Max HeyraudVil reflects on his unwavering dedication to raw, soul-driven techno and the launch of Carícia Records, a label he co-runs with Cravo, rooted in the golden era of the genre.
Lisbon’s own Vil embodies the spirit of the late ’90s and early techno scene, an artist deeply rooted in the raw, loop-driven sound that defined a generation. As the resurgence of tribal, hardgroove techno swept across dancefloors in recent years, Vil stood out not just as a trend follower but as one of its most hotly tipped torchbearers. The only difference is that he’s still on that train. While others jumped ship in search of new sounds or scenes, Vil remained in the trenches, a bastion of no-frills techno, crafting his signature sound from his sweaty Lisbon studio.
Active since 2008, Vil’s journey is one of steady evolution without compromise. Together with his long-time friend and collaborator Cravo, the two have carved out a corner of contemporary techno defined by infectious grooves and undeniable soul. Tracks like “Monojunk,” “Fuck This Dub,” “Links,” “Funk Doido”, are modern-day anthems, the kind of rare techno gems that you’ll sing along to.
What sets Vil apart is his honesty and earnestness. He’s not chasing what’s popular, nor is he interested in style over substance. Instead, there’s a rare magic in his productions, a sense of depth, rhythm, and soul that speaks directly to dancers and DJs. It’s this integrity and consistency that have taken him to some of the world’s most revered booths, Berghain, Movement Detroit, RADION, Bassiani, Fold, and many more.
Now, alongside Cravo, Vil launches his latest venture: Carícia Records. As co-founder of Hayes and now Carícia, the mission remains simple, stripped-back, high-quality techno that harks back to the genre’s golden age.
We caught up with Vil to hear more about the label, his creative process, and why he’s still riding hard for the sound that shaped him, and continues to shape the future of techno.
From an outsider’s perspective, the techno scene in Lisbon appears to be growing steadily. Would you say that’s a fair observation?
The scene is growing a lot in terms of music production and events. In the last 4/5 years, we have had a lot of people moving to town(a very famous DJ too), and of course, that has helped a lot to put us on the map.
We’re here to talk about the launch of Carícia Records, but first, let’s talk about Hayes. You both just featured on the HYS.K007 compilation with your track Materia Prima, which sounds quite different from the music on Carícia. Do you have to switch mindsets when working between these two styles?
That’s just a very old project that got lost, and we decided to put it out. We are both very eclectic individuals, and no mindsets have to be switched; we just do what we feel.
Carícia Records feels heavily influenced by house music, and I know you’re a longtime lover of the genre. Would you say house forms the backbone of your musical identity?
No, techno does. House is just a huge influence on our taste in daily life, but techno is what makes us happy.
The press release often describes the record as “stripped back.” What drew you to a more minimalistic, straight-forward sound for this label?
The consequence of the abundance of over-saturated, fast-paced, hard music made us go back to basics. We felt the need to go back to the golden era of electronic music, the late 90s and early 2000s.
There’s a real “classic” feel to the music, clear nods to Detroit and Chicago. Were there any particular artists or records that influenced the sound of this release?
Can mention a few, of course. Carl Craig, Omar S, Frankie Knuckles, Ron Trent, Mike Banks, Jeff Mills…
Can you tell us a bit about the label name, Carícia, and what it represents for you?
Carícia means Caress, like a sweet, gentle touch. We just want to give warm hugs in the form of music.
You’ve collaborated with Cravo frequently over the years. What’s the creative dynamic like between you? I assume it’s a strong working relationship?
We have been sharing studios for many years, so things came naturally, and collabs started around 2017/18. We are just very good friends, and we push each other a lot, no formulas here.
Why did you decide to start a label together, outside of the collaborative work you already do within Hayes? What made you want to create something that’s just the two of you?
Hayes is a collective and has its own DNA, so we wanted to try something different. Our sounds are the most similar, both of us live in Lisbon, and it was kinda organic.
Do you see your sound becoming more stripped back in general? Is that direction, in any way, a response to broader trends within the techno scene?
Yes, as I said previously, the scene is becoming too loud and too fast. We are just following our guts, we don’t really think about it, it’s part of our evolution.
There’s often an emphasis on techno being “forward-thinking,” sometimes maybe to the detriment of soul and feeling. With this record, your approach feels much more raw and classic, and in my opinion, sonically more engaging than a lot of what’s considered “contemporary” techno. What are your thoughts on that?
Each person has their own impression/experience. I’m glad you felt it that way because we relate to that too, but someone else might feel it in a different way, and that’s the point. Going raw.
And I think I already know the answer to this one, but how do you feel about the current trend of labelling certain strains of techno as “groove techno”?
Not a fan of course. The problem starts with the big digital platforms labelling certain music as certain genres for the easy sell. That’s one of the many main causes. And of course, a lot of misinformation overall, like on social media.
If listeners could take one thing away from this record and the launch of Carícia, what would you want that to be?
Joyful, more smiles on the dance floor, please.
Finally, what’s ahead for the label? Any plans you can share for future releases or directions?
The next record coming is a solo EP from Cravo, with some beautiful, deeper, soulful aesthetics.
