EXCLUSIVE INTERVIEW


Fenrick greets me with a warm smile, his excitement is evident as we dive into the story of his musical evolu- tion. Over the past two years, the Belgian DJ and pro- ducer have transitioned from hard techno to trance—a change that has revitalized his career and, more im- portantly, his personal happiness.


“It’s like coming home,” he shares, reflecting on how this shift has allowed him to embrace the sounds that resonate deeply with him. As we speak, it becomes clear that Fenrick’s journey isn’t just about music; it’s about finding himself.


The shift from hard techno to trance wasn’t a strate- gic career move for Fenrick—it was deeply personal.


“I started this shift a little over two years ago,” he ex- plains.


“It happened naturally, almost like the universe was guiding me. Trance has always been close to my heart. I grew up listening to artists like Safri Duo, Klubbheads, and 4 Strings. But for a while, I got caught up in a scene that didn’t fully feel like me.”


“I never wanted to play a style that felt too aggressive or dark. The moment I started embracing more melodic, emotional, and uplifting music, everything changed. My sets felt more alive. The connection with the audience became deeper and more meaningful.”


For Fenrick, the shift was liberating.


“It wasn’t just about the crowd—it was about me. I rea- lized I wasn’t being true to myself before. Now, I’m ge- nuinely happy every time I step behind the decks.”


Fenrick speaks openly about the journey to discovering his authentic self, both as an artist and a person.


“It took me a while to figure out who I really was,” he admits.


“When you’re starting out, it’s easy to fall into the trap of imitation. You see what works for others, and you try to replicate it. But eventually, I realized that the most powerful thing you can do is to be yourself.”


That realization has shaped every aspect of his artis- try.


“Now, everything I do—whether it’s music, social me- dia, or even how I interact with people—is 100% me. I think people appreciate that. They don’t want perfec- tion. They want something real. I often tried to mimic what others were doing, like many artists searching for their identity. That experience taught me an important lesson, and now, when people ask me for artistic advi- ce, I simply say, “Be yourself.” It’s not about a specific musical style or fashion, but rather about staying true to genuine artistic expression”.


Fenrick’s sets show his commitment to pushing boun- daries and introducing new sounds to his audience.


“I love blending genres. In my sets, you might hear tran- ce, UK Garage, breakbeat, or even Latin Core. I enjoy taking people on a journey where they feel comforta- ble but also curious. If I can make someone dance to a track they’ve never heard before, I’ve done my job.” He adds,


“DJs and producers I admired when I was younger ex- panded my musical horizons. Now, it’s my turn to do the same for others.”


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“The word “duty” might be a bit strong, but it’s an im- portant goal for me as an artist to introduce people to new sounds, diverse genres, and emerging artists. I’m passionate about sharing a wide musical spectrum with an audience that might not always venture be- yond techno or trance. When I was younger, DJs and producers also introduced me to other genres, and now I love being able to do the same. I often use remixes of popular tracks to make the transition smoother, before moving on to more niche and underground tracks”.


SAMPLING AND NOSTALGIA


When it comes to producing music, Fenrick thrives on blending nostalgia with innovation.


I’ve always been fascinated by sampling, especially the work of 90s artists like Moby, Fatboy Slim, The Prodi- gy, and of course, Daft Punk. I draw a lot of inspiration from their approach, even though I don’t have vintage gear like the Akai S2000. Instead, I use a VST called “Amigo” to sample and stretch sounds. My sources are quite diverse: old-school US rap tracks, UK Garage, happy hardcore, and even reggae. For instance, in one of my recent tracks, I sampled a percussion element from one of my favorite Safri Duo songs, *Played-A-Li- ve*.


Fenrick’s tools are as creative as his approach.


“I don’t have vintage gear, but I use this VST called ‘Amigo’ that lets me stretch and manipulate sounds in cool ways. It’s all about finding what works for you.” Fenrick beams with excitement as he discusses his up- coming projects.


“I drew much inspiration from releases in the 90s and early 2000s, especially from labels like Armada. I had been wanting to incorporate some “Donk” into a track for a long time, so I created my own Donk sound. I built a very simple kick-bass to give the track energy, and I aimed for a truly epic drop. Once again, I took inspira- tion from the drop in Safri Duo’s *Played-A-Live*. For the vocals, I initially used a sample from early hardstyle, but unfortunately, I couldn’t keep it due to copyright issues. So, we brought in the rapper Scrufizzer, and the result is fantastic. The track has already been approved and played by major artists like Marlon Hoffstadt, KI/ KI, and Hannah Laing.”


With a major ep coming out in February, Fenrick sha- red with us his creative vision.


“I’m really excited to share this two-track EP. For this project, I wanted to go back to the roots of my inspi- rations with very UK-oriented sounds. One of the trac- ks is a blend of UK Garage and Hard House, and I’m particularly proud of it. It was a challenge for me since I had never explored Reese basslines and the sounds associated with UK Garage before. The other track is a rework of one of my previous pieces, featuring a fa- mous vocal that I’ve received countless requests for. I’d rather keep a bit of suspense for now, but stay tuned for the full release at the beginning of the year!”


BUILDING A VISUAL IDENTITY


Fenrick’s plans for 2025 include an ambitious expan- sion of his artistic direction through visual experimen- tation.


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