She acknowledges the utility of a digital footprint, but with a caveat.
“Yes, having a big online presence will boost your career, your bookings, and even your fee, but it won’t make the crowd enjoy your set more.”
That insight reframes the purpose: music as liberation, not obligation.
On the subject of self-doubt—a common affliction among artists—SUPERGLOSS is disarmingly honest.
“There. Is. A. Right. Time. For. Everything. I truly believe that everything happens at the right time.”
With the cadence of someone who has meta- bolized setbacks into wisdom, she recounts how others’ success once cast shadows over her path. “I used to compare myself to others when I saw them playing the shows I dreamed of, but over time, I realized that their success wasn’t taking anything away from me. It showed me that these milestones were possible.”
It’s this reframing that allowed her to turn envy into inspiration.
“I focus on working on my skills rather than comparing myself as a person, because growth comes from persistence, not rushing the process.”
That persistence bore fruit in the form of Space Office, a debut EP that landed on the revered Noom Records.
“When I finished my EP, I started looking for the right label to release it on. I researched the labels that are active and present in the musical landscape right now, but nothing felt like the right fit.”
Then came a revelation.
“I went through my collection and checked which label I had bought the most tracks from. It turned out to be Noom. I bought their entire catalog. That realization made everything click.” The decision was more than strategic; it was spiritual.
“Seeing my pink cover with the planet on it, sitting in my collection next to all the tracks that shaped my sound, felt like a homecoming.”
Noom didn’t just accept her vision—they celebra- ted it.
We move on to trance’s evolution. What was once a genre marked by sweeping emotional builds is now being reinterpreted for an audience raised on TikTok edits and shortened club nights. SUPERGLOSS is attuned to this shift.
“When I play at trance parties, I often notice that audiences expect something much faster and more high-energy.”
The traditional blueprint has shifted. “Many
breakdowns
minutes... but I’ve found that younger crowds today respond differently.”
90s productions I play and buildups that
have long last several
Still, she views this change not as erosion, but transformation.
“Like in fashion, every genre has its signature codes, and trance is continuously redefining its own.”
SUPERGLOSS’s sound is a testament to this dia- logue between past and future.
“With my first solo EP, I wanted to explore my interpretation of my taste in music. The theme was basically to transpose that into 303 basslines, trance gates, and euphoric major melodies.”
Though vintage in references, the execution is anything but retrograde.
“With the technology that I have access to today, it is almost impossible to recreate this edgy, sometimes even unintentional, spontaneous sound of the past. That is why I stepped away from this idea and instead wanted to produce something that is not common today and is hard to put in a box.”
Her relationship to trance is both reverent and radical.
“Trance, in its essence, is about creating a soundtrack for a rave, a feeling of euphoria, energy, and joy that doesn’t take itself too se- riously.”
This isn’t nostalgia—it’s restoration.
“I see myself as someone who honours the traditional elements of trance while continuing to explore its depth... I want to show people the emotional depth of trance and how it can make you lose yourself in the music.”
Text by: Sergio Niño
24
mixmagde.com
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