With over two decades in the music industry and an approach that blends professional discipline with artistic sensitivity, DAD OF THE YEAR joins EDM Rebel to unveil There’s No Rule, the second release on his own imprint D.O.T.Y. Records. Straddling the line between downtempo atmospheres and club energy, this artist defies categorization, offering a thoughtful perspective on producing, running a label, and staying true to the scene without losing direction.
From working with names like Landhouse and Thea & Schtu, to embracing a philosophy far from industry clichés, this interview reveals an intimate, unfiltered look at an artist who makes music with authenticity, longevity, and a deep sense of purpose.
You’ve just released your new EP There’s No Rule on your own label, D.O.T.Y. Records. What’s the story behind this release and what kind of vibe were you aiming for?
Thank you for having me, EDM Rebel! The story is simple—countless hours of experimenting, fiddling around trying to generate emotions, make an impact, and capture those special moments on the dancefloor. I love creating these unconventional tracks that don’t fit neatly into any genre but somehow work in different contexts.
I think the vocals especially align with the label’s vision—promoting forward-thinking music that doesn’t follow the rules. When I received the remix from Thea & Schtu, it brought me to tears. It’s that good.
Launching a label is a big step. What inspired you to create D.O.T.Y. Records and how do you see it standing out in today’s electronic music scene?
It’s definitely a big step, but not the kind of challenge that stresses me out. In fact, I find it fun and relatively easy. I’ve been in the music and club industry for 25 years while also working as a VFX supervisor in film. Today, I run my own company, managing a team of 20+ people, while still playing on weekends.
At the end of the day, I’m just a serious, hard-working guy. At this stage in my life, I’ve accumulated so much experience and played so much music that it all feels like second nature to me. Hopefully, the label will be a reflection of both my dedication and professionalism while contributing, if only in a small way, to the underground movement I love so much.
You’ve worked with Landhouse and now Thea & Schtu on remixes—how do you choose your collaborators, and what do they bring to your vision?
It’s all about love and passion. I’m just a big fan of their work. Landhouse was the very reason I transitioned to downtempo in the first place, so it felt fitting to have him introduce the label. The same goes for Thea & Schtu—I’m a huge fan and play their tracks all the time.
I feel privileged and honored that they decided to jump on board and trust me.
Your sound sits in the downtempo world, but it clearly speaks to both the dancefloor and headphone listeners. How do you balance that emotional depth with club energy?
At my core, I’m a DJ—first and foremost. A DJ who became a producer, then a label owner. But if you ask me who I truly am? I’m a DJ.
With this label, the goal is to explore every corner of downtempo, push boundaries, and bring out-of-the-box ideas to life. But it’s just as important to me that the music also offers options that cater to the dancefloor. Because ultimately the dancefloor is my home.
Production-wise, what’s your setup like? Are you more into analog gear, DAWs, live instruments—or a bit of everything?
Everything and anything. I spent three years in Costa Rica without a studio or my gear, so I learned to make do with what I had—just a laptop, headphones, and countless hours at the kitchen counter.
That experience taught me a lot, but I have to say, it feels incredible to be back in the comfort of my studio, with access to all the tools and possibilities I’d been missing.
What’s been your favorite moment so far with D.O.T.Y. Records—whether in the studio, planning a release, or getting feedback from listeners?
Since D.O.T.Y. Records is still in its early days, I don’t fully know how people will react to the label yet. I’ve started receiving feedback on the first two releases, and I’m really happy with the responses so far. But at the same time, it feels oddly distant—maybe because this is work I finished nine months ago.
I’m realizing that there’s no instant gratification in this process. The most satisfying moments aren’t always public. It’s the behind-the-scenes work—meeting new artists, developing the visuals and logo, geeking out with my mastering engineer, Jeremy at Backward Clock Sound… or learning the ropes with my manager Eddy Romero at Soundvision. It’s a deeply personal journey, almost like releasing little pieces of my own intimacy into the world.
As an artist and label head, what advice would you give to up-and-coming producers trying to define their sound or start their own imprint?
It’s not so much advice, but something that worked really well for me—always keeping a job while being in the music industry. It kept me grounded, focused, and able to sit at my desk on Monday morning without relying on a notoriously unpredictable and shady industry to pay my rent.
My love and passion for music have always remained intact because I chose to stay truly underground. I never had to take gigs I wasn’t passionate about or compromise my sound and vision. By keeping music as a hobby, I preserved its purity, untouched by external pressures or constraints—though it certainly remains a very time-consuming hobby!
What’s next for you in 2025? Any upcoming collaborations, label showcases, or new projects we should keep an eye on?
So much is happening this year! I have at least 10 of my releases lined up outside my own label, including on Cosmovision, Monada, Random Collective, Stripped Digital, and more. DOTY Records is fully booked until July with releases from Eternal Moment, Jøtum, Johnny Posh, and others. I’ll be in France and Berlin this June. While 2024 was a bit slower, this year is absolutely exploding!
