A producer and DJ from the extended DGS circle, Georj brings a distinct sound shaped by his approach to the scene. This mix reflects both his musical identity and the space he operates in. As with the rest of the series, we continue to highlight artists who’ve been part of the DGS journey, with a closer look beyond just the music.
Can you describe yourself in 1–2 sentences?
I’m based in Bucharest, a busy city that keeps me constantly on the move. I usually split my time between producing music in the studio, DJing, digging records, and spending time with my family. Right now I’m in the process of launching my new label, Mozali Records, with the first release coming soon under my alias Taro Venn - something I’m revealing for the first time.
What is your relationship to DGS, and what has the platform meant to you?
It’s a friendly and collaborative relationship. I’ve been following the platform for quite some time, and recently we got in touch after I sent them some demos. In the end, one of my tracks was selected for the 15Y DGS compilation.
To me, DGS has a unique style and approach within the electronic music scene, bringing together artists from across the globe, which is something I really admire and respect.
How would you describe your expression as a DJ/producer today compared to when you first started?
I started getting involved as a DJ around ten years ago, and thru the years I’ve been developing my knowledge and skills as a producer. Over the past three years, I feel I’ve evolved significantly, especially through the duo project Dynamic Bones, which has been the most important period in shaping my direction. During this time, I’ve developed my production skills and overall expression as a DJ and producer, leading to the release of three EPs in 2025: two on vinyl and one digital.
What kind of story or atmosphere did you want to convey with this mix?
The set opens with a low BPM, shaped by downtempo trip-hop influences, gradually moving through electro, while weaving in disco, synth-pop and rock elements. The track selection covers music released from 2000 up to the present day.
The progression of the set is gradual, shifting from early warm-up sounds into peak-time energy, then drifting into smooth closing.This is the way I usually structure an extended set when opening the night and staying in the booth for a long stretch, something I’ve actually put into practice during an all-nighter.
I tried to put together a short overview of the set, maybe it sparks your curiosity. I don’t usually categorize music; in the end, it’s art, and it doesn’t need labels to be felt. Give it a listen!
Which 2–3 tracks from the mix would you like to highlight, and why?
Mickey Oliver - In-Ten-Si-T (Justin Robertson edit): This edit, from around 2008-2009, reworks the original 1988 house record. I love how it brings a classic track into a fresh context.
Skelesys - Synesthetic Serenade: I really like this one for its dreamy, nostalgic style. It also carries a vibe inspired by Tiga’s Sunglasses at Night, which is one of my favorite tracks.
Yello - Spinning My Mind: In my opinion, this is an extraordinary production. It’s perfect for listening at home, on headphones while on the go, or as a closing track for a party or set, which is exactly how I used it here.
There is a lot of talk about negative trends in the underground scene and how everything was better before. What positive trends to you see in the club scene and underground right now?
For me, a trend was never really a trend. Most of the music has been around since the 1980s, basically since the beginning of the dance music era. Good music has always been there; it just depends on what you’re looking for. You just have to dig a little, explore what came before, and be open to discovering it. If you like it, you can either adapt it into your sets or use it as inspiration for your own productions. Trends are really just a kind of metaphorical wrapper, they don’t define the music itself.
At the same time, there are some exciting developments in the scene today. Technology makes it easier than ever to discover and connect with new artists globally, giving underground music a truly international dimension. Audiences are more open-minded than ever, ready to embrace experimental sounds alongside dancefloor-ready tracks. That curiosity and openness, combined with the wealth of music both old and new, is what keeps the underground alive.
Are there any new artists or talents you think people should keep an eye on?
I love supporting local talent, especially from Romania’s new wave. A few artists to watch are Alexis Boevik, for his productions and incredible finds, and Hani and Böhr, who both stand out with their set selections and sharp ear for tunes. All of them are doing amazing things and definitely worth following.