caribbean
T78’s
Uncompromising Vision Elevation at 150 BPM
The bassline doesn’t wait. It hits like a pulse racing through a warehouse, relentless and euphoric, syn- cing with every heartbeat on the dancefloor. At the center of this storm stands T78, an artist who has turned tempo into identity, fusing Mainstage Techno, Hard Trance, and Hard Techno into a language that is entirely his own.
For more than a decade, he has worked the circuit, from underground clubs to global festivals, but in 2025 his story is less about fitting into a scene and more about bending the rules of all of them. What sets him apart isn’t just the power of his sound, but the precision with which can transform raw energy into music. His style has become shorthand for the intensity of modern dance culture: restless crowds searching for catharsis, bigger stages demanding darker energy, and a generation of ravers that are looking for rawness and intensity.
ROOTS AND REVELATION
Every artist has that first spark, the moment when music stops being background noise and becomes destiny. For T78, it happened in 1989 with a cassette tape that sounded nothing like the radio hits his friends were chasing.
“I define myself as a great fan of electronic dance music, especially trance, and techno. The last three decades and even more have helped define what my musical taste is and what I am as a DJ and producer. Besides having listened to a lot of Italo-Disco as a kid, the first time I listened to something futuristic was when I received a tape from the Boccaccio club in Belgium. A friend of mine brought it back and told me it was music beyond the mind. That was New Beat, and it changed my life forever.
Years later, after six relentless years as a resident DJ, he found the sound that would crystallize his identity.
“After having been a resident DJ for about 6 years and having listened and played various musical genres, I clearly remember that in the studio my reference sound was the one that had further changed my life and that was the Hard Trance of the Italian BXR label in the late 90s. It was exactly the right compromise between the hardness of techno and the euphoria of trance.”
Those early encounters didn’t just shape his tas- te; they carved out the blueprint of what would become the T78 signature: intensity with purpo- se, speed with emotion.
In 2025, T78’s music lives in the 140 to 160 BPM zone, a space once dismissed as too niche or too extreme. For him, the acceleration wasn’t a gimmick; it was a response to what the new generation was asking for after the pandemic.
“After two years of stoppage due to the pandemic, the new audience seemed more receptive towards styles that for too long had remained confined to small niches such as Hard Trance and Hard Tech- no. Finally, we can now experience how it was done right in the 90s, and I find it amazing. It feels like a second youth for me.”
That energy has propelled him to stages whe- re popular demand and underground credibility collide. He doesn’t see them as opposites, but as parts of the same ecosystem.
“My discography can simply explain all this sin- ce I have been supported by many names in the underground and vice versa by many names in the mainstream. So when someone comes to listen to me, they can expect both things. It can be more underground or more mainstream depending on the situation.”
As for what defines a “T78 track” today, the answer is less about genre and more about signature.
“The outcome of a T78 track is still unpredictable. I can release dark, acid Techno or fast, euphoric Hard Trance. The only thing that makes it re- cognizable is my touch, my signature, which can be heard in all my productions regardless of the musical genre. Anyone who follows my music and has followed my artistic evolution knows exactly what I’m talking about.”
EXTENDED SETS
Three hours at 150 BPM is no small feat, yet for T78, it’s where the music truly breathes. Short slots might showcase intensity, but it’s the mara- thon sets that reveal his philosophy.
68
AUTHOR: SERGIO NIÑO PHOTOGRAPHY: VICTORIA SH
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140 |
Page 141 |
Page 142 |
Page 143 |
Page 144 |
Page 145 |
Page 146 |
Page 147 |
Page 148 |
Page 149 |
Page 150 |
Page 151 |
Page 152 |
Page 153 |
Page 154 |
Page 155 |
Page 156 |
Page 157 |
Page 158 |
Page 159 |
Page 160 |
Page 161 |
Page 162 |
Page 163 |
Page 164 |
Page 165 |
Page 166 |
Page 167 |
Page 168 |
Page 169 |
Page 170 |
Page 171 |
Page 172 |
Page 173 |
Page 174 |
Page 175 |
Page 176 |
Page 177 |
Page 178 |
Page 179 |
Page 180 |
Page 181 |
Page 182 |
Page 183 |
Page 184 |
Page 185 |
Page 186 |
Page 187 |
Page 188 |
Page 189 |
Page 190 |
Page 191 |
Page 192 |
Page 193 |
Page 194 |
Page 195 |
Page 196 |
Page 197 |
Page 198 |
Page 199 |
Page 200
