caribbean
“But yeah, to be honest, there were no elaborate plans prepared by
consultants to orchestrate this launch; in the end, TAKEOFF is just me, the label ma- nager, and a tiny support crew. I am very happy with the outcome. My label reflects exactly who I am as an artist, and also as a person. The producers I signed have complete artistic freedom and are cared for. We all have genuine affection and respect for each other; it’s got a family vibe to it, I really like and want to nurture.”
That family energy might just be TAKEO- FF’s biggest weapon. Space 92 is betting on loyalty, patience, and mutual respect. The result: a label that doesn’t just release music, it builds momentum around a collec- tive vision.
THE LABEL’S FUTURE
Most labels that rise this fast crash just as quickly. But Space 92 is already thinking about sustainability, about how to grow without losing the heart that made TAKEO- FF special in the first place. He knows mo- mentum can be dangerous if it turns into a machine.
“That’s beautifully said, thank you! I think 2026 will remain relatively similar, expan- sion-wise. TAKEOFF’s rise will need to be carefully controlled and monitored; that being said. I don’t want my label to become a soulless factory releasing records non-stop, giving them five minutes of attention before hopping onto the next release. This is also why we’ve only organized two events this year. The first one was TAKEOFF’s official launch worldwide in the shape of a free, small pop-up event in Buenos Aires, where I played for an hour and a half. The second and last event of the year will take place on a train in Amsterdam during ADE. TAKEOFF Train will feature a few amazing headliners.
and Amber Broos will be part of the lineup, in addition to a few members of the TAKEOFF family featured on our upcoming release, ‘Mission 1’ (A Various Artists compilation featuring 7 Techno producers from around the world, out November 26th).”
A label launch in a Buenos Aires pop-up and a label showcase on a moving train at ADE, those aren’t the usual industry play- book moves. But that’s the point. Space 92 isn’t chasing volume; he’s crafting moments that people remember. TAKEOFF isn’t about flooding the market; it’s about writing stories that stay in the culture.
Fifteen Beatport Number Ones. The title of Peak Time/Driving Techno’s best-se- lling artist of all time. For most, those stats would be the headline. For Space 92, they’re just markers on the path; milestones that matter, but never more than the faces in the crowd.
“Being recognized as a producer by my peers is the ultimate reward, but so is watching tens of thousands of people around the world dance to the music I made. I was born to do this, and when I tried to have a ‘normal’ job,
miserable bastard on Earth. Being able to live decently off the music I make is already fantastic, and something I didn’t think was achievable four years ago.”
134 I was the unhappiest, most expensive
COLLABORATIONS AS CATALYSTS
From underground heroes to mainstream crossovers, Space 92’s collabs have become their own kind of laboratory. Each project stretches his sound in unexpected ways, proving that Techno doesn’t have to stay in one lane to keep its bite.
“Most of my collaborations have happened organically, with artists such as Oliver Heldens or Maddix reaching out to me on Instagram and having a chat. Sometimes it’s the other way around; I reach out to someone because I know this specific person’s sound would 100% work on a track I’m working on. In Malena Narvay’s case, I was looking for a Spanish-speaking singer for a new track I was working on, and dozens of people told me to look at her profile, as she’d previously made a track with Boris Brechja. I did; we talked. I met with her in Argentina, and ‘Formula Loca’ was born. Globally, every single collaboration I’ve worked on has made me learn and grow as a producer.”
These collabs aren’t just names on a flyer, they’re catalysts, jolts of energy that spark evolution. One moment it’s a Beatport hit, the next it’s a pop-leaning anthem, but at the core it’s always Space 92 bending his world to meet someone else’s, and finding new ground in the overlap.
If there’s one thing Space 92 has mastered, it’s keeping his identity instantly recogni- zable while still leaving room for surprise. Trancey melodies cut through distortion, acid burns under the surface, and every track feels wired with a Sci-Fi pulse. The question is not whether he’ll evolve but how far he’ll push it.
I can already say Joyhauser
“Maybe I’ll sprinkle some more Trance on my Techno at some point, or maybe I’ll crank up the BPMs, or maybe I’ll do both… I’m working on a couple of special projects for next year. I’ve actually got a bunch of high-profile collaborations lined up until early 2026, and I’m working on new music as well.”
CHINA AND THE GLOBAL DANCE MAP
Few Western Techno artists can say they’ve truly cracked China, but Space 92 has turned those trips into case studies in how fast a scene can shift. The first time he landed there, it felt alien: an EDM act with mic shout-outs, a seated crowd staring blankly at the stage. It was a clash of cultures, and he didn’t hold back.
“The first time I went to China two years ago, there was an EDM act playing before me, complete with the whole cringey microphone shout-outs to the crowd. Everyone was sitting down at their tables, still staring at the stage. It was surreal. I started getting pissed off, so when it was my turn to play, I looked at the crowd and asked them (well, I gestured, really) to get up and dance. After a while, people went crazy during the set!”
“That fire only grew. A year later, he returned to China and found a transformed crowd: shirtless, feral, fully locked into the rhythm.
“One year later, when I went back to the same city in China, I went on stage expec- ting the same setup. Boy, was I wrong! The crowd was feral; the men were shirtless, and it was incredible. It gets better and better every time, and I’m so happy about this. Several promoters informed me that before COVID-19 hit, EDM was the reigning genre in China; however, things apparently changed after
slowly growing; more and more festivals are inviting Techno artists, and there is a real and dedicated Techno fan base. I’m actually traveling to Foshan in a few hours, so I’ll keep you updated, haha!”
BEYOND THE DANCEFLOOR
For Space 92, the vision doesn’t stop once the lights go out. Global tours and chart-to- pping releases are only part of the story; behind the booth, he’s already sketching the next universe for his fans to step into.
“I have so many ongoing projects at the moment, it’s a miracle I still have time to eat or sleep, haha. I’m currently working on a clothes & merch line. People ask me about merch every single day and have done so for years, so this has been long overdue. I’m also working on a very special show, but everything is top-secret for now. Let’s just say that your question about expanding my Sci-Fi inspirations into other media is very foretelling!”
Whether it’s fashion, stagecraft, or new vi- sual languages, Space 92 wants to build a world where the Sci-Fi undertones of his sound finally have a life of their own.
Headlining Ultra, EDC, and Tomorrowland in one season might read like a career peak, yet Space 92 talks about those moments with raw emotion, even admitting to breaking down on stage. The tears, the nerves, the pride, they make his dominance feel human.
The launch of TAKEOFF shows the same pattern. It could have been a calculated, consultant-driven operation, but instead it came alive with instinct, bangers in the pocket, and a tight crew bound by trust. In his words, it’s family, not factory. That ho- nesty is why the label already sits among the biggest in the world after just a handful of releases.
And while his stats, fifteen Beatport #1s, best-selling peak-time Techno artist of all time, paint him as a machine, the reality is closer to a dreamer who never fit into a “normal” job. His collaborations, his willingness to risk new genres, and even his plans to expand into fashion and immersive shows all prove that his story is still unfolding. Space 92 isn’t chasing milestones; he’s chasing meaning, turning into a universe that feels as cinematic as it does personal.
the pandemic. Techno is
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