Music Interviews

From its early beginnings in Ljubljana to Berlin, Tzena has made a name for himself in the European underground scene. Praised for his genre-transcending sets that take listeners on a journey, his music brings positive vibes with an energetic yet elegant style. Tzena sits with us to open up about his story, music philosophy and dreams in this interview.

The Partae: Thanks for being with us, Tzena. The first question is about your name, where does it come from?

Tzena: It’s an anagram of my name Nace (pronounced Na-tze), a kind of Balkan wordplay that involves replacing syllables. At the time, I thought it might be a clever idea, as I believed that foreigners would find it easier to pronounce than my actual name. As it turns out, it’s quite the opposite so I’ve been considering a name change somewhere in the back of my mind.

The Partae: Tell us about your journey as a DJ. How did it start and how did you develop into what you are today?

Tzena: Well, it might sound a bit cheesy, but my journey into DJing started before I even knew what a DJ was. As soon as I got my first iPod or MP3 player, I just always wanted to plug it into some speakers and play music to friends.

Then, in high school, things took a turn when one of my closest buddies bought a DJ controller, at the time we were into mainstream EDM. I started feeling left behind: “He’s going to be a DJ and not me?”. I vividly remember thinking, “I’ve watched many DJs at parties, and I bet I could do it better. I want to do this!” But making the big move wasn’t easy. It felt like DJs were from another planet, and I had no idea where to start. Until one day, I walked into a store, bought a controller, and just like that, I was a DJ – at least in theory.

We started spinning at birthday bashes and high school parties, you know, the usual stuff. Slowly, I started discovering new music and expanding into different genres like tech house, techno and deep house. After high school, my sound horizons expanded as I started going to raves and parties in Ljubljana, mostly Klub K4. Since then, I began collecting records like a maniac. At that point, I didn’t know yet other DJs playing vinyl in the Ljubljana scene. I relied on this website called Decks to order new records each week – a bit of techno, a sprinkle of Romanian minimal, Kerri Chandler re-presses, whatever I could find.

That’s when I started connecting with the Slovenian scene and I found myself immersed in a more underground rhythm. Francesco Del Garda and Nicolas Lutz were two of the artists that I first heard at K4 and it was a transformative experience, not just for me I think, but for the entire scene.

The Partae: You are now based in Berlin, why did you decide to make the move? Was it primarily for your DJ career, or are there other motivations?

Tzena: Yeah, it’s been on the cards for a while. At first, I was hesitant because I was worried about losing my identity in a big, chaotic city like Berlin, you know? We were really building something solid back in Slovenia with Luckison. But then the pandemic hit, and I also got together with my girlfriend, who was a big part of the decision. Plus, I felt like I was stuck in Slovenia – not making much money, no other career prospects, and lacking inspiration for digging or making music. Berlin offered a fresh start with various opportunities. Living with just my girlfriend also meant fewer distractions and more time to focus on myself and my music. It was definitely the right move for me.

The Partae: It’s interesting how the music scene is becoming more genreless, drawing influences from different styles. Yet it’s somehow important for a DJ to categorize or label their music for the audience. How would you describe your music with three adjectives?

Tzena: Honestly, the tracks that inspire me the most are the ones that defy easy categorization. They blend genres in ways that make you go, “What even is this?”.
Moving beyond genres, some adjectives describe the essence of my music and my approach to making it.

The first would be “smooth”. I don’t even know if this is a real adjective for music, but it is something I like to maintain while playing.
Another one is “positive”. There’s this happy vibe in house music that I try to capture. It’s like the foundation. Overall, I’d say my music has a general aura that leans towards the light rather than the dark.
Oh, and I’ve been hearing people describe my music as “elegant” lately, which I think is pretty cool. So, let’s go with that – elegance.

The Partae: Let’s now talk about your methodology in making music. How do you discover new music? Are you more of a record store person, or do you rely on online platforms?

Tzena: I do a bit of both. Living in Berlin now, I’m lucky to have access to such a variety of record stores and I should definitely go digging more often. Sometimes I’ll have a week where I hit up all the shops, and then I might go a couple of months without buying anything. It varies. But yeah, I try to take advantage of being here.
Of course, I also search for anything online, it’s a mix of different platforms and online stores: Discogs, Beatport, Juno, Decks, Bandcamp – whatever I feel like that day. Lately, I’ve been getting into new releases more. There’s been a surge of quality and originality of production in the last couple of years so I get to play a lot of newer stuff.

The Partae: How about your live performances? Do you have a specific method when you’re prepping for a set or do you prefer keeping it more spontaneous? 

Tzena: For me, one of the joys of DJing is figuring things out on the spot. I need the crowd in front of me to see what they react to before starting to put all the pieces together. Of course, I do some prep at home, especially with new records. But mostly, it’s about listening to tracks, understanding their vibe, and knowing how they start, how they end and how they flow. I tend to group tracks into different categories: Beginning of the set, big-time escalation, something in between etc.. That’s it. If I try to prepare too much at home, it just messes with my mood and somehow nothing works! Things come together better in the moment. That’s just how it works for me.

The Partae: You are part of the label Luckison together with other emerging Slovenian artists like Mayell, Mornik and Kosta and Tim Kern. Do you see the label as a platform for international exposure, or is it more of a casual project among friends?

Tzena: It was always more of an experiment than a serious project. The first couple of releases were just our own productions with no names. Whenever we felt like something was ready, we put it out but we didn’t really put much info out there, just a stamp on the record to see what happens. International exposure or not, the attitude was always meant to be casual.

The Partae: So, do you see the LuckIsOn leaning more towards releases or gigs?

Tzena: Definitely more towards gigs, and parties. The label is more like a safe space where to put music out there. We released other artists too. We had a release with some talented mates from London called Felon5 and we’ll have more with other artists in the future. We have to come across something truly interesting and unique – something fresh that hasn’t been heard before – that’s when we’re interested. Otherwise, we’re not actively hunting for music to release. If something falls into our lap and it feels genuinely cool and fresh, then we go for it. But we’re not in a rush to put out records just to keep things active. If we have something, great. If not, that’s fine too.

The Partae: And for you personally, do you prefer the production side or playing gigs?

Tzena: Personally, I’m still more of a DJ than a music maker. Playing music is what I enjoy most. But I do love being in the studio too. Both take a lot of time and dedication, especially if you’re juggling it with a day job. I enjoy both, and I started producing more so I could make tracks to play live. That’s how it all started to get more serious. So yeah, I’m more of a DJ than a producer, but they go hand in hand for me.

The Partae: Where do you see yourself playing in Berlin or Europe in the future? Any dream venues or festivals?

Tzena: I had a bucket list moment last year at Closer in Kyiv, Ukraine. Played there in February 2023: Incredible club, with amazing people. They’re struggling now due to the war, but they’re still doing cool daytime parties. Also, Robert Johnson in Offenbach (DE) has always been a dream spot. In Berlin I feel really comfortable at Hoppetosse and Club der Visionaere. Sometimes I forget how much of a dream come true it is to play there. There are plenty of clubs or festivals that I could name, but there are so many cool spots all over the world that it’s hard to single out any particular one. If I can just manage to play out regularly that’s a dream come true on it’s own!

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Can you tell us about the inspiration behind your new single, “Miss Miserable,” and what message you hope to convey through it?

I was inspired during a low time in my life. There were lots of thoughts in my head and I realized in that moment that ‘this would sound good as lyrics.’ There’s no outright message, it’s more of an expression of my feelings and for those who can relate to how I felt and what I went through, to ensure they don’t feel alone in their own feelings.

How does “Miss Miserable” fit into the larger narrative of your music journey and the evolution of your sound?

Miss Miserable is the last song I’ll be releasing before my upcoming EP which is a completely different sound to my early works and Miss Miserable. You could say it’s the closing chapter of that era. I want to make bolder creative choices in my future work, incorporating genres that wouldn’t appear in Miss Miserable and other works prior to that.

What were some of the challenges you faced while creating “Miss Miserable,” and how did you overcome them?

For Miss Miserable, it was more of a method of expression, an outlet for all my emotions so I felt like its production wa more therapeutic than challenging.

Could you elaborate on how your influences, such as BABYMETAL, Poppy, and Bring Me The Horizon, have shaped your approach to music, particularly in this latest release?

For me, the topics these artists sing about are my main takeaways from their creations. They sing about heavy topics and are very emotion-driven. For Miss Miserable in particular, I wouldn’t say they were my main influences but it’d be my guitarist since he was the one who wrote out the riffs and such, I wrote its lyrics and melodies.

You’ve described “Miss Miserable” as an ode to your younger self. How did you navigate the process of channeling personal experiences into your songwriting?

One of the things that helped me get into the mindset was reading the diaries of a younger me. It was like I was a penpal from the future, conversing with her as I wrote.

“Miss Miserable” marks the beginning of a new era for you. Can you share any insights into what listeners can expect from your upcoming music releases?

Expect the unhinged. I was more timid at the start, but now I’m holding back way less when it comes to my ideas and experimenting.

How do you balance the infectious energy and raw emotion present in “Miss Miserable” with your intricate guitar work and songwriting prowess?

I think teamwork made both aspects balanced. While my guitarist worked on the production of the instruments, I worked on the melodies and lyrics and the overall of its production to give the song its ‘RinRin’ vibe.

“Guns and Grenades” received critical acclaim and won several awards. How does the success of that single influence your approach to releasing new music, especially “Miss Miserable”?

For me, it made me want to change up what I make. I don’t want to always do the same thing. I love experimenting and exploring so whenever something’s successful, I try going a different direction.

Your music has garnered significant attention on streaming platforms and radio stations. How do you leverage these platforms to connect with your audience and promote your music effectively?

By getting assistance from our publicists and releasing songs as frequently as possible, creating more social media content as much as I can, taking advantage of the free marketing platforms available. 

As you continue to tour and perform live, how do you adapt your music to engage different audiences, especially considering your diverse influences and sound?

Based on my experiences so far, I can see that my audience enjoys what I’m doing. If anything, the positive reception encouraged me to be unafraid to express myself through my music.

Can you share any memorable experiences or highlights from your recent Australian tour and performances with renowned rock and metal bands?

The highlight of my experience was hanging out with like-minded individuals. The bands I played with, Live Like Animals and Inferiority Complex, and I were a little awkward at first but we got along so well and even had a killer game of mini golf. It’s always great to make connections with people with the same passions I do because we go from strangers to good friends at the end of it all.

With representation in multiple regions, including Australia, New Zealand, China, and Japan, how do you navigate the challenges and opportunities of reaching audiences across different cultural landscapes?

Music is a universal language that can transcend a lot of things and reach people no matter where they are. There will always be fans of metal and rock around the world and I want to connect with them through my music despite the different cultural landscapes while respecting that culture’s customs.

https://www.facebook.com/RinRinMusicOfficial/

https://www.instagram.com/RinRinMusicOfficial

Congratulations on the release of ‘No Retaliation, Part 1: The Solo’s.’ Can you share with us the emotions and thoughts that went into creating this album, especially considering it’s your most personal project to date?

Creating ‘No Retaliation, Part 1: The Solo’s’ was an incredibly emotional journey for me. It’s undoubtedly my most personal project yet, as it delves into themes of loss, change, and inner turmoil. Every track on the album is a reflection of the rollercoaster of emotions I experienced during this period of my life.

The album is part of a trilogy, including ‘The Collabs’ and ‘The Orchestra of Eternity.’ How do these three albums collectively pay tribute to your late father and creative partner, and how did the idea of connecting them through the word ‘DAD’ in their artwork come about?

The trilogy of albums, including ‘The Collabs’ and ‘The Orchestra of Eternity,’ is a tribute to both my father, my creative partner. We shared a deep bond over music, and I wanted these albums to honor his memory. The idea of connecting them through the word ‘DAD’ came about as a way to symbolize the impact he had on my life and my art.

The Solo’s album contains 12 brand new tracks, including ‘Won’t Bow Down.’ Can you walk us through the creative process behind this single and how it sets the tone for the entire album?

‘Won’t Bow Down’ is a particularly special track for me. It sets the tone for the entire album with its powerful energy and defiant lyrics. The creative process behind this single was intense, as I poured my heart and soul into every aspect of its production. It’s a declaration of strength and resilience in the face of adversity.

In your message to fans, you mentioned facing challenges like leaving your booking agency and music label, along with personal losses. How did these hardships influence your music, and what role did your fans play in helping you overcome these challenges?

Facing challenges like leaving my booking agency and music label, as well as personal losses, deeply influenced my music. These hardships forced me to confront my emotions and channel them into my art. My fans played a crucial role in helping me through these tough times, providing unwavering support and encouragement.

The loss of your father in 2021 is a significant part of your journey with this project. How did this experience impact the direction and themes of your music in the ‘No Retaliation’ trilogy?

The loss of my father in 2021 had a profound impact on the direction and themes of the ‘No Retaliation’ trilogy. His passing forced me to confront my own mortality and reevaluate my priorities in life. His memory is woven throughout the albums, serving as both inspiration and catharsis.

‘No Retaliation’ is described as a story of loss, uncertainty, change, and mental challenges, but also of strength, determination, and perseverance. How did the process of producing this album help you personally in dealing with your emotions and finding closure?

Producing ‘No Retaliation’ was a deeply cathartic process for me. It allowed me to confront and process my emotions in a creative way, ultimately leading to a sense of closure and healing. Through the music, I was able to find strength and resilience in the face of adversity.

You’ve mentioned that life is too short to stay in the past and that you don’t have time to be hateful. How did this mindset shape the narrative of the album, and what message do you hope listeners take away from your story?

My mindset of focusing on the present and spreading positivity heavily influenced the narrative of the album. I hope listeners take away a message of resilience, determination, and hope from my story. Life is too short to dwell on negativity, and I want my music to inspire others to keep pushing forward, no matter the obstacles they may face.

Aside from the albums, you’ve been working on a new live-act called ‘Radical Redemption & his Orchestra of Eternity.’ Can you tell us more about the inspiration behind this unique concept and what fans can expect from this live experience?

‘Radical Redemption & his Orchestra of Eternity’ is a new live-act that combines elements of classical music with hard dance. The inspiration behind this concept came from my desire to push the boundaries of live performance and create a truly unique experience for my fans. Expect a fusion of intense energy, emotional depth, and breathtaking visuals.

Looking ahead, you mentioned your 7th solo album in the works, planned for 2024/2025. Can you provide any insights into what we can expect from this upcoming album and how it might differ from your previous works?

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You are known for your sold-out solo events, such as ‘The Road to Redemption,’ ‘Command & Conquer,’ and ‘The Orchestra of Eternity.’ How do you approach creating these events, and what makes them stand out in the hard dance industry?

I approach creating solo events like ‘The Road to Redemption’ and ‘The Orchestra of Eternity’ with a focus on delivering an immersive and unforgettable experience for my fans. Attention to detail, innovative production techniques, and a deep connection with my audience are what set these events apart in the hard dance industry.

Reflecting on your career, what do you consider your proudest moments or achievements so far, and how have they shaped the artist you are today?

Reflecting on my career, I’m incredibly proud of the moments where I’ve been able to connect with my fans on a deeper level through my music and performances. Their support and enthusiasm have shaped me into the artist I am today, and I’m grateful for every opportunity to share my art with the world.

Lastly, for fans eagerly awaiting your upcoming shows, what can they anticipate from your performances in the near future, and is there anything specific you’d like to share with your dedicated fanbase?

For fans eagerly awaiting my upcoming shows, expect nothing short of an electrifying and emotional experience. I pour my heart and soul into every performance, and I can’t wait to share new music and memories with you all. Thank you for your unwavering support and dedication.

Website: https://www.radicalredemption.nl

Instagram: https://www.instagram.com/radicalredemption/

Facebook: https://www.facebook.com/RadicalRedemptionDJ

Twitter: https://twitter.com/rdclredemption

Soundcloud: https://soundcloud.com/radical-redemption

Congratulations on the upcoming release of the extended edition of “Life, Love & Everything After”! What inspired you to expand the album with these additional tracks?

I felt like the concept of the album was so rich and I hadn’t fully explored all of the avenues of Life, Love & Everything After. Honestly they are such diverse subjects that it’s hard to ever feel like you’ve said all there is to say and I probably never will. But I’ve learned over the last few years not to be quite as precious with new material. I would hate to think I let a song sit on my hard drive that was maybe just the right song to help someone out in a time of need and that’s really what music is all about to me.

Can you walk us through the themes you explore in the new songs added to the extended edition, such as “Why Do I Do This,” “I Could See It In Your Eyes,” “Save Myself,” and “The End”?

Definitely!

“Why Do I Do This” is a song about self sabotage and feeling like you’re just going around in circles and never getting anywhere. At the same time it’s about reaching out for help when you need it and to a small degree not setting unrealistic expectations for yourself.

“I Could See It In Your Eyes” is a love song straight from my life. This is one of the older songs on the album as far as the time frame of writing it goes. It’s mine and my wife’s love story. It’s also a love story for anyone that met their partner under less than ideal circumstances which creates that scary in-between phase where you both know this is what you want out of life and have the faith and patience to let it all work out in time.

“Save Myself” is about having someone in your life and watching them slip away or get consumed by something unhealthy and the struggle between deciding when it’s no longer possible for you to help them and yourself and you have that hard decision to make. At the end of the day it is about that love you have for someone and that commitment to be by their side ‘til the end as long as they are willing to be there for themselves as well.

When it comes to the last song on the album “The End” you have to be fully immersed in the 20 song extended version of the album to get the full picture. The non extended release featured 15 songs including 3 songs named after the title of the album. The intro track “Life” the interlude “Love” and the final song on that release “Everything After”. They explored each concept in depth and to just add some songs after didn’t feel like I was doing the concept justice. “The End” is exactly how it sounds. It serves as the outro track of the album to tie everything together but also delves into the unknown and the cyclical nature of life, Although a less traditional track this one holds a special place in my heart.

“With You” is the current radio single from the extended album. What significance does this song hold for you personally, and why did you choose it as a single?

“With You” is a very important love song to me. I have some friends that got married recently and found it hard to find a first dance song that didn’t have specific details that didn’t pertain to their love. I also have a few friends that had a hard time finding non gendered love songs. I wanted to write an inclusive love song that didn’t have any language or circumstances that made them feel the song wasn’t for them or their love. Everyone deserves to be loved and everyone deserves a love song.

How do you feel your songwriting and musical style have evolved since your debut album, “Take My Hand,” released in 2014?

As much as there was an innocence to my writing 10 years ago. I was restricted by only being able to write songs when some mythical divine inspiration struck. Over the years as I developed my skills more as a songwriter I was able to write much more intentional music and I no longer suffer from the writer’s block that is waiting for that perfect storm of inspiration. This has given me the opportunity to write about much deeper concepts and express myself much more fully.

Your music is known for its emotionally charged vocal performances. Could you share a bit about your creative process when it comes to infusing emotion into your songs?

Over the years as I’ve grown as a vocalist and would start to receive compliments I knew I wasn’t by any stretch an amazing singer. But it seemed like what people were captured by was the fact that they felt something when I sang the songs. For me music has always been about connecting with people and making them feel less alone. I’ve always focused on being present in the song I’m singing and visualizing things and moments that make me feel the emotion of the lines I’m delivering and I feel like that translates through the vocal performance.

You’ve achieved significant success on platforms like YouTube and streaming services. How do you think these digital platforms have influenced your music career?

I think the biggest thing digital platforms in general have shown me is that there is an audience out there for everyone; it’s just a matter of reaching those people. There was a time where I felt like I was stuck playing the same shows to the same people over and over again. And as much as I owe so much to those people I feared my music just wasn’t good enough. My presence online made me realize I may have reached most of the people in my immediate physical vicinity that like my music but there are still tens or hundreds of thousands of people out there if not more that will like my music but just haven’t had a chance to be exposed to it yet..

Your 2023 coast-to-coast Canadian Tour was a huge success with sold-out shows across the country. What were some of the most memorable moments from that tour, and how do you think it impacted your growth as an artist?

Honestly some of the best memories were meeting some of these people that had started following me online but I had never met in person. As well as just being able to go across the country and have people show up for you in general is just a wild thing. The space inbetween the shows of traveling the country and bonding with the band I had with me was also a highlight. The way it impacted me most as an artist is that it made me realize there is no better time than now to take these next big steps. At one point it seemed like touring the country wasn’t going to be a reality but now after having done that I realize what’s stopping me from touring other countries and parts of the world.

You’ve collaborated with various Canadian artists and worked on multiple tracks for different projects. How do these collaborations influence your creative process, and what do you enjoy most about collaborating with other musicians?

I’ve been honoured to work on a lot of different projects in a songwriting capacity as well as an engineer, producer and mixer. Some of these projects are passion projects with friends and others are with accomplished world renowned artists and collaborators. The biggest influence this has had on me is as an inspiration to keep growing in my own art. The thing I enjoy most about working on other peoples music is helping them translate who they are into how the music sounds.

The new songs on the extended album delve into themes of life, love, loss, and mental health. How do you hope listeners will connect with these themes through your music?

My hope is that when they’re listening to a song about life or mental health the song is there to make them feel less alone and safe and understand it’s ok to be a little lost sometimes. When they’re listening to a song about loss I hope they’re reminiscing about the ones they’ve lost and allowing them to feel whatever emotion they need to to continue healing from that loss. I especially want them to remember those people because that’s one of the places our loved ones live on, is in our memories. And lastly when they’re listening to a song about love I want them to feel included and loved and believe in one of the most magical feelings this world holds for us.

Can you share any anecdotes or stories behind the creation of specific songs on the extended album that hold particular significance to you?

In the song “The End” similar to the Intro song “Life” and interlude song “Love” there are little easter eggs of titles, lines and concepts from not only other songs on the album but references to other songs that are important to me that reflect those topics.

As an artist who aims to emotionally connect with his audience, what do you hope listeners will take away from “Life, Love & Everything After”?

I hope the album can bring people a few things. One of which is just an escape from everyday life. In my mind there is nothing wrong with using arts and entertainment as a little mini vacation from the struggles the real world sometimes holds. Secondly I just hope that they connect with at least 1 song in a way that makes them feel like they’re seen. And lastly I hope listeners will find comfort in knowing they are not alone in what they’re going through and to embrace the good and bad in life and in love and take a moment to remember those they’ve lost along the way.

Looking ahead, what are your aspirations and goals for the future of your music career, and how do you plan to continue engaging with your audience in meaningful ways?

Looking to the future, my main goals and aspirations are the same as they’ve always been, which is to reach as many people as possible through my music and have my music be there for them the way music has been there for me. In the immediate future I’m looking at ways of bringing different versions of my live show to not only in person audiences around the world but also virtual audiences as well.

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