latam


Looking ahead, his drive remains untouchable. For


breaking boundaries, not settling, and opening doors for people who never thought they’d find themsel- ves in techno.


“Fundamentally, I love this shit, I live and breathe dance music culture and have done since I was like 10 years old when I first discovered Leftfield, the Prodigy, Orbital, and the Chemical Brothers.


Throughout this interview, you can sense that I’m always moving forward and evolving. I cannot stay still, driven constantly to find inspiration; I don’t think this will ever stop. When it does, maybe it’s time to stop, but that won’t be anytime soon. I’m on a mission to push techno into new places and open it up to people who may not even think they like techno. That’s one of the most powerful, rewarding things I hear from people when they say “I didn’t know I liked techno until I heard you DJ, or one of your tracks.”


Eli Brown embodies the paradox of contemporary techno: an artist who commands the world’s largest stages while remaining rooted in the subcultural grit of Bristol. His trajectory illustrates not only the globalization of techno but also its capacity for continual reinvention through personal history, cultural cross-pollination, and aesthetic discipline. What distinguishes Brown is not his ability to conform to spectacle but his insistence on preserving the raw intensity of his sound within it.


The expansion of Arcane and his collaborations across Latin Ameri- ca signal a broader vision, one that views techno as a porous form, open to hybridization and cultural dialogue without surrendering its identity. Brown’s process, grounded in instinct yet refined through rigorous


testing, reveals an Eli, it’s about


approach closer to artistic research than mere production. In this sense, his work can be read as both sonic experimentation and cultural intervention, challenging the in- dustry’s cycles of homogeneity and disposability.


Even fashion, often dismissed as peripheral, becomes, in his hands, an extension of artistic authorship, a semiotic layer that complements his refusal of transparency in interviews. By curating not only sound but also image and narrative, Brown asserts techno as a total cultural form, one that exceeds the dancefloor while remaining inseparable from it.


Ultimately, his declaration “Fun- damentally I love this shit, I live and breathe dance music culture” is more than effective rhetoric. It is a thesis: that love, rigorously applied, is itself a method of innovation. Eli Brown’s project is therefore not simply to entertain but to expand techno’s epistemic boundaries, ensuring its relevance for audien- ces who may not yet even recognize themselves within it.


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