caribbean
“Entering the Mondo Disko booth always commands respect. The club has hosted figures who have shaped the history of techno, and being part of that legacy means living up to a space with a very defined identity. But at the same time, the Mondo dance floor allows you to connect with an audience that fully trusts its offering, which gives me the freedom to take risks and integrate my own musical narrative. When I open the night, I prepare the ground for a meaningful journey with the next artist; when I close, I try to leave an emotional mark and make sure the audience goes home with a huge smile. For me, it’s about a dialogue: keeping the essence of Mondo and its avant-garde spirit alive while contributing my own story through risk-taking. That balance between respect and risk is what makes each session there so special.”
CROSSING BORDERS: FROM MADRID TO BERLIN
For Alba, taking her sound beyond Spain has become more than just touring, it is a cultural dialogue. Berlin, in particular, has offered her a contrast that sharpens the edges of her own identity as an artist.
“Traveling and DJing in cities like Berlin has opened me up to a very enriching cultural dialogue. Each scene has its own language: in Berlin, for example, there’s an almost ritualistic respect for the music and the dance floor, while in Madrid, overflowing energy and ce- lebration predominate. Connecting with those audiences means listening, observing, and letting your set be trans- formed in the exchange.”
Carrying Madrid’s overflowing energy to those stages feels like an act of re- presentation, but each city also leaves a trace on her.
“Exporting Madrid’s energy to those contexts excites me because I feel like I’m carrying a part of the city and its character with me. Conversely, each trip leaves its mark on me. I pay close atten- tion to the work of the DJs and produ- cers I meet in different cities and always try to learn from their technique and character. Often, you can even distin- guish a DJ’s nationality by their sound, and I think that’s wonderful. All of that comes back with me and blends into my work in Madrid, creating a constant flow between the local and the global.”
FROM ART HISTORY AND THE CONSERVATORY TO TECHNO
Her artistic language didn’t emerge only from clubs and dancefloors. Alba’s foundation in classical piano and her studies in art history gave her a diffe- rent set of tools to approach techno, not as pure entertainment, but as an art form with its own architecture.
“I think my studies have influenced my understanding of techno, although not consciously. Both disciplines gave me a sensitivity that allows me to perceive structures, aesthetics, and emotions at all times, whether in sets or produc- tions.”
This doesn’t mean she forces those influences into her sets. They are alre- ady embedded in her instincts, shaping the way she perceives sound and form.
“When I’m in the booth or studio, I
don’t think, ‘This comes from classical music’ or ‘This comes from visual arts.’ Rather, those influences already live within me and filter through naturally. Techno, for me, isn’t solely entertain- ment, it’s a cultural and artistic langua- ge, a sonic architecture where tension, color, and rhythm coexist to create immersive experiences. The discipline of the conservatory and the perspective of art history gave me the tools to treat techno as something deeper.”
Alba’s roots in classical training taught her structure, precision, and resolution. But stepping into electronic music meant learning how to let go of those rigid frameworks and embrace unpredictability.
“In classical music, everything has a destiny: a piece opens, grows, builds tension, and finally resolves. When I first started producing, I tried to bring that same logic to electronic music, clinging too tightly to the rules of music theory. Instead of helping me, they tied my hands. I realized those rules didn’t have to be a barrier but a tool. Today, I use them in the right measure: they help me create coherence, but I never lose the freedom to experiment. In my sets, I like to maintain a certain narrative, but I’m also drawn to surprise and improvi- sation, the kind that only emerges in the moment. My creativity is born from that balance: the discipline of my classical background and the freedom I found in electronic music.”
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