For our next premiere, we’re thrilled to be featuring one of Greece’s most gifted and active producers among the techno scene, Nonyas of Athens. Debuting on Jonny Marciano’s La Famiglia Recordings with his brand new EP Endless Whiteness out August 24th, Nonyas gives listeners two deeply atmospheric original tracks that play off one another – “Endless Whiteness” and “Infinite Blackness.” Featured in this release, we see Nonyas partnering up with Italy’s Axel (IT) and Montreal’s Kalden Bess, who each deliver concrete remixes. Packed with heavy-hitting, relentless bass, hollow-ghostly vocals and an overall moody atmosphere, Endless Whiteness is an impressive EP and we can’t wait to hear it played out on dance floors worldwide.
We had the opportunity to chat with Nonyas as he prepares the EP’s release. Having just begun his producing career a mere three years ago after messing around with FL Studio, Nonyas’ vast production skills prove him to be a promising name within the techno community. Get to know more about Nonyas and the conception of Endless Whiteness in our exclusive interview + premiere here:
We’re accustomed to artists putting out EPs, which feature an original work accompanied by remixes by various artists. However, you did something interesting here with your Endless Whiteness EP — both original tracks are variations of one another. Was this intentionally planned? Did you set out to release an EP in this manner or was it simply, that you could not decide which version you liked better?
Well, when I started this EP I was really excited and I already had a specific sound in my mind that would fit well with La Famiglia Recordings. So I decided to create a variation of that sound and make two tracks with different energy and mood for different parts of the night. I can safely say that I am pretty happy with the result!
While “Endless Whiteness” features a slightly lighter, groovier techy sound, “Infinite Blackness” showcases your darker, bass-heavy side. Which sound are you more drawn to? Is there one style you’d say you produce in more often than the other?
What I usually have in my mind is to make quality dancefloor tunes that reflect my personality and also my mood at that specific moment. I always try to give a dark touch to everything I create in my productions and also in my DJ sets. Sometimes this is more obvious than others .
This is the first time you’ll be releasing on Jonny Marciano’s label, La Famiglia Recordings. What did you know about the label prior to this? How did the partnership come about and why do you feel La Famiglia is a good fit for this release?
I have been following La Famiglia for a while now, the sound of the label is what I was looking for so I got hooked immediately. Since then I’ve been playing pretty much everything that they put out. All of their releases are top notch and when I was asked to do an EP for the label, I was really happy!
What are the major things you look for when determining a label to release on? Some producers feel it’s important to put out as many releases as possible on multiple labels. Others argue that you should aim for the major labels to build credibility. Where do you stand on this topic?
Ah this is a tough one. There are some things that I keep in mind before choosing where I will send my demos. The sound and the reputation of the label are the most important things for me. My sound has to fit the style of the label, and also it is important for the label to have a good reputation and be professional.
For me, puting out many releases is really helpful, but only at the beginning of the path. When noone knows you, when noone has ever heard your name, you have to do something to get the ball rolling. Unfortunately, there are not many chances of signing something to a top label if you don’t have a connection or if you don’t have releases on other important labels. You have to create some kind of ”hype” first before starting to aim for the major labels. So yea, it is pretty useful to release a lot of tunes when you are starting out. After a while when you have reached a certain level, it is not needed.
Endless Whiteness features remixes by two of techno’s rising talents, Milan’s Axel (IT) and Montreal’s Kalden Bess. Had you worked with either of these artists before? What did each artist bring to the table?
Unfortunately I have not worked with any of the guys before, but I really do respect their work. They are both amazing artists that I have been following and supporting. I really love both versions: Axel’s version is more hypnotic and has a haunted vibe that I really enjoy. This track could work really well in early morning hours in some club in Ibiza when the sun rises. Good times!
At the same time, Kalden’s edit is an amazing and strong dancefloor tune for the big rooms. I really dig it. I believe many big techno names will rock this tune, it is made for festivals and big rooms for sure!
Who were some of your earliest influences (production-wise)?
My biggest influence has definitely been Carlo Lio. Not only for his great production and awesome DJ skills, but also for the diversity in his music. He can create anything he wants, from house to techno and make it a banger. A true music lover and a true inspiration for me.
What are some other projects you’ve got on the go — Gigs? Releases? Collaborations?
I’m currently trying to focus more on my original tracks, hoping to hit some interesting labels . I have an EP coming out soon on Elrow Music with some really heavy remixers, an EP on iLLogic Music with the Italian maestro Tony Dee on remix duty and as always, I will be supporting my buddy A++ with his label Consumed Music on a variety of projects. Stay tuned!
Endless Whiteness will be available on La Famiglia Recordings August 24th.