Hi Losless, thanks for catching up with us today. How has the start of 2025 been for you so far?
Hi, thanks for having me. 2025 is off to a good start, the gig schedule has picked up, which leaves me a bit less time to compose, but it’s all about finding the right balance.
We’re now almost three months into 2025, what tracks which have come out so far this year have impressed you the most?
This year I loved ‘Osculum' from Avis Vox, an amazing artist.
Also, ‘Let Em’ Know’ on Dynamic by Max Styler really caught my ear.
Otherwise, even though it was released in 2024, I still can’t get over TTXTC by Obsesh & 8kays… I play it in almost every set, the best track of 2024 if you ask me, and I’m still not tired of it in 2025.
What's been a standout gig for you so far this year and why?
I just got back from Lyon, just a few kilometers from where I grew up. Since I don’t play in France very often, it was a great opportunity for my family and friends to come see me. So it was a pretty emotional gig, and I have to say the crowd’s energy surpassed my expectations, crazy reactions & dancing from start to finish.
You’ve been releasing music as Losless for well over a decade at this point, when you look back on your releases up to now what would be some pivotal ones to the success you’ve achieved today?
I don’t know if there’s one specific release that was a game changer for my career; I tend to think it’s the accumulation of all my projects that got me here. But if I had to answer, I’d say there are two releases that really pushed me forward in different ways.
The first one would be my track Malfunction. For me, it represents a certain artistic freedom I took at that time. It came during a period when I was feeling a bit lost, I didn’t know where to go, what kind of music I should make, or what people expected from me. And that track was kind of a breakthrough. After Malfunction, I stopped overthinking what kind of music I should make and just started making whatever I wanted, no matter the style. That’s my number one rule. I believe the more personal a track is, the more universal it becomes, and Malfunction is proof of that. Plus, it was my first self-release, so it also marked a moment of total artistic freedom for me. That’s why I see it as a pivotal artistic moment.
And from a career perspective, I’d say my track Pull Out in collaboration with Artbat and Kas:st gave me a certain attention. Collaborating with those artists was a unique experience, and it helped push me further into the scene.
You’re making your debut on Watergate Records this week with ‘The Surge’ EP, tell us a bit about the project and what sort of vibe were going for on the tracks?
First off, it’s been a while since I released an EP! So this was a great opportunity to explore a wider musical spectrum, to express more than you can in a single track. This EP represents my journey. I infused elements that really define where I’m at today.
First, Neon City is a perfect reflection of my artistic identity right now. It’s the sound I’ve been developing over the past few years. I don’t know how to categorize it exactly, but it clearly has influences from '90s acid techno and big beat; a sort of neo-retro approach that incorporates the sounds that shaped me.
Then, the title track The Surge has a more melodic approach. My music isn’t usually very melodic, but this track came from the desire to have something fresh for my DJ sets. I always think about how a track will impact a dance floor, and I love playing this one at a key moment; it creates a kind of breathing space in my sets, which was exactly what I was aiming for.
And to close the EP, there’s a new collaboration with Roman Kyn. He’s an incredible artist and person. We already collaborated on our last EP on Siamese three years ago, and since then, Roman has become an important partner in my life and career. We talk almost every day, he’s always been supportive and encouraging, which is really valuable in this industry. So it was only natural for him to be part of this EP.
As for the track itself, I’d say it blends an indie dance, disco, and rave vibe. I still remember the first time Roman sent me an early version of the track, the melody immediately catched me. He’s really talented at that. I asked him to send me the stems so I could play around with it, and that’s how the track evolved into what it is now. For me, it’s the perfect track to close both the EP and DJ sets.
How much play have the tracks gotten in your sets and where do you generally program them?
I play them all the time, in every set. I like playing Neon City during the peak-time energy, The Surge creates a melodic moment at a key point, and The Lights is the perfect closing track.
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 ‘The Surge’ EP?
I have a few machines at home. Various synthesizers and drum machines I’ve collected over the years. I used to be really focused on hardware, but I have to admit I’m leaning more and more toward virtual instruments. They give me more creative freedom (even though hardware limitations can be great artistically). But the instruments I used the most on this EP are Sylenth1, Serum, Moog Sub37, and the Elektron Rytm2.
How did the project end up on Watergate, and why was the label a good home for this EP?
Watergate has been a defining institution in electronic music, not just as a label but as a club that shaped techno culture for years. I had been following the label for a long time, and when the club announced its closure, it felt like the right moment to contribute something meaningful to their legacy. Out of respect for everything they’ve done for the industry and the scene, releasing this EP with Watergate was a natural fit. My management team, MEIOSIS, initiated the project, and I’m grateful we could make it happen. Beyond that, what makes Watergate the perfect home for this release is the creative freedom they give their artists, both musically and visually, which allowed me to fully express my vision for this EP.
What can we look forward to from you across the rest of 2025? Any releases or gigs you are looking forward to?
I’m wrapping up March with two exciting gigs in Turkey and Beirut. I know Turkey well, it’s one of my favorite crowds. And Beirut will be a first for me, so I can’t wait to experience that.
On the release side, several singles and remixes are on the way, as well as a new collaboration with Artbat. Stay tuned!
