A chat with Croatian DJ/producer, Mariano Mateljan

Mariano Mateljan is a Croatian DJ and producer who has long been a key figure in his country's underground electronic music scene. Growing up in Split during the 90s and early 2000s, his musical journey was shaped by the city's thriving club culture, which introduced him to a wide spectrum of sounds, from house to techno and drum’n’bass. Known for his deep, groovy, and minimalistic style, Mariano has established himself as both a DJ and label head, launching the u.dig imprint to showcase like-minded artists. His work has earned him widespread respect, with support from industry heavyweights like Ricardo Villalobos and Sonja Moonear, while his releases and remixes continue to push the boundaries of electronic music. We caught up with him recently to learn more...

You’ve been living in Split for quite some time now — how does the city influence your sound and creativity as a DJ and producer?
Growing up in Split during the early 90s and 2000s played a pivotal role in shaping my musical direction. At the time, the local scene was thriving, with several clubs hosting a variety of events, from house to techno and drum’n’bass, every weekend. This early exposure laid the foundation for my musical journey, but over the years, I began to refine my taste and dig deeper into the more nuanced corners of the electronic music spectrum.
With no record shops available in Split, my main gateway to discovering new music was through online platforms, particularly Discogs. This allowed me to explore a vast range of genres and styles, which significantly broadened my musical palette. Today, both as a DJ and producer, this early foundation, combined with my continual exploration, shapes the sound and direction of my work. Unfortunately, the current scene is the complete opposite, with no underground clubs or venues left at all.

Your latest EP with Nick Beringer on Equal Audio is really awesome! Can you tell us more about the inspiration behind it and how that one came about?
The development of this release came about very organically. Nick approached me with the concept for the label, and it resonated with me from the outset. The more functional, "less is more" approach immediately appealed to me, as it aligns perfectly with what I've been striving for throughout my career as a producer—to create tracks that are minimal yet highly effective. As a purist of minimalism, the decision was straightforward. What initially started as a VA (Various Artists) proposal quickly evolved into a solo EP, and we were able to finalize everything within just a few days. With Nick being such a thoughtful individual with exceptional musical taste, I am truly honored to have the opportunity to launch the label with my release. I’m also eager to see what else he has in store in the coming months and years.

Tell us a bit more about u.dig and any updates you can share with us about that?
I launched u.dig in January 2017 with the goal of bringing together friends and artists who share a similar musical vision and follow a distinct sound. Over the years, we've released music from Alexis Cabrera, Ho Do RI (Fabe & Ben Balance), Lorenzo Chiabotti, Jake Flory, Madezh, Masa, and myself. The plan was always to release music once or twice a year, and due to my careful selection process, this has resulted in six releases over the span of seven years. Last year, we released an EP from Alexis, which has become my personal favorite to date. The tracks on that EP were meticulously curated over several years, and I feel incredibly fortunate to have an artist of his caliber, who is not only a close friend but also a regular contributor to the label.

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As the market has evolved, the costs of pressing vinyl, especially for music that isn’t necessarily "trendy" at the moment, have placed financial pressures on both the label and our distributor, leading to a slower pace of releases. That said, I am planning to release another solo EP on the label next year—hopefully.

You recently supported major figures like Ricardo Villalobos and Sonja Moonear. Do you feel any pressure when working with such iconic names, or does it inspire you to push your limits?

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I have had the pleasure of sharing the stage with Ricardo and Sonja on several occasions, and collaborating with such esteemed artists is always an inspiration that encourages me to dig deeper and improve myself as an artist. While pressure can be a positive force for growth, allowing it to overwhelm you can lead to counterproductive outcomes and prevent you from being your best self. For me, whether I’m performing alongside them or with someone who is just starting out, the experience remains fundamentally the same. At the end of the day we are just humans playing music on a piece of plastic.

Over the years, how have you seen the electronic music scene in Croatia evolve, and what role do you think you’ve played in that evolution?

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The scene in Croatia is a double-edged sword. While the abundance of amazing festivals during the summer may suggest a thriving scene, the reality is that many clubs and promoters struggle to make ends meet for the rest of the year. Festivals have certainly played a significant role in elevating Croatia's profile, attracting numerous talented artists who might not otherwise have performed here. However, most of these festivals are organized by foreign promoters, and the audience primarily consists of tourists, which makes it difficult for me to view them as representative of a true Croatian "scene." The essence of the scene lies in the remaining nine months of the year. Personally, I last felt a sense of community around 2010, when there was a vibrant party culture in each city, characterized by weekend outings, flyer collecting, mixtape exchanges, and, most importantly, a genuine appreciation for the music.

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A significant shift has occurred in the mentality of newer generations, which I believe is crucial to understanding the current landscape. The era of social media and platforms like TikTok has cultivated a generation of scrolling-dopamine addicts from a young age. When they enter a club, they seek experiences that replicate the rush they get from scrolling, replacing it with dramatic breakdowns, drops, and smoke machines. If they can't film something, they often question the purpose of going out in the first place.

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Unfortunately, the focus on music has diminished, and while artists are gradually disappearing, artificially created entertainers are gaining prominence. The ability to truly listen to music and feel its frequencies has become a rare treasure—a kind of superpower. Once that's lost, we are left with plastic figures producing generic sounds for an audience mesmerized by screens.

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As for my role in this landscape, I don't believe I've done more than anyone else, whether as a promoter or a regular partygoer. While I may have produced more records than many, we all contribute to the scene in our own ways, whether by creating and playing music or simply purchasing tickets to support promoters and artists. We are all pieces of the same puzzle.

You recently remixed a track for Suburbial Deepnosis. What was your approach to that project, and how did you make the track your own while staying true to the original vibe?

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When I receive a remix request, my process begins by listening to the entire EP to conceptualize a contrasting approach that complements the original release. As someone who is passionate about vinyl, I always consider the DJ's perspective. If the EP consists of three tracks that share a similar style, I aim to create something entirely different while preserving the overall vibe. This way, when someone purchases the release, they gain an additional track that may suit their needs in contexts where the original three might not fit, and vice versa.
In this instance, I had a productive jam session in the studio with all my machines running, allowing me to express myself through sounds that I felt would work well together. I remember producing 2 or 3 versions of the remix, but both Gabri, the label owner, and I ultimately agreed to proceed with the version that has been released. I am very pleased with how it turned out, particularly regarding the sound design. It allowed me to maintain an engaging and dynamic quality using very few elements, arranged in a way that reflects my personal style.

Playing on boats at Sonus Festival must be a unique experience! How do you prepare for a set like that, and how does it differ from playing a traditional club or festival stage?

Since 2012, I have been organizing parties with my best friend, Madezh, and for the past eight years, we have also been hosting boat parties. Given that our events have been called "Cruise," it felt entirely natural to start incorporating boat parties into our lineup. Over time, this has become my favorite setting to perform, something we've both eagerly anticipated throughout the year.

My track selection process is continuous; over the course of 12 months, I accumulate an arsenal of music specifically tailored for the unique atmosphere of a boat party. The vibe at these events is truly unparalleled compared to anywhere else I’ve played. This irreplacable atmosphere has not only enriched my experience but also boosted my confidence to perform at larger boat parties, including prestigious events like Sonus Festival.

‍You’ve played for Fuse in Zagreb, which is known for its deep connection to the underground scene. How did that opportunity come about, and what was the crowd energy like there?

I have been a regular at Fuse London events since I released my first two records with them back in 2013. Since then, I have consistently appeared on their lineups in various locations, including Ibiza, London, and Croatia. Enzo and the Fuse team have been in the game for a long time, and it’s clear they know how to throw a proper party.

The Croatian editions have consistently featured outstanding lineups, captivating visuals, and, of course, an incredible, meticulously tuned sound system for which Fuse is renowned. When you combine these elements, you create an unforgettable experience—a recipe that is sure to succeed.

You’ve been part of the lineup at Unum Festival in Albania, which is growing rapidly in popularity. What was the experience like, and how does playing at Unum differ from other festivals you’ve been part of?

I had the privilege of playing at the first edition of Unum in 2019, which marked my first visit to Albania. It was truly an honor to be invited by someone as genuine as Mousa. I first met him back in 2013 when I was booked to perform at his party during Sonus Festival. Since then, we have become close friends, and I was delighted to contribute to his new project, Unum. The festival site is truly stunning, particularly the Pine stage nestled in the woods. The main stage, constructed on the beach, is also a remarkable sight to behold in person.

Since that inaugural edition, I have witnessed remarkable progress and growth in all aspects of the festival, and I couldn't be happier to see things moving in the right direction for them!

Each festival possesses its own unique vibe and character, and Unum is certainly one of those events that you must visit to fully appreciate the experience for yourself!

You’ve gained support from some of the biggest names in electronic music. Do you ever feel the need to prove yourself when sharing a lineup with these industry heavyweights, or do you focus more on your own journey?

In the early stages of your career, the need to prove yourself can feel particularly heightened, especially when you idolize certain figures in the industry and strive to demonstrate your capabilities. However, as you grow older, you come to realize that the only person you truly need to prove anything to is yourself. Success is ultimately a matter of perception. For some, it may mean performing for crowds of 2,000 people and flying on private jets daily. For me, it has always been quite the opposite, and I have never felt compelled to pursue that path.

When I first discovered that Daniel Bell was buying my records, I felt I had reached a personal milestone, as he is an artist I have always admired and who has significantly influenced my productions. Of course, it goes without saying that my greatest achievement throughout my career has been the friendships I’ve made along the way—connections that I believe will last a lifetime.

What can you tell us about your upcoming projects? Any new releases or collaborations we should look out for?

In addition to the record we discussed earlier on Equal Audio and the upcoming u.dig release next year, I have a track coming out on a Various Artists compilation on Future Plans, as well as another full EP on Thisisnegentropy, which I’m really excited about!

On top of that, I’ve been working on an ambient/movie soundtrack type of album with a good friend of mine for the past few years, and I’m hoping to finish it within the next few months as well!

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Your sound has been described as deep, groovy, and hypnotic. How do you balance staying true to your signature style while also evolving and experimenting with new influences?

Even though music trends are constantly changing and evolving, I have always remained true to what resonates with me the most and never felt the need to alter my approach. I appreciate nearly all genres, and I often find myself listening to rock, pop, soul, metal, ambient, and more. These influences seep into my style subconsciously, and whether I acknowledge it or not, they are always present in my tracks.

Sometimes, when I believe I’ve created something distinct from my usual sound, people often say they can still clearly identify it as mine. Personally, I can't pinpoint what that characteristic is, but I suppose it's something that can be perceived by the listener rather than the creator.

Festivals, intimate clubs, boat parties — you’ve played them all. Which type of venue do you feel most at home in, and why?

To be honest, I prefer small, intimate venues with excellent sound systems—ideally with a no-phones-allowed policy. Many festivals today feature large stages and productions designed to entertain bigger crowds with high-energy selections of banging tracks. While this can be fun at times, it often feels monotonous and lacks depth. I’ve always favored venues where I can connect with people on an eye-to-eye level and take them on a journey for 4 hours or more, rather than just cramming everything into a 1.5-hour festival slot. Ultimately, it comes down to personal taste and individual goals in life. I would choose a dark sweaty basement with 100 people and a proper sound system any day!

When you’re not behind the decks, what other forms of art or culture inspire you? Do you find any connections between those and your music?

When I’m not behind the decks, I enjoy cooking and playing poker tournaments. Both of these activities have significantly influenced my music. Cooking has taught me a lot about balancing flavors to create a perfect harmony, which parallels the balance needed in my tracks to provide an optimal audio experience for listeners.

On the other hand, poker has instilled in me a sense of discipline and strategy. The dynamics of poker are heavily influenced by your position and the situation at the table, much like what occurs in a club setting. A good DJ understands their position and selects tracks accordingly. You can have the “best” tracks or cards in the world, but if you play them at the wrong time, they lose their impact. Being aware of your surroundings at all times is crucial for delivering a top-notch performance.

As someone who’s played in so many different settings, how do you decide on a track selection for a set? Do you adapt to the crowd in real-time, or do you come prepared with a specific vibe in mind?

Whenever I’m booked at a venue for the first time, my first step is to conduct thorough research. I always request photos of the space to assess its size, shape, ceiling height, lighting conditions, and overall interior design. Every little detail matters and is crucial for the track selection I’ll take from my shelves.

I never plan for a specific vibe, as that can only be gauged once I’m in front of the crowd. However, I like to have a general understanding based on the venue, as I strive to match my frequencies to the environment I’m in. Once I’m behind the decks, I let it flow; nothing is pre-prepared, and everything is created in the moment.

If you plan too much, you set expectations, and if the reality doesn't match your vision—something that often happens—you can end up disappointed. I’ve learned this lesson the hard way, which has taught me to be prepared for any possible situation in a club setting.
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Looking ahead, what are your long-term goals as both a DJ and producer? Any dream collaborations or festivals you’d love to be part of? Do you make goals for yourself like this?

At the moment, I’ve taken a break from touring and playing regularly to explore other passions in my life. While I’ve found myself feeling a bit uncomfortable with the current state of the electronic music industry, I see this as an opportunity for personal growth and reflection.

The reason for this is that the elements that initially ignited my passion for this industry seem to have faded away.

The artistry has diminished, and many people are creating what they feel they are "supposed to" in order to survive within this fake bubble. The artists I once admired continue to shift and adapt like the current, simply to maintain their presence in the nightlife scene. The music has become seasonal and not to stand the test of time. Relationships have become fragile and insincere, with everything now being driven by monetary interests. The core values have shifted, and, as strange as it sounds, you no longer need music to succeed in the music business. Real artists are often undervalued, while business role models are glorified. For me, this is something I can’t align with, as it conflicts with my personal beliefs. I spend countless hours searching and carefully curating music, only to see it consumed by a crowd focused on capturing the moment for their phones.

I truly hope there will be a shift in mentality, where the music itself becomes the focal point once more, rather than visual presence. Until then, I’ll be in my studio, diving deep into the machines and the endless discoveries on Discogs. After all, we are living in a simulation anyway. :)

Finally, let’s talk music for a bit… what’s a track you listen to before going on stage?

I usually avoid listening electronic music on the day i have to play, so its usually something like Donovan's 'Get Thy Bearings'.

What’s the track that best defines your style as a DJ?

Almost impossible to summon everything into one track so I’ll just go with the man himself:

What’s the track you’d dedicate to your younger self?

Growing up with the sounds of the '80s constantly playing in my home, this track really stands out as the one:

What’s the track you’d play at the end of an epic night?

What’s the track you’d remix if given the chance?

Keep up with Mariano Mateljan on Soundcloud, Instagram and Bandcamp

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