From the vinyl and club culture of the 1990s to today’s digital music market: OSCA DASOL has witnessed the evolution of electronic music over several decades. His musical journey began in Munich, took him through Berlin’s radio and club scene to international destinations such as Ibiza, Tulum, Zanzibar, and South Africa, and culminated in a new chapter as an independent artist and producer at the end of 2025. In July 2026, he also founded his own label, DASOL MUSIC. In this interview, OSCA DASOL talks about his musical roots, the inspiration behind his productions, and the art of telling a story as a DJ. He also takes a critical look at the changes within the scene: Why are DJs expected to be producers, content creators, and marketing experts at the same time? And what happens when reach and algorithms increasingly determine who gets to play on the biggest stages?
Your musical journey began back in the 1990s, including at the Munich record store Afro Vibes and later through various stops in Berlin’s radio and club scene. What fascinated you about electronic music back then, and how did that period shape your understanding of DJ culture?
What fascinated me about music was that it was open, could be interpreted in many different ways, was international and constantly evolving, and everything felt new. In Berlin, radio and clubs became part of the picture. That’s where I learned that DJing is about much more than playing individual tracks: it’s about discovering music, reading a room, and creating a moment together with the audience. That attitude has stayed with me to this day. Above all, I still think it’s important to introduce audiences to new music they may not know yet.
You experienced the transition from vinyl to digitalization and then to streaming and algorithms firsthand. From your perspective, what has changed for the better in DJ culture, and which developments do you view more critically?
I experienced all these changes as part of the evolution. What I see as particularly positive is the enormous availability of music: today, you can discover music from all over the world within seconds and connect with other artists very quickly. I’m more critical when algorithms and numbers have too much influence over what is considered relevant. Music and DJ culture shouldn’t be judged solely by how many clicks a track or artist generates, but also by what happens musically and in the club. That has largely been lost.
With OSCA DASOL, you began a new chapter as an independent artist and producer at the end of 2025. Why was now the right time, after so many years as a DJ, to start releasing more of your own music?
After so many years as a DJ, I eventually had the feeling that there was something else inside me that wanted to come out. I no longer wanted to simply select and connect other artists’ music, but also to translate my own ideas into music. That’s why the end of 2025 was the right moment for me to launch OSCA DASOL. I bring a lot of experience with me, but I’m deliberately approaching this with the curiosity of someone who wants to learn something new all over again.
Your musical experience spans from Munich and Berlin to Ibiza and Tulum, and as far as Zanzibar and South Africa. Which of these places have influenced you the most, and how do these different impressions find their way into your own productions?
Every one of these places has left its mark. Munich and Berlin shaped my musical foundation, Ibiza shaped my understanding of energy, and Tulum gave me another perspective on atmosphere and, above all, music. Zanzibar and South Africa showed me how naturally rhythm, percussion, and organic sounds can be part of everyday life. In my productions, I don’t try to copy these places. Instead, moods, rhythms, and experiences flow into my music. I try to convey a feeling of life.
Your releases “Let the Music Play” and “Moyo wa Usiku” showcase different musical facets of your project. What ideas are behind the two tracks, and in which direction would you like to develop your sound in the future?
“Let the Music Play” and “Moyo wa Usiku” deliberately show different sides of OSCA DASOL. For me, “Let the Music Play” is primarily about energy and directness, while “Moyo wa Usiku” is more strongly shaped by organic and African influences. Going forward, I want to maintain this openness. My sound can be melodic, rhythmic, and electronic as long as it conveys its own atmosphere and tells a story. I was already playing Afro house in the ’90s, and “Let the Music Play” was a very important song for me back in the ’80s. For me, it’s still one of the best eras when it comes to music.
You describe a DJ as a storyteller who builds a narrative arc through their music selection and responds to the audience. What makes a really good DJ in your view, and which skills can neither technical tools nor original productions replace?
For me, a good DJ above all needs to be able to listen and read – listen to the music and read the audience. Technology is important, but it can’t replace a feel for timing, dramaturgy, and atmosphere. A DJ should know when to build energy, when to leave space, and when an unexpected track will work. This ability comes from experience and from playing in front of people. No algorithm or technical tool can fully replace that.
You’ve touched on a topic that concerns many DJs of your generation: Today, it’s often no longer enough simply to be a good DJ. You’re expected to produce, master social media, edit videos, create content, and market yourself. Has this fundamentally changed the profession of a DJ, and is there still enough room for the actual music amid all these demands?
Yes, the profession has changed significantly. The way current generations consume and engage with information and content has changed enormously, and as a result, DJs today have to be a full-service agency themselves or have one at their side. This opens up many opportunities, but it also creates enormous pressure. I think the challenge is not to let these side tasks consume you. Ultimately, music should remain the focus. Everything else should support it rather than replace it, but that has become almost impossible. From my perspective, the focus has shifted in the wrong direction.
For many DJs, original productions have now become almost a prerequisite for gaining international recognition and bookings. Yet producing and DJing are two different disciplines. Is there a danger that musical quality will take a back seat to reach and marketability, and that excellent DJs without their own releases will increasingly be overlooked?
I certainly see that danger. Producing and DJing require different skills, and an excellent DJ does not automatically make a good producer – and vice versa. At the same time, original releases are now an important part of visibility. For me, the key is not to confuse reach with musical quality. A DJ should also be recognized for their selection, timing, and ability to move a room, even without an extensive discography of their own.
At the same time, with OSCA DASOL you yourself make use of many of the opportunities offered by today’s music business. You release your own productions, build an artist identity, and have even founded your own label, DASOL MUSIC. How do you personally navigate the tension between your musical roots and the demands of the modern music market?
I don’t see it as a contradiction, but as a new reality. With OSCA DASOL, I consciously make use of the opportunities offered by today’s market without forgetting my roots as a DJ. I want to release my own music, develop a clear artist identity, and create my own platform with DASOL MUSIC. At the same time, the crucial thing remains unchanged for me: music has to work first – not in the algorithm, but with people.
With DASOL MUSIC, you created your own platform for your music at the end of July 2026. What is the idea behind the label, and in the long term, do you intend it to be exclusively for your own releases, or will it also provide a home for other artists?
For me, DASOL MUSIC is initially an independent platform through which I can build my own musical vision. The end of July 2026 was therefore an important step. In the long term, I can very well imagine opening the label up to other artists as well, if their music fits with my vision. I’m not interested in releasing as many tracks as possible, but in creating a clear musical identity and a space for special music.
Electronic music culture has changed not only musically but also socially over the past few decades. How do you perceive today’s club audience compared to the past, and has this also changed your own approach to DJing?
There were no mobile phones back then, and people consciously went out to dance. But fundamentally, I believe people in clubs are still looking for the same thing: a moment when the music and energy are right and you can escape from everyday life for a few hours. Nevertheless, audiences today are very diverse and probably more heterogeneous than they were in the past. Today, I perhaps respond even more strongly to the room and the people than I did before. For me, experience doesn’t mean having a fixed routine, but being better able to recognize what is needed in the moment.
You have experienced several decades of electronic music culture and are simultaneously at the beginning of a new chapter with OSCA DASOL. What personal and musical goals would you still like to achieve in the coming years, and what advice would you give to younger DJs who are trying to establish themselves in the scene today?
I want to release music with OSCA DASOL that stands the test of time while remaining curious as a DJ. With DASOL MUSIC, I want to develop a platform that can eventually grow beyond my own project. To younger DJs, I would say: Learn your craft, listen to a lot of music, and develop your own taste. Don’t try to chase trends. A unique identity doesn’t emerge overnight, but through many years of experience and practice. Dare to do something that many others aren’t doing.
From FAZEmag 176/10.26
Text: Triple P
Fotos: TimeCodePic
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