mixmagMMW SPECIAL EDITION


The Enzo Fazz project moves with


a different tempo of


thought. The music still be- longs to the dance floor, but the emphasis shifts toward move- ment rather than shock. The goal is not the drop, but the journey that surrounds it.


“Now the approach is more groo- ve-focused and intentional,” he says. “I’m thinking more about feel, rhythm and how the track moves over time.” The shift opens new spaces inside the studio.


“I’ve been experimenting more with sounds I probably wouldn’t have used with my previous project,” he adds. “New VSTs and instruments I hadn’t explored much before.” Exploration often arrives through small accidents.


At the same time the process has become more precise. “I’m also being more meticulous with sample selection, especially when it comes to drums and small textures that shape the groove,” he explains. Even so, remains the final guide.


instinct


“I’m trying not to overthink the production process,” he says. “Letting ideas come together na- turally and focusing on feel rather than overcomplicating things.” Some records reveal themselves only when control loosens.


No Reunions Records


Alongside the new alias arrives a parallel structure. Labels in dance music have always functioned as small cultural laboratories


where artists


experiment outside the ex- pectations of larger platforms. For Enzo Fazz, that laboratory takes the form of No Reunions Records.


“I’ve wanted to start a label for a while now,” he says. The decision to launch it simultaneously with the new project was intentional. Both ideas emerged from the same desire for autonomy.


“Launching it alongside the Enzo Fazz project felt like the perfect time,” he explains. “It gives me a space and the freedom to re- lease what I want, when I want, without overthinking it.” Indepen- dence creates a different rhythm of work.


For now the label operates as a direct extension of the studio. Tracks can move from idea to release


without navigating


complicated approval structu- res. That freedom often produces music that feels more sponta- neous.


“As the label grows, I’d love to bring in artists who share a similar mindset,” he says. “People making groove-driven club music that feels fresh for today’s dance floors.” The philosophy remains simple: rhythm first, everything else later.


Testing the Floor


Club music does not fully exist until it meets a crowd. Studio monitors


provide technical


clarity, but the real test happens inside the unpredictable acous- tics of a dance floor. A track that feels balanced in isolation can behave very differently once hundreds of bodies absorb the bass.


For now the Enzo Fazz catalogue is still circulating through infor- mal networks. DJs receive early versions through promo channels and test them inside their sets. The process allows the music to evolve before it reaches the public.


“Even though the official relea- ses are still on the way, I’ve been sending a lot of the music out through promos,” he says. Feedback arrives quietly from those environments. Sometimes it appears as a short message after a set, sometimes through the simple act of another DJ playing the track again.


“The response has been really encouraging,” he explains. “It’s been great to see support from artists I really respect and feel aligned with stylistically.” In dance music, that kind of recognition travels further than statistics.


The Rhythm Continues


Certain weeks in the electronic music calendar


gravitational centers. For that


function like a


brief moment the global scene condenses into one city, and conversations


normally


unfold online happen face to face. Miami Music Week remains one of those gatherings.


For Enzo Fazz, the timing carries a personal resonance. The city has been a recurring point in his trajectory as a DJ. Several important moments unfolded there long before the new project existed.


“I’ve been to a lot of Miami Mu- sic Weeks over the years,” he says. “Sometimes performing as FREAK ON.” The week offers more than just performances.


“It’s one of the best times to reconnect with friends, artists and people across the industry,” he explains. “You also get to hear


what new sounds are


emerging from around the world.” Ideas travel quickly during those nights.


There is also a small piece of symmetry hidden inside the timeline. “One of my first shows as FREAK ON was during Music Week back in 2019,” he recalls. Certain cities seem to mark the turning points of a career.


“Launching the Enzo Fazz project around this time feels like a full-circle moment,” he says. The location has not changed, but the rhythm has.


The drums continue. The groove moves forward. The new chapter settles into motion.


08


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