That said, I’ll continue working with renowned labels, as continuing to build my career on established platforms is part of the process. However, I’ll dedicate a significant portion of my releases to building Progresivo Records and positioning it as a reference within the scene. It’s a balance between expanding my presence in the industry and strengthening this personal project that represents my long-term artistic vision.

Shifting to the topic of DJing for a moment, you’ve had many high-profile gigs over the years, regularly performing in Colombia and traveling abroad as well. Can you tell us about your approach to DJing and what your philosophy is when programming a set?

For me, DJing is much more than just mixing tracks; it’s a way of telling a story and creating an emotional experience for the audience. My approach is based on connecting with the dancefloor, understanding the moment, and building a sonic narrative that flows organically.

When programming a set, I like to create a progressive atmosphere, taking the audience on a journey that evolves in intensity and emotion. It’s not just about playing great tracks, but about reading the energy of the crowd and finding the balance between the melodic, the deep, and the dynamic. Each set is a different story, adapted to the space, the moment, and the vibe of the venue.

Additionally, I always try to include music that has its own identity, whether it’s my own productions, tracks from emerging artists, or releases from labels I admire. The idea is to offer something special, something that makes people remember the moment and feel the music in a unique way.

What makes DJing, compared to producing your own music, interesting for you?

Interestingly, in my early days, I never intended to be a DJ. I was completely satisfied at home, producing music and releasing it on labels. However, at an unexpected moment, I started getting calls to play at events, as my music was gaining attention. The challenge was huge because, at that time, I had never even touched a CDJ in my life.

Facing that situation was a big challenge, but over time, I managed to adapt and develop my skills as a DJ. Over the years, I discovered that the most fascinating aspect of DJing is the interaction with the audience: learning to read the dancefloor, understanding which tracks work best at each moment, and, above all, the opportunity to test my own productions and observe the audience’s reaction in real-time.

This exercise has greatly helped me in my evolution as a producer, as I now have a clearer vision of how to structure music for the club. The experience of seeing how a track connects with people on the dancefloor is something that can’t be replicated in the studio, and that has significantly influenced my approach to production.

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

Being a DJ has completely changed my vision of music and my process as a producer. When you’re in the club, you experience music in a completely different way than you do in the studio. You notice details that might go unnoticed in a controlled environment, like the importance of sub-bass and how small adjustments in EQ can transform the energy on the dancefloor.

I used to produce music with many melodies and complex elements, but over time, I realized that ‘less is more.’ The experience of playing in clubs has taught me to balance my productions so they work on the dancefloor, leaving space for each sound to breathe and have an impact.

Now, when I finish a track, I try to put myself in the shoes of the raver, thinking about what they’ll feel at that moment in the night and how the music can influence their experience. This approach has allowed me to make music that’s not just for listening, but also for dancing and feeling deeply in the club.

How important is it for you to have gigs where you can test your unreleased music?

Having the opportunity to test my unreleased music in my sets is a huge plus. Being able to play ID tracks—whether they’re upcoming releases or even productions that might never see the light of day—adds a unique character to each performance. This creates an element of surprise and exclusivity, as the audience never knows what I’ll play next.

That intrigue creates a special connection with the audience, keeping expectations high and making each set an unforgettable experience. Additionally, it’s an invaluable tool for analyzing how my productions work in a real environment, adjusting them if necessary, and better understanding which elements truly impact the dancefloor.

What are the top five tracks in your current sets?

In my current sets, there are five tracks that stand out and that I usually include at different moments depending on the energy and flow of the night:

Alex O'Rion – Emergency

Gux Jimenez – The Pulse

EANP – Forget

Julian Millan – Scarsuite

Gux Jimenez, Nattier – Kosmos Symphonie

Each of these tracks has a particular essence that fits different points in the set, whether it’s to elevate the energy, create a moment of introspection, or build a melodic climax. I like to play with these pieces to create an immersive experience on the dancefloor.

If you’re not DJing, producing, or socializing in clubs, where can we find you? And what are you doing?

Currently, my life revolves entirely around music.

If you could organize an event with a lineup of five artists of your choice, who would you book and what time slots would you assign to them? 

If I had the opportunity to organize an event with a lineup of five artists, I’d look for a flawless sonic progression so the experience flows organically and immersively. The time slots would be as follows:

Warm-up: Budakid – Perfect for opening the night with his melodic and enveloping sound.

Building the atmosphere: Khen – Elevating the energy with his hypnotic groove and deep progressions.

Midnight: EANP – Taking a turn with his powerful progressive sound and enveloping atmospheres.

Peak time: Kamilo Sanclemente – With his signature touch, blending emotion and energy on the dancefloor.

Hot hour: Guy J – Closing with an unforgettable sonic journey, taking the dancefloor to the climax with his unmistakable signature sound.

If you weren’t a DJ/producer, what do you think you’d be doing with your life? 

If I weren’t a DJ and producer, I think I’d channel my creativity through painting. I’ve always felt a strong artistic drive, and if I weren’t composing and playing music, I’d probably be creating paintings and artworks. Expressing emotions through colors, textures, and shapes would be another way to convey what’s inside me, just as I do with music.

What’s something people don’t know about you?

A: Something few people know about me is my love for salsa music, especially genres like jíbaro, son montuno, and Cuban son. In fact, in my early days, I was part of a salsa group, which allowed me to explore another side of music. Additionally, I studied music theory and harmony at the University of Fine Arts in Cartagena, which has significantly influenced my approach as a producer. It’s a lesser-known aspect of my journey, but one that has undoubtedly left its mark on how I understand and feel music.

What TV shows have you been enjoying recently, and what are some of your all-time favorites?

I’m not someone who watches a lot of TV shows, but one that really caught my attention was Dark. I’m fascinated by the concept of time travel and temporal paradoxes, as it’s one of my favorite themes. The way the series builds its narrative and connects every detail over time was incredibly well-executed.

What can we expect from you and Progresivo Records for the rest of 2025? Any releases or gigs you’re looking forward to?

We’re just starting 2025, but we’re already preparing many surprises with Progresivo Records. You can expect emotional and cutting-edge music, designed for every moment of a set. Currently, we’re working on a new three-track EP, which will include remixes from great artists that we’ll announce in due time. Additionally, this year we want to solidify the label not just with releases, but also with events that reflect our sonic vision and strengthen our community.

'Sunset Dreams' is available now via Progresivo Records: https://tinyurl.com/5ys2zc3u