Max HeyraudWith a shared devotion to stripped-back techno and underground community-building, Olivia Mendez and Chami reflect on their path from DJs to label curators.
Olivia Mendez and Chami have emerged as two of the most quietly influential figures in Berlin’s contemporary techno landscape. Though they originally met in Lyon, it was Berlin’s unrelenting club culture that shaped them into the selectors they are today — torchbearers of a raw, uncompromising style often associated with the city’s darker corners. Both regulars at Berghain and purveyors of stripped-back, hypnotic techno, their sets echo through one of the world’s most revered sound systems with clinical precision and emotional depth.
Their shared passion for vinyl and curation has evolved into something much bigger: DIG Curated, the sub-label of Olivia’s imprint, Dust In Grooves — a project born from years of sonic exploration and artistic maturity. These platforms champion underground talent, pairing forward-thinking sounds with innovative visual aesthetics, including AR-enhanced vinyl sleeves. Most importantly, they serve as vehicles for community-building, spotlighting producers who may be off the mainstream radar but are shaping the future of techno.
We caught up with Olivia and Chami just ahead of their latest release, curated by MARRØN and featuring rising talent UVÄLL, to dive deeper into the ethos behind the label, their evolving artistic vision, and their commitment to building a more inclusive, sustainable future for the genre.
Let’s start with Olivia. I want to stay loosely around the label and sub-label, so it feels natural to begin with the birth of the imprint last year. After many years in the scene, why was last spring the right time to launch “Dust In Grooves”?
Olivia: I waited a long time before launching Dust In Grooves because I wanted to reach a certain level of maturity in how I listen to music and build my sets. That maturity developed naturally over the years through DJing and playing in clubs — it helped refine my style of techno and clarify the direction I wanted the label to take. Many of the artists now featured on the label are ones I’ve been supporting for years, regularly carrying their records in my bags and playing them at gigs. Eventually, I found myself wishing I had more tracks from them to play, and that’s when I realised it had become a necessity to start the label. The curatorial process began at that point — it wasn’t just about starting a label, but about shaping a clear and intentional vision.
The label name “Dust In Grooves” evokes a certain feeling — raw, textural, maybe leaning toward the grittier end of techno. Was that intentional?
Olivia: I love that the name evokes that kind of gritty, textured atmosphere — it’s what I hoped for. But for me, Dust In Grooves isn’t about a specific genre or mood; it’s more about the physical and tangible relationship with vinyl. The name refers to the dust that inevitably settles into records — a layer that adds its own sonic character, a kind of imperfection that makes the sound feel alive. It’s not just about aesthetics, but about the medium itself. There’s also a deeper layer in the acronym “DIG,” which directly reflects the ethos of the label. Each release is a dig — a process of searching for artists and tracks that deserve more space and attention. The name ties into vinyl culture and deeper curation, unearthing producers with long-standing legacies who may not be in the current spotlight, while also supporting promising young talents who are shaping the scene today.
Each release features an augmented reality cover, designed in collaboration with different visual artists. Can you talk us through this visual aesthetic concept? How did it come about, and how does it connect to the music?
Olivia: The idea behind incorporating augmented reality was to bridge two seemingly contrasting worlds: the vinyl record, often seen as timeless or even old-fashioned, and cutting-edge technology. I wanted to create a dialogue between something rooted in the past and something entirely contemporary. This contrast — or rather, fusion — felt like a way to breathe new life into vinyl, making it feel fresh and evolving rather than static or nostalgic. By layering AR onto the physical sleeve, we’re encouraging people to engage with vinyl not just as a listening experience, but as a dynamic, interactive art object.
Each release is a collaboration with a visual artist, adding another narrative layer that connects with the music. The AR isn’t just a gimmick — it’s an extension of the record’s identity, a new way for people to experience sound and art together. We want to challenge the idea that vinyl is only for purists. By combining it with emerging technologies, we’re not erasing history — we’re expanding it, making space for new experiences that bridge the physical and digital worlds.
You kicked things off with Sev Dah, a somewhat unsung hero in contemporary techno. Why was he your first choice for the debut release?
Olivia: Sev Dah has been a key figure for me for a long time — I grew up playing his records. His music has always been part of my sets, and his album The Eternal Flame on his own label Proletarijat is a prime example of functional, timeless techno. His tracks are versatile — you can fit them anywhere in a set, and that’s a special skill. I often structured entire parts of my sets around his music. So when I started thinking about Dust In Grooves, his sound — raw and powerful — felt like the perfect foundation. I honestly couldn’t believe it when he agreed to be part of the first release. It felt surreal because he had such a personal impact on me as an artist.
We had a really meaningful conversation about the label’s concept, especially the combination of music and visual art through AR. There was mutual respect — he already knew my work as a DJ, and I deeply admired his music. I’m not a producer myself, so I have a lot of respect for those who can create something from nothing. He also showed a lot of patience and generosity throughout the process, especially when we faced production delays. His trust helped set the tone for the label, both musically and in terms of energy and values.
Let’s move to the second release with Mode_1, a Dublin mainstay. Where did that relationship begin, and what was the experience like working together?
Olivia: I first discovered Mode_1 through Philippe Petit’s label Knotweed, and it was an instant connection. His records quickly became regulars in my sets. His sound blends something classic and futuristic — it’s spacey and timeless, reminiscent of early Jeff Mills, but with a modern twist. His sci-fi atmospheres and tight, punchy production really stood out to me.
What impressed me most is how he updates that classic techno feeling with something fresh and contemporary. It’s serious, deep, and textured — a kind of mature techno that adds dimension to my sets. Tracks like “Platform 8” really embody that cosmic energy. His sound contrasted well with Sev Dah’s, which was important because I wanted Dust In Grooves to reflect a wide emotional and textural range of techno. Working with him felt very fluid. We shared a clear understanding of the label’s vision, and having him on the second release helped shape another layer of what Dust In Grooves is about.
Fast forward again to the launch of the sub-label DIG Curated. Where did the idea for this offshoot originate, and what was the vision behind it?
Olivia & Chami: After spending eight years in Berlin’s underground techno scene together as friends, Olivia and I were constantly on the hunt for new music, especially tracks to cut as dubplates and test in our sets. Over time, we realised that many excellent young producers were being played in major clubs but still hadn’t had a vinyl release. That became a motivation.
Driven by a strong community ethos, we wanted to reinforce the spirit of discovery and collaboration. So we came up with the idea of a sub-label — DIG Curated — where we’d ask established diggers and DJs to curate EPs, presenting new and emerging producers they admire and want to push into the spotlight. We aimed to leverage our visibility as DJs to amplify lesser-known artists, while also opening the platform to trusted curators with whom we share a deep connection.
A key feature is the Info Sheet we include with every release. It introduces the curator and provides an in-depth presentation of the featured artists from their perspective, often focused on the personal and artistic relationship between curator and producer. It’s about telling the story behind the music.
How did the two of you know each other before forming the label? How did your musical paths intertwine to the point where starting a label together made sense?
Olivia & Chami: We’ve been close friends for a long time, connected by a shared obsession with digging and timeless techno. Our bond formed years ago in Lyon, built on endless record exchanges and musical discoveries. There was never any competition between us — we’ve always believed in sharing everything and combining our strengths to push the sound we believe in.
We continued inspiring each other over the years, and as both our careers grew, we began to feel we had something meaningful to say together. Instead of creating separate labels and competing over artist discoveries, it made more sense to join forces. The final idea to launch the label came during a long conversation in a club — the place where we find most of our inspiration.
You’ve made it a point to invite lesser-known artists to the roster. Why is that important to you both?
Olivia & Chami: We’ve always played a lot of contemporary techno because we want to support young producers and the new music that resonates with us. Having access to unreleased tracks and playing private dubplates made us realise the privilege we had — and the responsibility. At some point, it felt necessary to share that music more broadly, to give credit to the producers who were shaping our sound but didn’t have much exposure.
We noticed that other DJs felt similarly, wanting to do more for the artists they play. DIG Curated became a way to thank those artists, to support their work on a larger scale, and to recognise their influence on our sound and our journey.
Let’s talk about the latest release, curated by MARRØN and featuring music by UVÄLL. Why did MARRØN feel like the right choice to curate this edition?
Olivia & Chami: MARRØN is very active in the community, always using his platform to highlight emerging artists, whether through his social media or his curated events in Amsterdam. From the moment we told him about the project, he connected with it deeply and expressed a strong interest in being involved. His enthusiasm and our long-standing friendship made it a natural fit. We also really respect his musical vision — he’s a great DJ and tastemaker, and he aligns perfectly with our values of nurturing the community and pushing the scene forward.
Was UVÄLL’s inclusion a group decision, or did MARRØN have full freedom to select the artist?
Olivia & Chami: MARRØN had full freedom to choose the artist, just as we reserve the right to give feedback or say no. But when he mentioned UVÄLL, we were immediately excited. We were already playing many of his tracks from VA releases, and his sound resonated with us deeply. It felt right to give him his first full vinyl solo EP, and we were thrilled to support that.
UVÄLL has become a staple in many DJs’ sets recently. Do you think it’s harder for some artists to truly break through these days, even if their tracks are soundtracking dancefloors everywhere?
Olivia & Chami: Yes, it definitely is. The scene is very saturated — there’s a flood of new artists, and it’s not always easy to cut through the noise and find real quality. For producers based in more geographically isolated areas, like South America or other regions outside the main techno hubs, it’s even harder to break through. Visibility and access are still big challenges.
You’ve spoken about the importance of having established names shine a light on emerging talent. Would you like to see more of that happening outside the label as well — in club nights, festivals, or other platforms?
Olivia & Chami: Absolutely. Once you start touring and gain recognition as a DJ, we believe it becomes your responsibility to give back to the community. Supporting emerging artists is essential for keeping the scene healthy and evolving. We ourselves received support from established names early on, and it only feels natural to pay that forward. We want this culture to stay alive and sustainable, and that means continuing to nurture new voices and ideas.
You’ve used the phrase “forward-thinking sounds” to describe the label’s output. Looking ahead, where would you like to see techno go creatively? And is there anything from the past you’d like to see reintroduced into the current scene?
Olivia & Chami: We have a lot of respect for the past, but in “techno,” the word “technology” is central — and technology is always evolving. Producers today have access to an incredible array of gear and software, allowing them to shape sound in new and limitless ways. We’re curious to see where creativity will lead next, and which new sonic trends will emerge.
Since spotlighting future talent is a big part of your mission, who are some other techno artists we should be keeping our eyes on right now?
Olivia & Chami: We have a strong pipeline of artists lined up for our upcoming releases, so we’d really recommend following the label closely — that’s the best way to discover them as they emerge.
